I get very protective of kids on set. I always make a point of telling kids that anything that makes them feel unsafe or concerned they should just speak up about, and then keep an eye on times when that could present an issue.

At first I was a bit indignant about it, and then I realised, 'No, that's what people want, so that's what is given.' But it's not in your control. It's just what happens to you, and that's what's frightening.

It was a fantastic learning experience and OK, I got slammed because I wasn't Audrey Hepburn but you could have predicted that, really, if you'd opened your eyes wide enough.

If you do anything for too long, it starts to lack edge, to become too easy. Easy is the kiss of death.

And it's not that going out for a hack is wrong or bad, I certainly don't view it as that; it's just that there's something about the dressage, being put through your paces, that makes you better.

For me, the only ego that needs serving in putting together a film is the story's, the ego of the story and it's the piece itself that you want to bring out the voice of the piece. You're really serving that and that's the thing that you have a basic understanding of.

I have a really hard time stepping out of a limousine and confronting a sh*tload of photographers who are all screaming at you, because it's like saying, 'yeah, yeah, here I am!'