Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.

I'd say that kids working on sets, even if it's Bambi, need to be allowed to be kids, even if they're working, not become little adults - that to me can be distorting to kids as an experience.

For sure, you don't believe the good stuff. I mean, the good stuff is just insane - wacky. If you don't take it too much to heart, it does help when the negative stuff hits. And you know the negative stuff is coming. It's got to! What comes up must come down.

When really you've gone to drama school and rep and then you've come to London and gone to auditions and you've worked, solidly, for years. But that all gets forgotten.

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!'

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.

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.