I had this wild imagination. I was never me. All my childhood photos, I'm in fancy dress, playing a Russian refuge or Marvelous Mad Madam Mim.

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.

It's all about the director for me; we have to click. It's a trust thing. I'll say I'm ready to let down my walls. I'll cry for you as long as you need. But you're going to have to hug me afterwards.

I think seeing films should be interactive. I'd rather have people see a film that I'm in and either absolutely love it or absolutely hate it, than be like, "Oh, yeah, it was good." That's the worst!

There's such an array of brilliant roles for young women. You read all these amazing young women going through different stages in their life - different stages, different fascinations, different textualities, different friendships.

On an independent film, you really learn about pace. You have so little time to do things, that you really have to know your scenes.