I think it's important to find projects that evoke people into conversation. It's like reading a good book. You want to talk about it.

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.

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.

If people want to criticize a performance, that I understand. I think that's important.

I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?

A big thing for me is trusting the director, so I don't need to watch playback. I feel like the director is gonna tell me whether it's right or not.

I'm a private person; I stick to my neighbourhood and eat in my little restaurants.