You can't be a proper writer without a touch of madness, can you?

The audience's reactions are more important: if people believe in the love story, it's because they love how we've acted. That's the most beautiful award. It's very important for me, people appreciating what I do.

Also for me, I don't make endless movies back to back all the time, I really sort of come to understand and love the characters that I play. And with April and Hanna you sort of go through a weird period of feeling sad about letting them go. Sometimes that takes me a week and sometimes it takes me a couple of months, just so that I can feel I can realign my own thoughts again. I do feel really, really blessed that I've had these opportunities.

I danced a lot when I was younger, and I've always had decent, shapely legs and thought it's now or never. I mean, when you're pushing 40, are you really going to wander around in a dress that's midthigh length?

With The Reader, I'd just be shattered at the end of every day really. I wouldn't really want to talk. We kept saying, because we were in Berlin: "If we get back at a decent hour, let's go and have a glass of wine." We'd always think it would be a great idea, but then get to the end of the day and then go [acts drowsy and blabs]. It was very difficult for everybody.

My husband is not a jealous person in any way.

I knew it was going to be important that if I had an audience understand who she was, then all those things had to come from a place that was grounded, as opposed to being tics and manners and twitches. I didn't think it was going to be as rich, perhaps, as if I was going to make it more emotional.