In the movie, you're moving, you have personality, you don't have to be great looking.

I think women's bodies are a battleground and photography is partly to blame. Our society is so photographic now, it becomes more difficult to see all of those different varieties of shape.

I worked with John Maybury on The Jacket and I think he's an extraordinary film-maker. I read the first drafts of this piece when I was working on The Jacket, and we'd so fallen in love with him that we thought he was the only person that should direct this! We wrote poems for him, we sent him champagne and cakes. Four years later he finally read it.

I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.

My doctor was like, 'Any questions?' And I was like, 'Yes! When can I drink please?!' I just want a margarita.

I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult.

I don't want to deny my femininity. But would I want to be a stay-at-home mother? No. On the other hand, you should be allowed to do that, as should men, without being sneered at.