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 think that you can fake warmth. You can fake lust, jealousy, anger; those are all quite easy. But actual, genuine warmth? I don't think you can fake it.

I see a pair of shoes I adore, and it doesn't matter if they have them in my size. I buy them anyway.

I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters. The topless Interview shoot was one of the ones where I said: 'OK, I'm fine doing the topless shot so long as you don't make them any bigger or retouch.' Because it does feel important to say it really doesn't matter what shape you are. 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.

Bigger films are more difficult because the number of people is so huge.

You live with a writer [a mother], and you grow up with their words, their kind of fantasies, and I'd pretty much seen every single one of her plays, and been in a lot of rehearsal rooms, so it felt very natural and easy. It was lovely to get an opportunity to do that professionally as well.

I'm doing a film now with a lot of guys as well, so at the end of that I will be growing a beard.