I went through voice coaching. I was absolutely terrified. I thought my knees were going to buckle, and the first couple of takes I sounded like a pubescent boy. I didn't realise I was going to have to do it live.

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.

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.

It's good to know that other people think differently, and that's what makes the characters interesting.

It's a difficult thing when you try and make a film of a book that you really love. You have about two hours to tell the story, and it's never going to be enough.

I don't read my reviews. Unless I'm unfortunate enough to catch something by accident, which happens, and it's always a bad review. Always, it's amazing. I will be sitting in a café, and I will open a random paper right to the page of the review.... And then you're sucked in and go home and never want to go out again.

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