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 don't quite understand what Tolstoy's actual personal view of Anna is - whether he likes her or hates her, whether she's the heroine or the antiheroine.

I think fashion is like putting on armor. I like that aspect of it, but it's not something I want to think about every day.

When I was about 5 I think, I desperately wanted to be a pirate and have the hat and everything.

The celebrity thing's completely crazy. I think I just have to move away or give it up altogether. I couldn't have kids in the situation I'm in now. But I could just do something else. That's probably what's going to happen. I made a decision very recently that I want a life instead.

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.