In film as a medium, you're often given a baddie and a goodie and told what to think about them; it's usually a very definite point of view.

It's a tricky one when you're playing somebody who is mad. There's often the big actor's question, if you're playing a part like that: do you take it to be an internalized thing, pull the audience in, or do you go full-out, and kind of present it as quite a shocking thing?

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.

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

I am a slow reader. I always loved words, which is a strange thing given that I couldn't actually read them

In L.A., I'm twice the size - height and everything else - of most of the other actresses who are going for an audition.

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.