It's no accident that Cinderella has been in the culture for thousands of years, and in cross cultures. I've traveled a bit recently, and in Russia, they completely believe they own this tale. And in Italy, they feel it absolutely is part of who they are. There is a timeless web to it.

After Frankenstein, I feel as if I want to make a film about somebody having a nice cup of tea.

I only really cast people who are desperate to be in it - who were dying to be in it, whose talent I believed in and were dead ready to do the work that was necessary.

Across all Cinderella versions it was clear that the 21st century was not very much in evidence, particularly in the character of Cinderella so it seemed, it felt actually as though it hadn't been done for quite some time, not with the kind of lushness that we could do it with, with an absolute removal of the passivity of Cinderella and finding an amusing way, a lighthearted but significant way of making her proactive and not a girl who's life is about waiting for a bloke.

If you've been to Moscow, it's a really exciting and great city, but it still feels like you should be a little careful about which way you're going to step.

I certainly have been guilty of trying to sweep things under the carpet.

Actors are the best and the worst of people. They're like kids. When they're good, they're very very good. When they're bad they're very very naughty.