If you've done a brilliant version it becomes something else.

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.

Somehow I know there was something so right about my doing Frankenstein and taking so long over it that I've probably been laying some ghost inside myself. It was a very necessary job for me to do, but it'll take some time to recover from it.

The best actors, I think, have a childlike quality. They have a sort of an ability to lose themselves. There's still some silliness.

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.

Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.

I guess I've done a couple of boys-y movies and on the whole you get bracketed into things you've just done, so it was an imaginative surprise from my Disney family to pull me out of the hat, as it were in Cinderella.