When the Hollywood thing happened, I thought at some point I'd get to the front of the queue: 'Yes, hello, I'd like to play that role.' But you don't. You just join a different queue.

My very first friend was my stand-in, who's a very dear friend to this day, and she kind of saved my ass. She told me where to stand and where the camera was and where to look. I thought, "If I don't enjoy this, then there's absolutely no point in being an actor."

Ewan McGregor and I said this to each other after we saw The Ghost Writer. Every time Roman Polanski did a "No, no, no!," he was right. It was really as if a sculptor was asked to sculpt the embodiment of despair - that was the attitude he would strike. But as with every sort of inspiring teacher you ever had who was strict and scary, when you get it right, the sun comes out, and it's worth it.

The excruciating moments of drama are when people are allowed to show or say what they feel.

As an actor, you're just taking temperature. I am anyway, all the time, and responding appropriately. I was again cast very last-minute for Rushmore and met Wes Anderson, this quite physically and socially awkward man who didn't really talk to me much, a precocious and intelligent young boy. And Bill Murray. And we were sort of left in this bizarre hotel together and taken to strange locations around Houston. That was quite an isolating experience.

It was fine when I was single and childless. Carrying the responsibility of screwing up your kids at the same time is huge. I remember when I got Peter Pan, and I told my mom and dad and my friends I was leaving - again, I was cast way late on - in the next two days to go to Australia for four months, and they all went "Bye! See you in four months!" But no one said "We need you," and I really knew that it was time to think about someone else for a change.

I couldn't get any of the ingenue roles when younger because at 5 feet 9 inches with a deep voice I was always too... genue. My career has completely happened since I was 29.