I hope I never get in the situation where I refuse to audition, because I think people have a right to see you interpreting the character, and if you don't do it the way they want you to, they have a right to say, "No."

I think it's quite lucky that I lead this lifestyle, and in fact, my career's only gotten better as I've looked older, because it ages you, the uncertainty.

My parents are both lawyers, and my father always said his best cases have been returns, cases that come into his office from another lawyer. So he said, "Never be ashamed to take a return." All my best roles have happened because someone else dropped out at the last minute, and God bless those actresses for their queeny fits, their sprained ankles, their better job turning up, because that's how I've got my best work.

Working with Roman Polanski is funny. It's like anything in life - someone warns you that something's going to be amazing or difficult or awful, and you say, "I can do that. I can cope with that." And then when you're in the middle of it, it may be joyful or tricky, but it's never difficult in the way you think it's going to be difficult.

I guess maybe I was hired to play in the Doll House because of my dinner scene in The Sixth Sense, which has been scrutinized a thousand times as to whether you know Bruce Willis is dead, or whether I'm talking to myself. I think that maybe if that could be my forte, to do a scene and be able to say it could be read this way or that way.

The phrase you usually hear after a cut is "That was great. Perhaps we could have another go. Maybe try it this way." Even that much direction is prefaced with a lot of praise and encouragement. It's quite like how you deal with toddlers: positive reinforcement, and then a little suggestion that you might want to try something different. Roman Polanski will stop the take and shout, "No, no, no!" Which is somewhat alarming the first time it happens.

I've been lucky enough to kiss three James Bonds on screen: Pierce Brosnan, George Lazenby and Daniel Craig.