Because I think in order to get famous you have to be known for something. Like 'You're the romantic comedy girl' or 'You're the Oscar-winning whatever girl.'

And I guess, I guess it's a humanist film. It's not really a spiritual film and it's, you know, it's saying that we're all one tribe of humans and we're on this little rock, floating through the universe and (Amenabar) has these (transitional shots of) POVs where you see humans like ants.

Normally, I would do research. For The Constant Gardener, I played an activist, so I went to meet activists. You can find them dotted around. But with The Brothers Bloom, I couldn't meet a nutty heiress who lived in a bubble in a mansion. There was no one to meet. So this was just an active imagining, a daydream.

I don't think balance is something you get from someone else; it's something women have to find from within. For me, finding balance is still a work in progress.

I was advised by an American agent when I was about 19 to change my surname.

I find Hollywood really toxic.

I didn't think the teachers had the right to tell me what to do. I would just disobey, talk in the classroom, get very bad grades.