I feel there's so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what's coming through the face... that fascinates me.

When she was younger, my mother was quite committed to Roman Catholicism. But she got disillusioned with it and moved closer to something like Buddhist beliefs near the end of her life.

I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.

I think I feel more like you're an actor for hire and you take the jobs you want to take, obviously, and some pay well and some don't pay well at all but you go on a gut feeling and it's all a big adventure.

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

It's thrilling to have the opportunity to work in different areas, whether it's on a project that has all the resources behind it like Harry Potter or James Bond and then to go somewhere there's very few resources.

When you meet women, don't pretend to be anything that you're not.