I have a great editor and I enjoy, in a masochistic way, being ruthless about my own performance. How do I know, but I think I'm quite good at saying, "That's no good. That's no good. That's it. That's it. That's good." And I'm with the editor who goes, "No, I think you're wrong. That's not your best." There's an initial point in the editing, if you're directing yourself, especially in my case, where you go, "Ouch, ouch, ouch, I can't watch this." And then, there's a point where you become hard-nosed and just take your neurosis away and go, "What's working? That's okay. That's okay. We can lose that, and lose that." You get objective about it.

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.

I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.

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'm not very good at being domesticated. I've tried. The domestic life I find claustrophobic - the rituals and habits and patterns.

I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.

Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.