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 have a lot of stuff I want to talk about and offer up. It would be odd not to have ideas about something.

When I first filmed things, they were always slightly awkward.

I've never felt fallow in the sense that there's been no work.

I admire the world of the books and the characters that she's created, but I'm not an addict of Harry Potter. I don't feel possessive about it.

I veer away from trying to understand why I act. I just know I need to do it.

In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.