What an extraordinary thing it can be, love, how it will not defined by gender, by sexuality, by race, by religion, by anything. It's something else. It's something other.
I suffer from a more complex, persistent fear. It manifests itself in nerves, and on film the camera sees even the tiniest evidence of this. So you have to learn that when the director calls 'Action,' you don't go to this place of tension, but somehow you become free.
If gender is on a spectrum, where one finds oneself is completely unique.
'Animal Ark', was when I was fourteen years old, and it was an ITV children's program, and I did an episode called, 'Bunnies in the Bathroom.' And I'm not sure if it was my finest hour.
I did an interview once where I was asked who I found attractive and I went on about cartoons and Nala from 'The Lion King' - and it's a bit weird but various of my ex-girlfriends actually did look like Nala.
Velvet is great. It's warm as well. And it's snug.
I walk around talking to myself in accents. Usually people look at me like I'm a complete fruit loop.
I've never been someone that was sort of blessed with an innate talent of just being able to do things. I had to work at it and learn from mistakes.
My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.
I never really committed to being an actor. It never felt like it would be possible, I guess.
As a runner on a film, you are the lowest of the low, and yet you have incredible access to everyone. I can totally imagine that for actors in the middle of a Hollywood bubble, all they really want is a sense of normality, and that gopher can be a tap for that.
I've played women since I was a kid and I've always enjoyed it.
Actors who perhaps are super-confident and have absolute belief in themselves I always admire, because I can't really be like that. Because you never know what's right: what you feel inside versus what is portrayed.
They're such hierarchical things, film sets, they're sort of mini societies. Often they're incredibly political places.
When you're doing a film that has so many effects, you do a lot of it on green screen, and you can't see what that world is.
Listen, acting is not surgery, it's entertainment. You're doing something to hopefully move people, to make them laugh, to transport them. But actors are vulnerable, and the reason we're vulnerable is that we're always trying to recreate human behaviour.
In England, we have this saying about Marmite: people either love it or hate it. That's like a lot of the movie work I've done. People either find it repulsive or find it really interesting and get engaged in it.
For a year after I left Cambridge, I had an agent, and I was working in a pub and doing waitering. But I could stay at home rent-free.
I am fascinated by Omega's history. Particularly the First World War stuff, when they made watches for the flying corps, and the NASA side of it.
I try genuinely, when I'm playing a character, to not judge them and just to inhabit someone as how one sees them. That being said, you also want to make sure that you don't blur the edges of people too much because humans are naughty and complicated beings.
