You're allowed to bore your friends and family, but to bore your audience is unforgivable.
I change my mind every five minutes. I'm very brutal with my own process. I throw everything away very quickly, and then I have to go out and rummage through the rubbish in the middle of the night to try to find a bit I'd written a week ago.
I really desperately want to write and direct my own movie.
I think it helped that 'Fleabag' had such a dramatic arc to it, even though it was disguised as a comedy.
I'm a massive control freak.
I'd been waiting to turn thirty my whole life. For some reason, when I was eleven, I was like, 'I know thirty's going to be good. Get through those twenties!'
I really, really wanted to write about just female relationships with other females and things.
After the play of 'Fleabag,' we had conversations with different channels and with film companies about whether 'Fleabag' should be a half-hour sitcom, an hourlong, serialized drama, or a film. And I knew that it couldn't be a drama because I wanted to hide the drama - that had to be the surprise. I knew it had to be comedy.
If you go into the mainstream with a female perspective that seems to resonate with a lot of people, you have a political agenda imposed on you: you are told that you are a feminist.
Throughout a lot of my 20s, my sexual allure and power was one of the most important things about me, my currency.
I don't think you can be a good actor and want to please, because so much about performing and acting is surprising people.
Wouldn't it be exciting if all women just went on strike? Just a woman's strike. Everything would fall apart pretty quickly then, wouldn't it?
I've been so obsessed with 'Game of Thrones,' and there's so much about nobility and duty that I think about a lot.
This world of 'Star Wars' is just so accepting and beautiful that the idea a droid and a human are trying to waddle their way into a relationship is something that's celebrated.
I think it's part of human nature, that we want to achieve. It's definitely a kind of cosmopolitan nature, wanting to achieve in the fast lane.
I just kind of like to feel myself into stuff by writing scenes and seeing what characters end up saying.
'Transparent' was huge for me when I first saw it. I felt that, from an authorial point of view, no one was trying to sell characters to us, you know? It's the idea of not having to adore these characters and want to cuddle them; you just have to be into them and their psychology and be compelled by them.
I always knew that if I was ever going to perform something that I wrote in front of an audience, I was going to do the thing I most like to experience as an audience member, which is to be tricked.
No one would touch me with a barge pole as an actress. It hit hard. I thought, 'What am I doing? This is a stupid idea!' It's like throwing yourself into a massive pond, and you feel like you're going to drown so quickly.
What's so useful about the British culture of politeness is the level of passive aggression is really fun to write.
