Now we live in a time where the public and the private are completely fused and there isn't such a great distinction. We know our private lives are constantly made public. With Facebook and Twitter there isn't such a desire, it feels, to keep things private.
Going to auditions is always so nerve-wracking. I don't think they ever get any easier.
We live in a time where it's more surprising if people are actually together than if they're having affairs.
The British vice is overthinking before we speak, which is really annoying. I love the way that, in America, people are more straightforward. The American vice would be sometimes speaking too loudly. You can always hear American people on the trains!
I want to be paid fairly for the work that I'm doing. That's what every single woman around the world wants. We want to be paid on parity with a man in a similar position. And I think it's important to talk about it.... It's brave of those women to come forward and make a point about it. Now younger actresses will have a confidence in those discussions with their agents and be able to say, "Can we make sure that I'm being paid the right amount for the work that I'm doing?"
I'm keen to have balance, as much as possible. I put every ounce of myself into my work, but also it's important that I don't miss every single wedding of my best friends. I couldn't do what I do without my friends and family.
I'm small. I'm petite. But I'm a bit of a fighter inside. In my work I fight for, I hope, showing women in a true way. They've got brains.
I've never taken a role where I don't like a person on the page. Sometimes there are changes that need to be made.
I always had a very strong sense of independence. I really liked being able to buy my Alanis Morissette Jagged Little Pill album. I wore that as a badge of honor. I love not having to rely on anyone.
I was a tomboy running around in the garden. I used to play on a local cricket team. I grew up with all boy cousins, for the most part, and my brother. My mother was in the kind of late-sixties, early-seventies origins of female emancipation. And she was very much like, "You're not going to be defined by how you look. It's going to be about who you are and what you do."
My mother was in advertising and worked incredibly hard when she was bringing us up. She was a working mother and a working single parent. That instills in you a sense of determination.
I made a film called "The Theory of Everything," which is based on Jane Hawing, who was married to Stephen Hawking - it's based on her book about their relationship.That's what the film will be about - they were both incredible, strong, willful individuals and I feel like that Stephen Hawking himself would say that he wouldn't have survived without the influence of Jane Hawking, and they were an incredible team together.
"The Theory of Everything" is an extraordinary story because [Jane Hawing] was incredibly religious and [Stephen Hawking] was an atheist, so you have this conflict both on a domestic level between a couple in a difficult situation but also this bigger conflict of science versus religion, so it's a really fascinating project.
But since doing the film ["The Invisible Woman"] I've really learned to appreciate [Charles Dickens], he's phenomenal. "Great Expectations" would be one of my favorites.
I really enjoyed it - being involved in watching rushes and playback [in "The Invisible Woman"]. Ralph [Fiennes] was very open to my input, I think knowing that he couldn't always be there 100 percent, that he had dual aims with directing and acting.
I was into Virginia Woolf and James Joyce [at university] and I think we all thought that [Charles] Dickens wasn't that cool.
I studied English literature at university, but for some reason we only spent one week on [Charles] Dickens, so I remember just trying to find the shortest book that I could find. I was like, "'Hard Times,' really great - it's short, that'll do it."
I think I actually did a production of "Under Milkwood," this Welsh play, with my drama group (at school), and I always remember taking everything far too seriously, and that it wasn't just a hobby but something I wanted to keep on doing.
I feel like with acting it's not like you make a choice - it's kind of in you and you have to do it or you wouldn't be able to survive.
[In "The Invisible Woman"] was a different type of performance which was less driven by improv. You always want moments of freshness and newness, but there was less so than I've done before.
I've done quite a lot of improv work before, and I wanted to do this film ["The Invisible Woman"] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.
I cry at the end of every episode of "Girls." I'm just so overwhelmed by the truthfulness with which [Lena Dunham] conveys human nature.
What's amazing about the show ["Girls"] - the first (season) is about the girls and then the second (season) is about the boys as well. There's something so human about it.
It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.
I think [Charles] Dickens was an extrovert and Nelly [Ternan] an introvert, and I think that Nelly saw beyond the fame and adulation and she actually loved Dickens essentially for who he was. So I think he felt like she was someone he could be himself with.
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