I’ve noticed that the people who started on film still have the ability to see the person in front of them. Whereas for a lot of photographers who have only ever worked in digital, the relationship between the photographer and the person who they’re taking a picture of sort of doesn’t exist anymore. They’re looking at a computer screen as opposed to the person.
If I don't do this film. I'll be acting in corsets for the next 20 years.
[The press] said to me yesterday 'How does it feel to be called anorexic?' and I had no idea that I was. I'm not saying there aren't people in the film industry that suffer from it, because I am sure that there are. But I'm quite sure I don't have it.
All through my life what I've loved doing is watching movies. I love the escapism of film, I love stories. So it is incredible to be able to be in them as much as I am, to see them from the first stitch in a costume to the end product.
I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters.
I worked with John Maybury on The Jacket and I think he's an extraordinary film-maker. I read the first drafts of this piece when I was working on The Jacket, and we'd so fallen in love with him that we thought he was the only person that should direct this! We wrote poems for him, we sent him champagne and cakes. Four years later he finally read it.
I'm doing a film now with a lot of guys as well, so at the end of that I will be growing a beard.
It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
I enjoy doing an action scene. I'm not a purist as far as films go. If you want to do sex, great. As long as you do it well.
It's a difficult thing when you try and make a film of a book that you really love. You have about two hours to tell the story, and it's never going to be enough.
I've had my body manipulated so many different times for so many different reasons, whether it's paparazzi photographers or for film posters. The topless Interview shoot was one of the ones where I said: 'OK, I'm fine doing the topless shot so long as you don't make them any bigger or retouch.' Because it does feel important to say it really doesn't matter what shape you are. I think women's bodies are a battleground, and photography is partly to blame. Our society is so photographic now, it becomes more difficult to see all of those different varieties of shape.
In film as a medium, you're often given a baddie and a goodie and told what to think about them; it's usually a very definite point of view.
I find it quite difficult on studio films because there are so many different executives and things like that that you have to go through, so very often getting that definitive opinion is actually quite difficult.
Bigger films are more difficult because the number of people is so huge.
I like watching films when I don't know anything about the people.
I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.
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