Quotes of All Topics . Occasions . Authors
I'm a masochist in some ways. I look for things that I think I can't do, then, for some bizarre reason, I really want to do them. Maybe one day I'll take the easy route.
Nothing beats an 'Archers' fan for their levels of devotion. I think it's because it's radio, and you obviously conjure up an image of the character that is so powerful.
My most treasured item is the brown leather bag that my mum bought me from a little Italian shop for my 21st. It's supposed to be a vanity bag, but I use it as a handbag.
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.
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.
If it's something quite low-key then I'll often do my own makeup. But for something like a premiere, it's good to have a makeup artist because they know what they're doing.
I'd love to do more comedy. It'd just be nice to go into work and not be crying every day. Some broad slapstick would be great. Falling over banana skins would be wonderful.
Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.
It's nice to film in somewhere that you actually love being. Usually, you're in a studio for months on end, and you never see any daylight, so you really make the most of it.
As a child, I always liked dressing up and getting into character, and actors are lucky in being able to retain that playfulness, though we do seem to find it hard to grow up.
My mother worked in advertising and my father was a journalist. But they split up when I was three and I grew up in a single-parent family. My mum brought my brother and I up.
I think personally it's not good for anyone - I don't think infidelity leads to happiness. It's painful for the person being cheated on, but also for the person who's cheating.
The key is working with great directors. A film is so many different people and all their talents, but particularly the directors, because of the idiosyncrasies of that person.
In everyday life, I like APC, Isabel Marant, but I also like Zara. It depends how I'm feeling on the day. I like clothes that have a certain strength to them - simple but graphic.
Any creative process comes with a level of self-analysis and self-criticism. There's a lot of waking up in the middle of the night going, 'Oh, I wish I had done that differently.'
The actresses I've known support each other very much. If you have a level of confidence in what you're doing, then you don't feel threatened. We all have different things to offer.
I love French films, and I copy things I see in them. I read magazines and also look at Tumblr. I love nails, so I literally just search the word 'nails' on Tumblr and start looking.
I always think Michelle Williams is excellent in her work. And I do love Sofia Coppola. She always creates something so atmospheric. I love Wes Anderson, Roman Coppola, Andrea Arnold.
I'm used to doing independent film where the style is a lot more casual. With improvising, you obviously find so much out on the day - and in a way, I feel more comfortable doing that.
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 love going swimming. I spent a lot of time in North London in summer going to Hampstead Heath and swimming in the ponds there. It's so beautiful; we're so lucky to have that in London.
I don't have much time for shopping so I pick things up when I can. My favorite labels are APC, Isabel Marant and Agnes B because the clothes are cut small and have a simplicity to them.
I think we're very lucky that there is a tradition of British actors working in America and being respected in America, and I've always liked Kate Winslet and her work and respected her.
I would be writing an essay that was due in the next day until about 1 A.M., and then I would be up at 6 A.M. and on a train to Birmingham to record 'The Archers'. It was pretty intense.
I'm too much left brain. I very much have an emotional response to things; I love literature and films and storytelling. I need to nourish my right side, it doesn't get a lot of exercise.
I just always want to play people. I don't want it to be necessarily that you relate to the character as female or male, but that you relate to them as a person. That's the driving force.
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?"
[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.
The luxury of radio is that you don't spend hours in make-up, and you can wear whatever you want. It's bizarre. You'll be saying lines, with various people around making sound effect noises.
Always, my mother said, "Be yourself." That is sometimes the hardest thing to do. I try to always remember that and come back to that and have strength in who you are. There is only one you.
Acting has always existed alongside my normal life. It's been a case of learning on the job. I've worked in so many styles, with so many people, so I've picked bits up from everyone and everything.
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 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.
"The Invisible Woman" was about trying to show this conflict in [Nelly Ternan] woman truthfully, between her own identity, but also being in love with someone who I think made very high demands from her.
I hate it when, in films, the girl looks perfect in every shot. It's quite nice if there's a bit of dark circles underneath the eyes, if we see the reality of the situation that the person is going through.
Interviewing someone is very similar to preparing a character, isn't it? You're just asking questions: 'Who is this person? Why did they make that choice? Why are they doing that?' You're being Sherlock Holmes.
I've done a lot of very low-budget indie films, so it was just really exciting and fun to be doing a film where there's a lot more time and these huge, vast sets. I was like a kid in a playground. It was amazing!
My mother was in the kind of late-'60s, early-'70s 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.'
I do sort of appreciate Nelly's [Ternan] view that it would be woman who would suffer mostly from that - who would be ostracized. The rigid societal conventions meant that it was difficult to live outside of them.
A lot of my time is spent watching films and reading scripts. And it can be all-consuming. And it's obviously something I'm fortunate that is both my work and my hobby. It's what I would naturally be doing anyway.
I think that my parents' divorce gave me a very strong sense of self-reliance and independence. I realised that I needed to make sure I could support myself because you don't know what's going to happen in the future.
With every film that you do, you're always so nervous. You feel exposed because you know people will see this eventually. You sort of have to put all that out of your head. What will be will be. But it's nerve wracking.
A fashion show is like a 10-minute play, but there's all this anticipation; Everyone arriving, finding their seats, then there's 10 minutes of people walking past and clothes and music, then the whole thing is finished.
I just took everything so seriously in my early twenties. But now I'm like, 'life can be fun.' You don't have to overthink everything. I've found a way to be more at peace with things. I'm looking forward to turning 30.
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."
I love 'Annie Hall'; I will always come back to that film again and again. Diane Keaton has been such an inspiration to me. She always brings humour, but complexity, and I love watching her on screen. She's got real charisma.
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 like Nelly's [Ternan] quiet inner strength. I thought there was something about her predicament that I found interesting - that she didn't want to be a floozy mistress, a bit on the side, that she had more self-respect than that.
When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.
It always starts with a script. I like to have plenty of time to read something, and I always like to read a paper copy. I hate reading it on email. I sit down with a script, and want to see how it hits me. It's an instinctive process.