“For me, I really appreciate seeing real bodies on screen, that variation, not the same frames we saw for the majority of our upbringing, making us feel like we have to look that way.”

There’s a reason why there’s a problem with bodies, and it’s because you never actually get to see any normal versions of them.

When you’re given a platform, and you’re allowed to perform, and someone’s there to heighten you as opposed to dampen you, that’s a nice feeling.

That’s something I’ve always appreciated watching actors that I’ve looked up to, is when they look like you and me, or they have a funny elbow, or they have, you know, a hairy face.

I found out I got ‘The Little Drummer Girl’ and my BAFTA nomination in quick succession, and I just didn’t expect it to be like that. I thought there would be a lot more time in between. It’s been an overwhelming experience.

And I’m a very physical person: I talk with my hands. And I felt how the clothes took that away from me. And that was the idea, I think. It was a way of limiting women.

Every time ‘Lady Macbeth’ and everyone involved in the film gets nominated, it’s amazing.

I can definitely hold my hands up and say wrestling wasn’t something that I grew up watching.

Someone asked if I wanted to be the first female Bond, and I was saying that I don’t think we necessarily need that whole conversation.

If you ever want to be interrogated, get Michael Shannon to do it. He’s an amazing man. I loved working with him.

The Kate Winslet thing has been a shocker. I was like, that is the most ridiculous claim.

The women I’m attracted to playing I hope will mean something to someone.

The Silence of the Lambs’ is my favourite book, favourite film.

I wanted to go to drama school, but when I got the part in ‘Falling,’ I got an agent, so it seemed a good idea to work.

Feisty women are my calling!

We actually did perform it in front of all those thousands of people. And just beforehand, we had a little dress rehearsal, and there were all these famous wrestlers going around and watching as well. Terrifying.

I love watching faces as they grow up. It’s the difference between so many strong British actresses compared to what America does to women.

The universe lies before you on the floor, in the air, in the mysterious bodies of your dancers, in your mind.

The truest expression of a people is in its dances and its music. Bodies never lie.

The truth of our bodies and our minds has been mystified to us. We therefore have primary obligation to each other: not to undermine each other’s sense of reality for the sake of expediency; not to gaslight each other.

In order to live a fully human life we require not only control of our bodies (though control is a prerequisite); we must touch the unity and resonance of our physicality, our bond with the natural order, the corporeal grounds of our intelligence.

The repossession by women of our bodies will bring far more essential change to human society than the seizing of the means of production by workers.

A knowledge that is subliminal, subversive, preverbal: the knowledge flowing between two alike bodies, one of which has spent nine months inside the other.

But before we were mothers, we have been, first of all, women, with actual bodies and actual minds.

Probably there is nothing in human nature more resonant with charges than the flow of energy between two biologically alike bodies, one of which has lain in amniotic bliss inside the other, one of which has labored to give birth to the other.