“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.”

Wearing a corset is extremely uncomfortable.

That, for me, actually is the most important thing about doing a period film is trying to make these people as lovable as they are back then.

As beautiful as cinema is, it’s a massive part of the problem of why we look at ourselves in the way we do.

I think there’s always some good reason to try and modernize most period things, because at the end of the day, they may have,

If you look at it, the corset is a very beautiful item, but when I put one on, I realized how little you could actually move.

During the Me Too breakthrough, I was hanging out with Emma Thompson and Emily Watson – two people I’ve looked up to my entire life. Talking to those women was so empowering.

The Falling’ was a big, flashy, bizarre experience. I kept on saying at the time it was a fluke because I did the audition, and I didn’t think anything would come of it.

I think it’s good to not edit your life too much, or you give people different standards.

I remember being about six years old, for the first day of school, and sitting in the back of a Chrysler, pretending to cry while listening to Tracy Chapman.

I like a face that hasn’t been tampered with.

What’s important is to listen before you react.

The whole wrestling art, it’s a whole form, is performance, and that’s what makes it so exciting to do.

What audiences love with series is that they can invest in characters for such a long period of time, and it’s the same for actors. You can truly tell your story; then it’s done.

For me, it’s always been so obvious that the less we can edit our lives and more we show how normal we all are, the better.

I have learned how to wrestle. You end up battered and blue – but so happy.

I wrestled at the Staples Centre at ‘Monday Night Raw’ when I was 21 years old.