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

My dad still collects newspaper clippings about me.

My characters do have some fantastic taste in men.

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!

There’s a gap between what I want to do, what I do on camera, and what gets edited. Right? So the goal is to try and close the gaps.

Ending wars is very simple if you surrender.

A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.

I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I’ll write a notebook full of ideas of anecdotes or story points.

TV and film taught me to think cinematically. Teaching others to edit, for example, provides a great deal of insight into the millions of ways in which given elements can be put together to tell a story.

When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don’t make it. So I tried to make it more refined.

You can shoot and edit a movie from your iPhone and upload it to YouTube.

You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.