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

Playing Paige, I felt I had to train to wrestle.

I don’t want to feel like I have to change myself or my image.

I’ve been told to be skinny before – it’s already happened, but it’s up to you to either listen or say no. I’m not listening.

I want women on-screen that we all either want to be, or we know, or we recognize.

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.

We really are living in the era that all this sci-fi literature and cinema was centered around.

Performing a one-man Macbeth feels like the greatest challenge.

The cinema is a place of intrinsic indiscernibility between art and non-art.

Movie queens diffuse into Cinema haze, while libertines read pornozines in street cafes.

For me, filmmaking combines everything. That’s the reason I’ve made cinema my life’s work. In films, painting and literature, theatre and music come together. But a film is still a film.

I think that’s so powerful and cinema and TV has so much power.

The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.

I think this is the area where writers need to place ourselves: from a position of absolute modernity and contemporaneity, creating a culture of objects which cinema cannot.