“Bigger films are more difficult because the number of people is so huge.”

I’ve got a lot of experience with anorexia – my grandmother and great-grandmother suffered from it, and I had a lot of friends at school who suffered from it. I know it’s not something to be taken lightly and I don’t.

You bring yourself to every role, it doesn’t matter who it is, it doesn’t matter if it’s a mass murderer, you can bring something to it.

I like to do the pictures before people get too self-conscious. I like to be spontaneous and get a shot before the subject thinks too much about it.

It’s very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

I’ve had my body manipulated so many different times for so many different reasons, whether it’s paparazzi photographers or for film posters.

Empathy is the main thing, putting yourself in somebody else’s shoes and trying not to judge.

You have to learn the rules to be able to know how to break them.

I would be extremely stupid if I said that my looks had absolutely nothing to do with what I do, it [moviemaking] is a visual medium. I’m perfectly aware of that, the face and the body help. Of course they do.

I see the world through my eyes. It’s sometimes a strange world.

I’ve always gravitated towards people who are extreme. Whether its drugs, or kicking down doors. Normally, the people in my life had to escape to get back.

I think it doesn’t matter where you’re from, we all need a bit of romance.

I don’t quite understand what Tolstoy’s actual personal view of Anna is – whether he likes her or hates her, whether she’s the heroine or the antiheroine.

The most important thing in playing any character is not judging.

Be happy in your body. It’s the only one you’ve got, so you might as well like it.

The whole point for me is to change as much as possible. If I’ve done one movie, I’ve done that, move on.

I wish I was Sienna Miller. When I talk to her, I hope a bit of her party personality will rub off on me, but it never does.

The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.

I don’t want the national award… I seriously do not need any such thing. I would only want the audience to go and watch the film once and that will be more than enough for me. Once everybody should see the movie and say it is a good watch.

For me acting, comes straight from the heart. In that sense I don’t act at all. I think that to feel the character’s pain I have to be myself. Somewhere audiences see that.

I think if you’re talented and not desperate to do any film that comes your way, and are doing justice to all your roles, then you’re fine, because you can’t predict the rest. You also can’t predict the audience’s reaction.

There are people who want awards because it changes the perception of the audience. But I’m not into all that.

If you don’t come from film family, it takes time for people to register you. When you don’t come from film family, the connection with the audience takes time to build up; it happens eventually.

Fame is directly related to the kind of support you have from an audience and the love and support I have from audience is so immense and so huge, that the percentage of negativity is so small compared to that that it would be very easy for it to lose itself.

There are two kinds of films: the ones that are devoid of logic but can still hijack the audience, and those that can win them over with logic. Both kinds can succeed, and I like to work in both.