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I'm fortunate enough to have had an opportunity to do a range of stuff, and the thing I admire most in actors is versatility, those that morph and change, those kind of chameleon actors who are unrecognisable from one job to another. That's something that I aspire to establish myself.

While it is challenging working with a kid, because they're so of the moment all the time. My acting style is to try to take something from my life that the character can relate to and that I can relate the character to.

For me, as an actor, it's always about getting out of my own way. I can put so much pressure on myself to keep up and make my director happy instead of being in the moment.

Not to get overly psychological about this, but it's probably why I became an actress in the first place: for that kind of freedom and refuge, as well as for the fact that I just love acting so much.

Being involved in movies is my passion. What's gotten me off the mat is the sense of the child in all of us. I feel like the same guy as I did back in the mail room, but with more wisdom, from the depths of experience to the heights.

As an actor, I'm rather hit and miss; I throw a lot out there, and some of it works and some of it doesn't.

I'm not the kind of actress that goes home with the character. I mean, you're thinking about the work or the next day's scenes, but not staying in character. But as a film goes on, you become more and more fragile, emotionally. And physically too, actually.

I care about actors, and I understand them in a very personal way. I'm not saying every writer has to do that, but in my case, it's been helpful. I can put myself into the scene and think, 'What would it be like to act this?' Any writer who's really good probably does that to some extent.

I tend to have an odd split in my mind: I tend to look at it as a writer and when the writing thing is OK and I'm happy with it, then I put on my actor's hat.