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I was a million percent in love with Edward Scissorhands. I remember looking in the mirror on the last day of shooting... and thinking how sad I was to be saying goodbye to Edward.

With 'Ed Wood,' I sobbed. With 'Frankenweenie,' I was crying. With 'Edward Scissorhands,' I always cry. There's always an incredible amount of purity, even if they look a certain way.

I could have been on a path that led to different, more traditional teen romance, and 'Nip/Tuck' shook me loose from any generalization I might have been forced into. It helped me understand I wanted to take on things that were edgier, more challenging and riskier.

I decided to be an actress, and the day after, I was an actress. That was quick and very scary at the same time. When 'Obscure Object of Desire' came out in France, I felt guilty for my friends at the National School who weren't in the movies. The whole thing was turmoil.

I fell into the theatre because I felt I was doing it well, and I stuck to it for the same reason.

I became hooked on 'In Treatment,' which was so finely written and performed. Such a simple idea, and yet it delved into very complex territory with real grace and humanity.

In those early days, the important thing was the happy ending. I did not tolerate unhappy endings - for my heroines, anyway. And later on, I began to read things like 'Wuthering Heights,' and very, very unhappy endings would take place, so I changed my ideas completely and went in for the tragic, which I enjoyed.

Through film, I realized that was a safe place for me to play. It was a safe place for me to express myself and explore these things that I was afraid to explore in my real life.

I was working on 'Harry Potter' while I was growing up, and the attention it brought me made me feel quite isolated.

I liked the fact that I was forced to get inside of my emotions and to really try to figure out a lot of what I was going through.