I think I was lucky in that I wasn't one of those girls who are told they are pretty the whole time. I never got that. Nor did I ever obsess about my looks as a teenager.
The response to Pride has been so overwhelming. I mean, people have really loved it. And it's so rewarding because we had such a fun time making that film, and it was made with so much heart, that it's lovely that people seem to be responding in kind to that.
Nothing can teach you what it's like to work on a film set, and the best education there can be for an actor is to walk up the street and observe human nature.
You just never know who's going to have chemistry. You can put two of the sexiest people in the world together, and they could be completely flat.
I find I clash sometimes with people who like to plan things and book you in for lunch. I'd rather someone call me up, say: 'Are you free tonight and d'you wanna go to the roller-disco? Or play pool?'
I think, you know, as an actor we get these terribly sort of pretentious ideas in our heads. We try to take everything very seriously at first, you know, until we lighten up, we get onboard, and have a laugh.
I've been doing Pride and Prejudice all summer, so suddenly the chance to be holed up with a bunch of marines is quite attractive, and probably a necessary dose of male energy.
I remember times of anxiety, ups and downs, and times of unexpected windfalls. But my parents loved what they did. And because their work was also their hobby, it taught me that work could be fulfilling.
You get those couples who are very fearful of bringing children into the mix because they feel like somehow that link between them as a couple is going to somehow dissolve or become less powerful or whatever. And that somehow the child is going to disrupt their happy stage.
The job of an actor is the same in all of them, really. I mean, you're just creating a character that you hope people will believe, so it doesn't make that much of a difference really.
It's something that I am going over in my head about the whole video game thing, and whether you support violence by being in a film like this. I mean, to me, it's incredibly unreal and it's all about the action, and just explosions.
And I like the look on people's faces when I say I'm doing this movie called Pride and Prejudice and they kind of smile, and then I say I'm in a movie called Doom and they kind of do a double take and try and put the two things together. And they never quite manage to.
One goes on with the blithe belief that who you really are is transparent to everybody. Then you realise, with some horror, that in fact it's not. So all you can do is keep muddying the waters a bit.
If you told my 13-year-old self that one day I'd be talking about how Tom Cruise and I had good chemistry, she'd think you were completely mad.
I think you tend to try, during the time you've got off, to forget about the film. It was such a total world. I mean, the sets were claustrophobic, and as soon as you were on there, you were right back into it.
I think when you are an only child, parents are more protective and fearful because they've only got one of you. I was not allowed to do a lot of things that, if I'd been, say, number three, I would have.
I'm kind of desperately looking for those things that will... you know, sort of show my wilder side, in a way, my much more irreverent, badly behaved side.
I've been on stage plenty of times, and one of the things about being a stage actress is you have a 3-month run to revisit the story nightly and play it again.
Peter Chelsom and Edgar Wright are totally different directors and worlds apart, but both really accomplished directors who are certain of how they want to make a film.
It was in New York, and I've always wanted to film in New York. And the writer was a teenage friend of mine. We did youth theatre together when we were 16 and always had a dream of making a film together. And ten years later, we've done it. So it's great.