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'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.

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.

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.

I've got friends who are pyrotechnics who do big fire shows, so I'm really fascinated by that.

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.

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.

I'd really love to live in New York for awhile. That's what I'm hoping to do.

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.

You can certainly keep a low public profile if you want to.

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 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.

I'm probably not going to play a junkie and that's OK because there are other people who will do it better.

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.

In the original computer game of Doom, you not only have to kill things. You have to pulverise them.

Anger is not an accepted thing for women. And, you know, I do get angry. I feel it's a very honest emotion.

I do know that the key to anything good is feeling relaxed and free. That's the main thing that you can offer yourself as an actor.

I look my best when I'm totally free, on holiday, walking on the beach.

I saw a lot of operas from backstage and watched a lot of rehearsals - my parents were singers.

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.

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'd like people to get a sense of who I am, yet I want to keep my privacy, too.

I'd like to do Nicole Diver in F. Scott Fitzgerald's 'Tender Is the Night,' if that ever gets made.

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.

It is interesting to break all the rules. I'm not married, I have a baby, and it feels infinitely more right.

Looking back, I just think I was a really average sort of girl.

What I find sexy is when someone's having fun and able to look right back at you.

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.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.