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It's funny, because in drama school, my greatest strength was my range. So my early career was like that: I played all kinds of different characters.
I always say that I can play sort of six variations on one girl, all of whom are a variation on me. Maybe I'll think of myself as an actor if, like, I do a corset drama.
My parents were married for sixty-five years, and I was married for about ten minutes, my first year at Yale Drama School. Something, somehow, didn't get passed on to my generation.
Live television drama was like live theater, because you moved without thinking about the camera. It followed you around. In film you have to be more aware of what the camera is doing.
I'm interested in generating work for myself. I have trouble with this waiting-for-the-phone-to-ring lifestyle, especially after drama school, which was so creatively fulfilling.
Drama is my sweet spot, but the thing about being an actor is that you want to do a variety of things. I definitely love fantasy and would want to be in a fantasy project.
The idea of withholding a massive secret is obviously quite exciting to some people. It is also the basis of much classic drama, of course, from Sophocles onwards.
The drama school was in Oxford - and it's funny to think of it, but in those days when I started out the University was nearly all male. And they certainly weren't mixed.
The study of foodways - the intersection of food and culture - addresses a central issue in the humanities: how we connect the great dramas of history with the lives of ordinary people.
The action movie, the thriller and the drama all have safety nets under them. But not the horror film. The horror film can sink to an abyss far darker than the imagination can ever reach.