I play Nitin Sawhney's 'Letting Go' repeatedly, nonstop. I find it transformative. I'm so glad iPods were invented so I didn't have to drive everyone around me mad with the repetition.
I always think I love work, and I knew early on that I wanted to be an actress. Then I meet people who have truly dedicated their lives to acting, and I realise that Im so completely in the back seat.
I have a massive divide between being a competent human being and being completely hopeless, when it comes to logic.
I think the difference between finding happiness, or moments of happiness, is how you choose to interpret things. That's a rather shocking responsibility. That we're responsible for our own happiness. It's not those around us.
I always keep myself busy. I'm writing. Or I'm creating something. Or I'm doing stuff with the kids. I'm up incredibly early in the morning; I go to bed incredibly late at night.
Living with very limited expectations is a much more immediate way of living. You really do just make the best of everything you have. I guess kids have that ability; they wait in joyful anticipation of something rather than that sense of entitlement.
I grew up with my stepfather in Brighton, but I did spend a lot of time with my natural father, and I was loved by both, so I suppose the advantage of this was that I wasn't bound by one set of experiences; I always had an alternative.
I first met my husband when I was 15. He was very cool, in a band, all that kind of thing, but he took a long time to grow up. Our paths crossed again 10 years later, and after about two weeks I knew that was it. I'm glad I met him when I did, even though I was fairly young. Because I think sometimes you can crystallise into singledom.
Growing up, I wasn't allowed dolls, and my brothers weren't allowed guns. I inherited my brothers' clothes. I was never dressed in pink, and they were never dressed in blue; there were none of those rules that people still bizarrely subscribe to.
In terms of 'Solaris,' I didn't really think about the religious aspect an awful lot. There's one scene at a dinner party, and it's discussed, but it wasn't an overwhelming theme for me.
My kids always say to me, 'Can we watch TV?' I say, 'Absolutely!' because then I can get something done. But then they say, and I wait for it, 'But can you watch with us?' My moment of freedom vanishes. So not only do I not think TV's that great and I hate sitting in front of it, but I have to with them.
I feel awful for women who are trying to raise kids on their own, with zero income and no fathers present - that's single motherhood.
Scribbling things down is my therapy. I filter later.
I think it's incumbent on actresses to bring something else to the part which isn't in the script.
My stepfather introduced me to The London Library when I was about 18; the clientele has definitely changed since then, but it is still a wonderful oasis in the middle of London.
I don't believe in categorising a gender, as it makes for discord. People always say, 'That's what men are like' or, 'That's what women do'; I don't really feel that at all. I think that's because I have two fathers, three brothers, a husband and two sons. I'm surrounded by maleness, and I couldn't possibly summarise them into a type.
I'm very different to my mum. I'm not as beautiful as she is, nor - she probably despairs about this - as groomed. I certainly rebelled against her idea of looking well turned-out. I spent several years with a shaved head in jeans and baggy shirts.
My grandparents never understood why my mother Noreen chose such exotic names for her children: Damon and me. My granny insisted on calling my brother Dermot - a good Irish name - until she died; I was just known as wee one.
Death is final. No it is not just final, it's worse than that, it's diminishing: the dead continue to decrease, to occupy less space.
I happen to find motherhood a very natural state, but I know a lot of other people don't.
