The atmosphere at my school was very competitive. Young girls were competing with each other every day for status, for leadership, for the affection of the teachers. I hated it.

I wanted to escape so badly. But of course I knew I couldn't just give up and leave school. It was only when I heard my mom's voice that I came out of my hiding place.

I really want to do something in Europe. With a small movie, it can be an interesting challenge. But I have to get the right project. I don't think it's so important to go to Hollywood. All that trash that comes out of there! I don't want to do that.

There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.

As a reader, I appreciate a world that feels unsettled and also visceral, inhabitable, so that's a quality I try and bring to my own work. In this way, dislocation and precision make total sense to me as a unit.

We are not like the social insects. They have only the one way of doing things and they will do it forever, coded for that way. We are coded differently, not just for binary choices, go or no-go. We can go four ways at once, depending on how the air feels: go, no-go, but also maybe, plus what the hell let's give it a try.

I've been a professional since I was a 17-year-old, over 200 league games from Conference all the way up to the Premier League now, so I think that's experience in itself.

I offer something very different from the lifelong career politicians who have worked their way up to run for higher office or those who can parachute in with checks for $5 million or $10 million, and that seems to be the definition of credible or legitimate. I'm rejecting that premise.