When you do a movie, you shoot, and then you go away. A lot of the times you walk about from the movie, you say, 'Oh, I get that scene now... Oh, that whole ending - I wish I could have done another shot.'

If you're playing your character and you're running into all these people who know who you are and treat you in a way that doesn't pertain at all to the character, it takes you out of it more, so when you're alone in a city where people don't know you, you can kind of pretend even more and get into the head space of where you need to be.

I think Aaron Sorkin is like Shakespeare. When you go through it, there is a rhythm and clues all over the place of how it should be played.

My mom was a dance teacher, so she put me in dance school when I was a kid. I did everything. I used to take ballet.

What's very important for me is that I want family audiences - all kinds of audiences - to watch my films, and the more people who watch the movies, the better. So I want to be part of popular cinema.

I was born and brought up near a village in Nottinghamshire and in my childhood enjoyed the freedom of the rather isolated country life. After the First World War, my father had bought a small farm, which became a marvelous playground for his five children.

I was the first one in my family to go away to college. I came from a small town where there was no guidance in the high school at all. It was a mill town, and I never knew anyone who made their living from the arts. When you did go away to college, you went away to be something - an engineer, or a teacher, or a chemist.

An elaborate system of etiquette and social standards flowered around the home phone: how long a child might be allowed to stay on the phone, how late one could call without being impolite, and of course, the dread implications of a late night call which violated that norm.