GINA BELLMAN

My all-time favourite programme is 'Seinfeld;' I could just sit and watch that over and over again.

Some people think it's an easy gig working as an extra, but you often have to stay very concentrated for long stretches in challenging conditions.

I have always liked family-type dramas; I just think the dynamics in families make for some really interesting characters.

French cinema allows women to look... a certain way and be talented at the same time.

I've now learned that the most stressful day of filming a TV series is the first day of a new episode. You haven't quite banked the one you just wrapped and are wondering, 'Did I do that right?' 'Could I have done that better?'

I eat tons, three full meals a day, and I never go to the gym. When I was a child, my geography teacher said, 'You may be slim now but if you carry on eating like that, you'll end up being really fat.' Fortunately, I really don't think I've changed much in the past two decades, so that teacher was an idiot.

I took part in two 'Leverage' conventions. Fans fly in from as far as Russia and Australia. It's expensive to attend.

One of the things you have to get used to, working on a TV show, is filming out of sync.

I started elocution lessons because I was being teased, and I had a brilliant drama teacher. At the age of 14, I appeared at the National Theatre in 'The Crucible.'

Not surprisingly, there is a cultural divide between American and British actors regarding the self-promotion associated with new media.

My average day on 'Leverage' starts at 5 A. M. and ends 12 to 14 hours later. An hour drive to the set and back sometimes makes the day unbearably long. You have to grab a few minutes to yourself where you can.

When I had the wonderful occasion to play a goofball, Jane, in 'Coupling,' it was definitely an homage to Julia Louis-Dreyfus, who I just think is a genius.

Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.

When you shoot on high-definition, everything is very sharp and clear, sometimes at the cost of losing dimension and depth of field.

Many American TV actors employ agents, managers, business managers, publicists and stylists, and are now adding digital media manager to the list. Their job is to reach out to the fans, managing websites, Twitter feeds, Facebook and Wikipedia.

I've had my taste of intense fame, and I've got it out of my system. Now I'm free to choose parts which fulfil me in different ways.

In England, I've never had to drive myself to work. I don't think the English producers trust actors to get up at five A.M. and get to the set on time.

I am a big comedy fan, having been in 'Coupling.'

I think there was a petition online to get me involved in 'Doctor Who.' I'm not a 'Doctor Who' fanatic, but I am a Steven Moffat fanatic.

Fans believe they have a relationship with you, either through your TV character or, more reasonably, through the tweets you may have exchanged. In a way, you have gotten to know them. You learn about people's kids, families, pets.

I carried on acting during school holidays and was all set to go to drama school when I was offered my first professional job appearing in 'King David' with Richard Gere.

There was a time when going out to parties and dinner parties and clubs was an exciting thing to do. I'd wake up in the morning and immediately think, 'Now what am I doing tonight?' Now I'd be more likely to reach for a book.

I'm not really that keen on mainstream; I'm not interested in doing the normal films. I do tend to go for the quirky, different scripts.

The only time I get recognised is when I go somewhere that is showing 'Coupling' on local television.

I've never worked in my natural accent, having studied so hard to get rid of it when I moved to England as a child where I was bullied at school for 'talking funny.'