JUNO TEMPLE

The size of a studio film lets you see technology in a way that you wouldn't on an independent film, like the gadgets and the angles and all that.

You know, I do projects that I really care about. I hope I'll stand by that until the day I die!

If people want to criticize a performance, that I understand. I think that's important.

That's the great thing about the 'Sin City' movies. Each little slot is incredibly meaningful, and each character has their own moment.

I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me... I'm so excited about that; I think it's gonna be very cool.

I never want to sell my soul for something I don't believe in. Because guess what? Somebody somewhere in the world would have believed in that part and should be playing it - who am I to not allow that person that opportunity?

It's all about the director for me; we have to click. It's a trust thing. I'll say I'm ready to let down my walls. I'll cry for you as long as you need. But you're going to have to hug me afterwards.

I've been involved with some huge studio projects that have been bloody awesome. It all starts with a great script, doesn't it?

I had this wild imagination. I was never me. All my childhood photos, I'm in fancy dress, playing a Russian refuge or Marvelous Mad Madam Mim.

On an independent film, you really learn about pace. You have so little time to do things, that you really have to know your scenes.

For a woman, body image is always a palpable thing. Weirdly, for me, the only time I don't care is when I'm in character.

When I go home to England, my friends all make fun of me for sounding American.

But, I think it's great to be able to work with established directors, and then also first-timers. I feel like you learn from both of them, but then you can go and share your knowledge with each of them. That's really fantastic!

Daniel Radcliffe is one of the hardest working people I have ever encountered and someone that so loves what he's doing and so eager to learn and is so brilliant at what he does.

I just want to work forever. I absolutely love what I'm doing. I learn all the time from all these amazing artists.

I think it's so exciting to try anything you possibly can.

But, I love making independent films. I love it! You create a family, and you sweat, you bleed, you cry, you shout, you laugh and you hug. It's such an extraordinary experience, making independent films.

There will always be ways to pay my rent, whether I wind up having to be a waitress on the side or whatever it is, but I think it's so important for me to do things that I'm passionate about.

I find standard American the hardest. It really fits in a different place in your mouth. Southern, I find the easiest. If you talk to a dialect coach and you get sort of technical, where an English person keeps their voice in their throat, a Southern person does the same, and it's got the same sort of music to talking.

What's exciting about watching a movie, when it's finished, is you sometimes you don't recognize yourself, and that's when I'm really proud.

I'm so excited to see 'Horns' because it's so many different genres in one film. It's a sci-fi, it's a love story, it's a horror movie, it's a fairy tale.

I'm a private person; I stick to my neighbourhood and eat in my little restaurants.

There's such an array of brilliant roles for young women. You read all these amazing young women going through different stages in their life - different stages, different fascinations, different textualities, different friendships.

I was brought up in a very open, rural countryside in the middle of nowhere. There were no cell phones. If your lights went out, you were lit by candlelight for a good four days before they can get to you. And so, my imagination was crazy.

When you sign up to a film, you sign up to everything that's in the script. I really believe in that.