With "Time Code" and "Miss Julie", it seems you have moved back towards more independent fare, after "Deep Blue Sea". How did that film affect your career?
What happens is that you're offered a rash of "scientist in a lab coat" roles, always with some impending disaster to deal with. Then they see "Miss Julie", and they don't know where to place you. With "Deep Blue Sea", I guess it meant that you're on lists you weren't on before. You're also recognised in a way you weren't earlier. But it doesn't seem to have made a great difference. You just get people coming up to you in supermarkets with your picture in their pocket.This pair of films mean you have now worked with Mike Figgis four times, after "One Night Stand" and "The Loss of Sexual Innocence". What has his work meant to you?
I think it's really special the way he works. It's very important to see people who are like that. It's also important to remember why you wanted to do it in the first place. It helps being from somewhere other than Hollywood, not having grown up with that sense of film-making. I really wasn't exposed to that as a young woman.
You've just done "Enigma" with Kate Winslet. How was that experience?
I really enjoyed [director] Michael Apted. He's someone I'd admired since I was little. With "Thunderheart" he got the best performance out of Val Kilmer ever. He's a funny guy - very warm, but he reprimands you. "C'mon Burrows, we're three days late". He's a bit like Richard Wilson in "One Foot In The Grave" - "I don't believe it!".
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