The film is a largely fictionalised version of John and Alicia Nash's life. How did that affect your approach?

It was a strange thing to navigate, because I have this real woman and I want to capture her essence, and yet I'm playing this fictionalised version of her. It was always important to me to feel that the most essential facts of her literal life and, more importantly, her emotional life were reflected in the story. I think, ultimately, the film does that. We capture her intelligence, the fact that she was a student at MIT in the 50s, that she courted Nash, and that she was very much an independent spirit.

Alicia is shown as being totally devoted to John in the film...

I don't see her as a martyr. I don't see her as someone whose devotion was unfaltering. It wasn't in reality and I don't think it is in the movie. When he can't make love to her or he can't take care of the baby, those are not moments of the long-suffering, all-supporting wife who's just going to sit back and say, "It's OK honey, I understand you're schizophrenic and therefore can't be the most perfect husband/lover/father."

What was it like working with Russell Crowe?

It was great. It's my observation that he has very high standards for himself and he is tough on himself. He doesn't take anything for granted, he doesn't leave any stone unturned, and he'll keep at it until he feels that he's gotten it as well as he's going to. I also think he demands a lot from the people he works with. I felt I was constantly being put to the test.