Andrea Riseborough quotes:

Politically, I thought [Margaret Thatcher] stank. I think she had a real fight on her hands to get where she got, but I don't believe that her conviction was for the greater good.

You can't tell what's going to fulfill you in different stages in your life.

I'm not even sure that any of us are ever ready for anything. We can be ripe, or over-ready, but what is that moment when we're actually ready?

Puberty is an extremely traumatic process even if you don't realize it. It kind of lives with you for like 10 years.

I am a Graham Greene fan - I'm just a ferocious reader. I read an awful lot when I get the time.

My face is almost like a canvas - a blank canvas in the sense that the hair on my face is very, very fine and my skin is incredibly fair and my hair is quite dark, and that's very unusual.

Sometimes I can think of nothing more blissful than going to Berkeley and reading Byron for three years.

There's something really simple and idyllic about living in a house very close to the water.

Fear is the enemy. I distrust it. Any feeling or decision I make that might be motivated by fear I quickly reassess.

I subscribe to no religion. But I believe that in the creation of art, there can be moments of God.

When I talk about work or my take on life, all the joyfulness and excitement never seem to make it in.

People are fascinating. They're so unique and I think what's more fascinating is the reason behind the physical characteristic, the enigma, that's where the gold dust is.

I love the company of actors, but the crazier it gets, the more I've come to realise how valuable my time is with my friends who work on the land or are builders or, you know, make music. Work in offices. Run shops.

I have no interest in doing anything other than good work.

People think I'm totally crackers.

Sometimes you need to break away from something in order to know how much you need or want it.

I've always worked very hard.

I think impersonation is a great art. It's something that I enjoy doing, in a frivolous and lighthearted way. But I don't flatter myself to think I'm an impersonator.

I've always thrown like a girl.

Often, I'll read a script and the female character's an extension or serves some sort of purpose in terms of the male character's narrative and it just isn't fully formed. But they will be very beautiful. Whether a secretary or a doctor or a vet, they will be very beautiful.

I've never had my own accent in a film. It's something I schedule into my preparation. That's one of my favorite things, hearing all the voices.

Sometimes I can receive the world and regurgitate my version of events easily and sometimes it's hard.

I'm interested in having a relationship with the world that's not my own.

I don't read reviews, and it's not because I don't think I can learn something, I'm sure I could learn a lot. I just that I feel very passionately about the work and especially when you're doing theater, you really only need one director and when you read reviews, you feel like you have twelve, because you respond to them, naturally.

When you're playing a romantic version of a real person, you're playing a version of the truth.

I think any artist is a perfectionist by their nature.

I'm an artist; affirmation is like catnip to me.

You're miscarrying a baby first thing in the morning. Who wants to hear it? God bless them. It's a very strange life. I love the company of actors, but the crazier it gets, the more I've come to realise how valuable my time is with my friends who work on the land or are builders or, you know, make music. Work in offices. Run shops.

A lot of films that have been adapted from books stop serving you because they become different. I mean, they are different entities in themselves, but artistically, what you're trying to achieve with a film is so very different to what you're trying to achieve with a book, and the way when you write a script is so very different on paper to how it seems on a screen.

In my case, when you dive into a role, to do well and for you to do well in it, you have to put an enormous amount of faith in the director. But you also have to decide you're so interested in the material, this director, his work, and his process, that you don't care about the outcome.