I'm fascinated by food. Food is love, isn't it?

I love playing women at the far ends of the social scale. I've done it all my life; that's where my ability lies.

When I was eight, it was clear I was a very good singer.

I like to personalise my dressing room, have a cover for the bed and, if it is a long run, a few cushions and a teapot - a little pot for one.

I was champion soprano of Sussex when I was 16!

When I make films, I work with Mike Leigh, who's the most prolific director in England.

A lot of the actors I knew threw in the towel when they became mothers. I couldn't do that financially, and I didn't want to - but I was knackered all the time.

Stage is the ultimate test; I like watching established screen actors on stage to see if they can really do it. But it's great to have a healthy mixture of the two. Film is so technical: there's something very particular about the relationship between you and the camera. It took a long time for me to get good on film.

I quite like that people tend not to know my name. I remember being at the Cannes film festival for 'All or Nothing.' I looked very different in the film - I had a little greasy bob and no makeup. I went to a dinner after the screening, and everyone completely ignored me. I got a real buzz out of that.

It's not just about young people - there are films being made that deal with women getting older. That's a huge bonus, and here in America, that's a huge step forward.

My mother always cooked, every day, proper food. We didn't have fast food. It was probably pretty much meat and two veg, but as time went on and new things came into the culture, she embraced all of that. I grew up with mealtimes and sitting around the table with proper cooking and eating.

I do get clocked in the street. People say, 'You're an actress, aren't you?' But they don't know my name. Nine times out of 10, they don't know what I've been in.

I do absolutely want to be around as long as possible. I tell my son: 'You do realise, I am going to live to 100.'

I'm a big fan of Edouard Vuillard, so I'd like anything by him - particularly a painting called 'Madame Hessel on the Sofa.' His work is realistic without being literal: I can really imagine what Madame Hessel is thinking.

The thing is this: I've got an amazing career in England that couldn't possibly get much better. I do the best theater around, I work at the National Theater, the Old Vic - which I'm sure you've heard of because it's the one Kevin Spacey runs - and I play the most amazing roles and work with the most amazing directors.

I'm fascinated by food. Food is love, isn't it?

A friend of mine rang the box office to collect a ticket I'd reserved for her, and the girl said, 'Who's Lesley Manville?'

I've reached a point in England where you can't go much further; I would love to come to America and work with some of the interesting directors here.

For Kitty Gilbert in 'Topsy-Turvy,' I had to get to the point where I could improvise in the style of 1880, which is difficult. The research for that was huge.

I had left school at 16, gone to stage school - and, until I was 22, I hadn't really played anyone but myself. Then in 1979, I made a film with Mike Leigh called 'Grownups,' which went out on the BBC, and overnight this new career opened up.

In 1990, I was in 'The Three Sisters' at the Royal Court and won the Clarence Derwent award for my supporting role as Natasha - the prize was £100. I could have paid the gas bill, but I ended up buying a porcelain and silver Bavarian coffee set in an antiques shop in Penzance.

If I go away, I take a little picture of my son. It's in a frame with a speaker, and he recorded a birthday message for me when he was nine or 10. I can't listen to it without filling up.

You've got to take responsibility for your own actions. We all know people who reach rock bottom. However much that they're told that what they're doing is harming their own life or whatever, you cannot make someone do it unless that person reaches the point where they know that they have to deal with it themselves.

Anyone who has to write an obituary for me one day will probably say, 'She did absolute depths of agony really well.' I'm not, however, an unhappy person.

I try to keep the more uninteresting stuff to a minimum, unless I'm really broke.

For me, personality acting is not that interesting. I don't want to just be myself.

I think that distributors and marketing companies realise that there are a huge number of women over 40 who want to go the cinema and see films about themselves. Women of my age don't want to be force-fed with stuff about 25-year-olds.

With learning lines, before I had Alfie, I'd put it off and think, 'Oh, I'll just have a glass of wine and then do it later,' but when you've finally got a child to bed and you know you've only got an hour, then you achieve so much.

I hate that thing that if you are over 45, and you're going to be on telly or make films, you have to do all this stupid stuff to your face. I would no more let someone stick a needle in my forehead than fly to the moon.

I'm very lucky because I don't half get some juicy jobs. But I can't tell you the number I've turned down in the past 20 years because I wanted to be at home, looking after my son. There was never any question about that. Alfie and I are dead close. I can't bear it when he's away.

The thing is, when you have a child with someone, like it or not, you're going to have to have a continuing relationship with them.