There's something very polite about the British accents. It's sort of sanitizing.
I always want to go darker, and I'm always being advised to stay on the lighter side.
Throughout a lot of my 20s, my sexual allure and power was one of the most important things about me, my currency.
I think it helped that 'Fleabag' had such a dramatic arc to it, even though it was disguised as a comedy.
I think it's important that culture is this ongoing thing that needs to be nurtured, because there is no such thing as a quick, arty fix.
I always knew that if I was ever going to perform something that I wrote in front of an audience, I was going to do the thing I most like to experience as an audience member, which is to be tricked.
I can't deny 'Fleabag''s a very personal piece, but it's not autobiographical.
I remember being a teenager and saying, 'Oh, I want to be an actress when I grow up.' And people saying, 'You need to be a good liar - are you a good liar?'
People are always trying to be on top. And not always with a macabre agenda, but I think that people are desperately trying to remain in control, rather than being honest.
I just love any kind of language that can change the energy in a room. There are no limits for me, as long as it feels like it's being used in a particular way to garner or elicit a very particular reaction so that you can then use that reaction later for something else.
I see the portrayal of any believable female character as feminist.
I'm just constantly on the verge of bursting into tears with joy.
The main relationship in the whole series was the one between the camera and Fleabag. I had to convince myself that whoever was watching on the other side of the camera was instantly complicit with Fleabag and instantly a friend of hers.
I'm a massive control freak.
I think it's part of human nature, that we want to achieve. It's definitely a kind of cosmopolitan nature, wanting to achieve in the fast lane.
The joy and the pain for me is about tightroping between being a cynic and being a romantic - the tug between barely believing in anything and hoping for everything.
I think, a lot of time, I'm just writing my worst fears, of the idea of losing my mom or my best friend or doing something so terrible to somebody that's kind of deemed unforgivable or having a really broken family.
Our family dinner table was my first platform - every dinner was all about sharing stories and jokes and points of view.
When an audience is laughing with a character, they make themselves so vulnerable, and they open up. They expose their heart the moment they're laughing, because they're relaxed and they're disarmed.
I'd been waiting to turn thirty my whole life. For some reason, when I was eleven, I was like, 'I know thirty's going to be good. Get through those twenties!'