Phoebe Waller-Bridge

I change my mind every five minutes. I'm very brutal with my own process. I throw everything away very quickly, and then I have to go out and rummage through the rubbish in the middle of the night to try to find a bit I'd written a week ago.

You have to make an audience feel like they can - and want to - change something about what they are watching. And that might be the thing that galvanises them in the end, that makes them come out of themselves and say, 'No! Don't do that!'

I don't think the challenge is asking an audience to like a character; it's inviting them to try and understand them... then making that journey entertaining and worth their while. It's a classic trick, but it's human, and it allows characters to have more depth.

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.

As women, we get the message about how to be a good girl - how to be a good, pretty girl - from such an early age. Then, at the same time, we're told that well-behaved girls won't change the world or ever make a splash.

Every time I see the rails of my photo shoots, it's like Dr. Seuss, or as if they've skinned Muppets.

The #MeToo and Time's Up movements have been a roar on behalf of women, and the voices are genuinely empowered now. I really feel that.

Women know what they're doing all the time, and they're pretending that they don't.

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.

I'll never get bored of seeing flawed women on the screen.

However much people want to politicize every movement of a controversial woman in life or on the screen, we just have to keep being personal and truthful, or we will explode.

I can't deny 'Fleabag''s a very personal piece, but it's not autobiographical.