Has that sense of the industry helped you understand the offers and affected your choices since Bullet Boy?

JW: Definitely. You've got to work, at the end of the day, and this year's been tough for the industry I think, but it's still going. In terms of making choices, I've always had that support from my dad and my family and my agent to stick to what I want to do and not sell out and take the next big film that comes along. Don't get me wrong, that can be great, to do a really big film, but at the moment I think it's time that I carve out my career and the make the films people will remember. I hope I've got a good body of work already.

It's quite an important stage for me. I'm 23 and I'm making that transition from a girl to a woman and I want to have some good stuff under my belt. It means holding your breath a little bit and being a bit patient -- going a bit insane -- but it's worth it because when you get that good job, you feel it's right.

Everything that's happened in my career up until now has been very organic and it's happened naturally through meeting someone and really hitting it off and then going off to do a film with them. I feel my conscience is quite clear with that and I'm confident about the work.

You have Boogie Woogie in the festival here in Edinburgh, can you walk us through the film a little?

JW: Boogie Woogie is about the art scene in London as a whole. It explores the lives of art dealers, art exhibitors, art buyers, art victims. It's about the characters in that art world. I play a young artist, kind-of a Tracey Emin vibe. It's a complete ensemble piece, so it goes through all these different people's lives and the ups and downs of the fierce art world. It's amazing how a piece of art is supposed to be moving and touching but when you get to the core of it it's just fucking expensive.

I play a young video artist who self-documents her life and exposes everybody she comes across. She's a fierce and completely sexual lesbian. She uses her sexual aura to draw people in and uses it as a weapon. Documents their feelings and her feelings and is looked upon as a dedicated artist. It's quite clever and conniving of her. A lot of time art doesn't have room for humanity, it just is. If it's disgusting, that's the art -- it's supposed to make you feel sick. Her pieces have a lot of those sorts of moments. She goes deep with it, exposes her girlfriend's life, makes her look like a fool and sells it on and gets picked up by Vanity Fair. That's the way it goes, usually. You know, the tough guys, the nasty guys in art tend to come out shining. It's not like the real world.

With co-stars Alan Cumming and Jack Huston at the Edinburgh photocall for Boogie Woogie.

You've got a great cast around you. When you're working with actors like that, do you learn from them?

JW: Totally. To work with Danny [Huston] was pretty amazing. He's got a great energy. He's the main art dealer in town, Art Spindle. Amanda [Seyfried] is really sweet and very nice. I really got on with Heather [Graham], she's a lovely, lovely girl and totally beautiful. Jack [Huston] was so funny and Gillian [Anderson] I just think is fantastic. She's got such a great range. I was a huge fan of hers from The X-Files! To be on the same screen as Sir Christopher Lee and Joanna Lumley was just amazing. Alan Cumming and I are very close in the film, and we got on really well.

I've also just worked with David Suchet on Poirot, and yeah, when you're working with people like that they draw you in and you draw from them. You're in awe -- they've been doing this for years and they still have the same passion. And they're not, you know, thespians; they're real actors. Just by watching the way they stand, they know what they're doing, and it's really inspirational. You have to up the standards, too. If you don't know your lines and David Suchet's standing there, you're going to look like an absolute idiot! But, you know, I'm ready to meet that challenge now and I'm ready to up my game a little bit.