Zitat des Tages von Elizabeth Debicki:
A dancer's life is as peripatetic and unstable as that of an actor's. You're freelancing yourself all the time, and a dancer's lifespan is even shorter than an actor's: once they turn 30 or 35, they have to stop.
Kissing in films, it's just another thing you have to do. It kind of becomes as technical as how to open a door, really.
It often happens that you leave your house in the dark, shoot on a sound stage without natural lighting, and then go home in the dark. A whole week can go past, and it can feel like 12 hours.
Every time I see a good play or watch a good movie, I have the same feeling I had as a child of wanting to be that person on stage or wanting to run through the forest with a big dress on.
I didn't really know what to expect. I had been told about the scale of Cannes, but nothing could have prepared me for just how many people would turn out for our photo calls or for the opening ceremony.
I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.
I don't have a story about an epiphany in which I suddenly realised I wanted to be an actor. It was much more a case of the idea dawning on me gradually.
That world of spies and espionage, there's a coldness to it. That's what makes those worlds fascinating - and what makes le Carre's work so interesting.
I grew up learning ballet, and then I took up contemporary as I got older. I probably thought I was going to be a ballet dancer when I was younger, but at a certain age, I really was more interested in acting.
Red carpets are awful. They're like a kind of purgatory - you stand there, and there are cameras flashing everywhere. One of my first red carpets was in Cannes for 'The Great Gatsby,' and I'd never seen anything like it.
I guess the bigger you dream, the further you have to fall if you don't get it, so it can be a bit of a scary thing to be that ambitious.
I did flirt with the idea of going to law school, but not for long. Maybe I'll play a lawyer one day - the beauty of acting is that you can try on so many different roles without having to commit to them in real life.
Majorca is this destination where, you know, you have a lot of money, but you want to go somewhere quite exclusive. And the culture of the island is still traditionally Spanish. It hasn't been infested by tourists. I think, in the '20s or something, an extremely wealthy person built this little kingdom of villas.
It's tricky territory, height and co-stars. The only thing I can say is that it's never been an issue in my life.
I was very new to working in front of the camera when I started shooting 'Gatsby', so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
People ask me what it's like to be tall, and I don't know what to say because I don't know any different. I grew up in a very tall house, so I wasn't an anomaly there.
I feed off variety. I don't want to repeat myself if I can help it, but once they've seen you doing one thing, directors often just want you to do it again.
I'm a gypsy at heart. I have a little triangle where I tend to go, which is between Sydney, Los Angeles, and London, and I'm happy with that at the moment.
My parents were ballet dancers, and I did a lot of ballet, too, so I think I learned quite early on how to hold my body. Although I do recall desperately wishing I was shorter at school.
I have always been a fan of Alex Perry's work. His gowns are so beautiful, elegant, and always uniquely crafted to the woman wearing them on the red carpet. They are a true piece of art-meets-couture.
I definitely try my best not to stay in character when I'm not on set, which can be more difficult in some roles than others.
I have to say that filming 'The Night Manager' was not just amazing but also very daunting at first. I used to describe myself as the token plebeian surrounded by all your national treasures. All that glittering talent in one place; I knew Hugh from Fry and Laurie videos that my grandpa used to watch, and Tom Hollander's 'Rev' is hilarious.
I loved Catherine Deneuve, Sophia Loren, and Ursula Andress. They had an incredible strength but fragility at the same time, especially Catherine Deneuve, who had an aloofness that impressed me.
On a red carpet, you really want to feel your best, so to work with a designer who will shape a dress to your figure and take into consideration your opinions is really a blessing.
I think that if you're lucky enough to work with a stylist who pulls a rack from the beginning that you love everything on it, that's a blessing.
Charlestoning is hard. People were fit in the '20s to be able to do that. I guess they didn't sit in front of their computers all day.
It even sounds stupid to hear myself say the first costume designer I worked with was Catherine Martin, and she won an Oscar for it, but that was just my very lucky draw of roll of the dice.
It was quite a thespian - 'thespy' - sort of household. My mum had a dance school, and my dad now works in a theatre, so I spent a lot of time going to see dance as a young child - it was just a part of who we were.