As a child, I got bored with my surroundings, so I would be another person for a little while.
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.
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 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.
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.
Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.
I think I've developed a sort of ADD for geography now. When I've been in a country for too long, I'm like, 'I think it's time to leave.' I don't know what that's going to do to me in later life.
I'm not a great sleeper. I try and do too many things every day. I think that I get very obsessive about parts and projects. I do let them kind of consume me, and when there's something on the horizon that I want to be involved in, I just kind of hurtle myself towards it.
Acting is a craft to me: I just think you get better the more you do it. And then the irony to that is your doing it is not in your control. If it was up to most actors, we'd work all the time, and we'd always get better. But it's not in our control, so we have to wait to be given parts to do.
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.
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.
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.
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.
Often, you're not quite sure what people have seen you in, but the script lands in your inbox. That was the case with 'The Night Manager.'
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.
You think there's a rule book, in a way, until you realize there's absolutely no rule book, and you can use a red carpet to express something about yourself. There are so many wonderful designers in the world, and they create such wonderful things. Why go with something uninteresting?
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.
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.
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.
