You do your best [ on auditions] and sometimes you win 'em over and sometimes you don't.

I've always felt really lucky to get to work with really great filmmakers. For me, the whole objective is just to hopefully be of service to what they want.

It's just that the characters are speaking their mind. As opposed to it just being an expression, they're actually saying what's on their mind, and that's something that Tennessee Williams is really famous for. Shakespeare does that and Tennessee Williams does that. You crave that, when you're an actor, for sure.

The greatest sci-fis, in my mind, are two things: They're what-ifs - what if this happened, and you get to see it - but they're also these philosophical cautionary tales. They deal with the underlying themes beneath the what-if.

Joe [Wright] reached out to me and sent me a treatment, and I said yes on the spot just from the treatment. Within six weeks, I was in Cape Town and there was a script [of Black Mirror episode 'Nosedive'], but I didn't realize until I received the full script that Rashida [Jones] and Michael [Schur] had worked on it. It's a particularly funny episode. Joe and I always looked at it as a satire; it has a lot of comedic elements to it.

But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.

I actually gained 30 pounds [for the episode], and I haven't lost all of it yet so I haven't been like "I gained 30 pounds!" Because I don't know if people can tell the difference.