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.

On the spectrum of imagination, there are people who are more imaginative than others - I guess some kids are hardcore pretenders and have imaginary friends for years and other kids play and they have fun, but it's not quite as specific like that.

Sometimes acting, particularly in film, can feel so contained. You need to be small and not overplay things, so it's such a relief to be able to go as far as you can go with an emotion or a feeling or a speech.

Joe Wright is incredible and I'm a huge admirer of his work in general, but specifically his aesthetics and poeticism.

I've learned to think in terms of having a long career. Actors can have very long careers that last until the day we die, but there will be moments when you'll feel like you're a failure or when you're disappointed in yourself.

With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.

You can't become another person if you're not self-aware.