There was still an element in acting, certainly for my dad, of like, "This is lunacy." But then once my parents could tell that I was serious, it was like, "Okay then."

I'm incredibly grateful for Sophie Barthes, I'll always be incredibly grateful for her being generous enough to believe in what I thought. And it was just lucky that I met the right person.

If you want to have the right to have that conversation with your agent - "I know you sent it to me, I know you like it, but I just really think it's terrible" - you need to have the full details about script. You don't want to be in that situation where your agent says, "What about after the first 20 pages where it turns into a psychedelic musical?" And you're like "What? I thought it was an action-rom!"

I suppose it's really satisfying to play someone with secrets. It's really satisfying to decide how and when those things are going to start being revealed, and how subtle to be.

My grandfather told me that I should have a series of headshots, one with a tennis racket, one dressed as a naval officer, and one dressed as a cheeky chappie. He said, "If you have those headshots, the world is your oyster."

I think you have moments of doubt and moments where it feels really hard. You certainly have to be patient, and I'm a very impatient person. It's been like when Yoda teaches Luke to be a Jedi; the things that I do professionally have taught me new levels of patience.

Once you get an agent you're given an opportunity to try a little bit more. It's a really long ladder.