I don't think that this movie is the kind of movie that a magazine like In Touch even cares about, if you know what I mean. It's a Lars von Trier film. They care about Moneyball, not Melancholia. They care about what I wear to Melancholia premieres; they don't really care about a Lars von Trier film.

It's weird doing red carpets; it's uncomfortable. But you can have a sense of humor about it.

As an actress, there's a lot of waiting. You wait for a script to come in that you want to do. You get to a point where you decide that if you want good things to be made, you're going to have to start making them yourself as an actress. You can't just wait around for it. But you can also just enjoy the breaks, and use them to kind of refuel. I've been working so long at this point that I don't mind the breaks. I think they make me better, actually.

I can't wait to have kids one day. I want to have kids and a farm with lots of animals on a lake.

I'm a good assistant. That's why I don't have an assistant, because I'm so on it that no one can be as on it as me. I know that.

It's always nice when people appreciate your work because it means you've affected them, which is great. And so that feels good.

When you spend your entire life as a child actress, being told where to go and where to stand, you're performing constantly for people. It definitely breeds the kind of person who's dependent on other people's approval.