I'm not a very 'this is planned out' person when I get to set. 'This is how I'm going to do it' - I'm never like that.

I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.

It'd be nice to feel that claustrophobic feeling or the anxiety that the film Melancholia produces, but for me I look at it and think about what I was doing that day, where we shot it... It's kind of like a weird memory. It's more a photo album of memories than being able to feel connected to myself. It's not easy to do.

I love what I do and I dont want to stop - This is all Ive ever wanted.

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.

I get along really well with Lars [von Trier] but definitely during our first meetings I was feeling him out and he definitely says some things that are inappropriate and then you kind of get his sense of humour. I really enjoy him. He's one of my favourite people I've met now. So, he's pretty great.

I'm not someone who feels the pressure of someone else's expectations. That's a very young way to feel.