Dancers are kept in a perpetual state of pre-puberty, and for young girls in particular, that type of pressure breeds insecurities.

One of the producers, Wonjo, was an amazing interpreter. I don't think we really knew how it was going to work at the beginning. Yet it was something that a couple of days into it seemed so seamless and it wasn't something that we noticed or thought about. A couple of times I cornered him and forced him to speak English but we didn't speak much English at all. That said, I don't think anything was ever lost in translation. It was all very easy.

I'm a huge sucker for comfort.

I used to love ballet and I did it really, really intensely. But it came so much about achieving physical perfection, which when I was 14 was a big deal.

To have a creative outlet that you can control is really important because you do a lot of waiting to be cast, then waiting to go into production, and then waiting on set.

It was good but it was just a tiny bit uncomfortable because it was a day of lying in the bushes and I think I got a major muscle thing going on there! But it was good. It was fun. That is one of the things you get to do in film that you don't do, or that I don't do, in real life. I can't speak for Dermot [Mulroney]! But it was fun.

I like my anonymity - that when I meet people they don't know me.