I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.

Ballet has really helped me in every acting role. You have to be very disciplined, you have to be able to control your nerves and perform under pressure, and all those things you have to use in acting when you're on film or going for an audition.

I think it's possible to have the kind of career you really want if you want to. You just don't do the things you don't want to and you just have to be cool with waiting for something to come around that you really feel passionate for.

I always collect a bunch of images for every film that I do, that reminds me of an essence of the character, or the time that they live in, or what they're experiencing.

I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.

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 was a bit of a loner as a teenager. I never went to a single social event, because they terrified me.