It's always nice to work with someone you have a history with. It just makes it easier to click back into that dynamic and have a lot of fun.

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 think it's really important for actors to have another creative outlet, or for anyone, really.

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.

I always try and learn as much as I can from different departments on a film set.

I think that because most films where there's a teenager, it's aimed at a teenage audience. Restless is - I wouldn't classify it as a teen film, strictly, but it's definitely a film that appeals to young people, but also gives them credit for their complexity.

Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.