There's a bunch of directors that I really admire, and Australian ones as well. It would be nice to do a film at home.

You are relying on a waiting on other people in acting and films, so to be able to have something that I have full creative control over is really very therapeutic.

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

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.

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.

You definitely put a bit of yourself in every character, and you always have to have an understanding and empathy for the person that you play.

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.