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.

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.

Someone once told me to believe 5 percent of what everybody tells you.

The independent films are really where I kind of come from and where I feel comfortable.

There's a whole language to movement and how you embody someone, and how you can use different techniques for different characters. I guess just posture, and the way you walk, and the way you physically are. All of that says a lot about who someone is.

Feminism is just about equality, really, and there's so much stuff attached to the word, when it's actually so simple. I don't know why it's always so bogged down.

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.