Elizabeth Debicki Quotes
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On a film set, everything's done for you. You get to a stage where you can't even remember the last time you made yourself a sandwich. The crazy thing is that, as actors, we're trying to portray the human condition, but we're often not living in reality.
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One of my favourite things to think about is, if you could be invisible and go back in time, where would you go? I've always said ancient Egypt. I would love to see them building the pyramids, and I've always had a real fascination with medieval time and monarchy in medieval times.
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There is something about a theatre room that is really like a laboratory for trying things and failing, because you have time to do that, and you can explore something deeply and discard it if it's not working.
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A dancer's life is as peripatetic and unstable as that of an actor's. You're freelancing yourself all the time, and a dancer's lifespan is even shorter than an actor's: once they turn 30 or 35, they have to stop.
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It's tricky territory, height and co-stars. The only thing I can say is that it's never been an issue in my life.
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On a red carpet, you really want to feel your best, so to work with a designer who will shape a dress to your figure and take into consideration your opinions is really a blessing.
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I think that if you're lucky enough to work with a stylist who pulls a rack from the beginning that you love everything on it, that's a blessing.
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Dancing gives an innate physical awareness - it's physical training. Acting feels like the same medium but just with words.
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It was quite a thespian - 'thespy' - sort of household. My mum had a dance school, and my dad now works in a theatre, so I spent a lot of time going to see dance as a young child - it was just a part of who we were.
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Often, you're not quite sure what people have seen you in, but the script lands in your inbox. That was the case with 'The Night Manager.'
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It often happens that you leave your house in the dark, shoot on a sound stage without natural lighting, and then go home in the dark. A whole week can go past, and it can feel like 12 hours.
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I grew up learning ballet, and then I took up contemporary as I got older. I probably thought I was going to be a ballet dancer when I was younger, but at a certain age, I really was more interested in acting.
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That world of spies and espionage, there's a coldness to it. That's what makes those worlds fascinating - and what makes le Carre's work so interesting.
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When I went to the Victorian College of the Arts in Melbourne to study drama, I felt I'd finally found my place in life.
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I have always been a fan of Alex Perry's work. His gowns are so beautiful, elegant, and always uniquely crafted to the woman wearing them on the red carpet. They are a true piece of art-meets-couture.
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Red carpets are awful. They're like a kind of purgatory - you stand there, and there are cameras flashing everywhere. One of my first red carpets was in Cannes for 'The Great Gatsby,' and I'd never seen anything like it.
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Majorca is this destination where, you know, you have a lot of money, but you want to go somewhere quite exclusive. And the culture of the island is still traditionally Spanish. It hasn't been infested by tourists. I think, in the '20s or something, an extremely wealthy person built this little kingdom of villas.
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Charlestoning is hard. People were fit in the '20s to be able to do that. I guess they didn't sit in front of their computers all day.
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Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.
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It even sounds stupid to hear myself say the first costume designer I worked with was Catherine Martin, and she won an Oscar for it, but that was just my very lucky draw of roll of the dice.
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I definitely try my best not to stay in character when I'm not on set, which can be more difficult in some roles than others.
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I don't have a story about an epiphany in which I suddenly realised I wanted to be an actor. It was much more a case of the idea dawning on me gradually.
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You think there's a rule book, in a way, until you realize there's absolutely no rule book, and you can use a red carpet to express something about yourself. There are so many wonderful designers in the world, and they create such wonderful things. Why go with something uninteresting?
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I didn't really know what to expect. I had been told about the scale of Cannes, but nothing could have prepared me for just how many people would turn out for our photo calls or for the opening ceremony.