Elizabeth Debicki Quotes
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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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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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I think there's something beautifully old fashioned about waiting all week then sitting down and watching something on television together. I'm generation box set, accustomed to binging on multiple episodes at a time, which is fun but quite a solitary pursuit because you do it alone.
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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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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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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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Dancing gives an innate physical awareness - it's physical training. Acting feels like the same medium but just with words.
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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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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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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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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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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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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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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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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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Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.
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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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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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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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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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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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Granted, it's not easy to be a super-tall woman in Hollywood. But there are times when it works in my favour. In 'The Night Manager,' for example, both of my co-stars, Hugh Laurie and Tom Hiddleston, are also well over 6 ft. and it was lovely to look a co-star in the eye and not have them standing on an apple box!