Elizabeth Debicki

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.

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.

I am very tall, and when you're a teenager, you want to be like everyone else. I used to slump a lot; it's very human at that stage to want to be part of the crowd and not want any part of you that is sticking out.

Sometimes I have a nervous breakdown over my suitcase - over socks - because your brain just goes, 'I just can't pack again. I can't.' You're looking at your suitcase going, 'I'm in five countries in two weeks, and it's four different seasons.' That's when my brain melts.

I think I've developed a sort of ADD for geography now. When I've been in a country for too long, I'm like, 'I think it's time to leave.' I don't know what that's going to do to me in later life.

I'm not a great sleeper. I try and do too many things every day. I think that I get very obsessive about parts and projects. I do let them kind of consume me, and when there's something on the horizon that I want to be involved in, I just kind of hurtle myself towards it.

Acting is a craft to me: I just think you get better the more you do it. And then the irony to that is your doing it is not in your control. If it was up to most actors, we'd work all the time, and we'd always get better. But it's not in our control, so we have to wait to be given parts to do.

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.

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.

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?

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.

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.'

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.

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.

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.

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.

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.

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.

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.

I have a sense of Europe also being like home. I mean, Australia is my home, and my heart is there, but I suppose I've always felt close to Europe, given we had family there, and we would visit.

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.

I don't think it's healthy to buy into hype in any form, whether it's positive or negative. You have to exist in yourself and just move on with life.

I'm a gypsy at heart. I have a little triangle where I tend to go, which is between Sydney, Los Angeles, and London, and I'm happy with that at the moment.

Baz Luhrmann is a very visual director. He needs to see things as they would unfold in his world.

Television is the medium that's allowing women's stories to flourish.