Do you have a favourite scene in the film?
I do. I’m a big Terrence Malick fan, and I love that scene where they go to the river, because it seems very Malick-esque. That was so hard to do at the time. We spent a long time, and we didn’t want it to be too much like they’ve just run off together. And I think Drake does it so well that it feels like it slightly exists outside a time and place. When you are in love with someone it does feel like it’s not rooted to where you are, it exists on another level. I thought he got that in the film very well.
What was the hardest thing to get right?
The hardest thing was the scene where Mackenzie and I have that fight, because we kept laughing. It took ages to work. Both of us didn’t want it to be that stereotypical, the two women hate each other and they’re at war with each other. It had to come out of something more feral. Neither of them want to be in this situation, but they’ve come to this situation and they don’t know how the hell they got there, and it’s horrific. They’re both trying to survive emotionally.
Did Drake cut anything out that you noticed, or were sorry to lose?
He cut loads out. It’s very much like doing a documentary, in that he shoots a lot of footage, because he’s always following you. Often in films you work with the camera, but with his films the camera works with you. So he’s catching every little bit, and moment, and thought. So he has to cut out huge amounts, and then I can’t even remember what he’s cut out, by the time I see the film. There’s so much, because he refines the story in the edit.
So there’s nothing in particular where you went, ‘I was really good in that bit, and they cut it’?
No, actually it’s so hard to genuinely trust people and I really do trust him, and trust his judgement. And I feel he gets it right.
Obviously you worked with him on Like Crazy; did you have any sense of how he’s evolved as a director between the two films? Was he exactly the same, or was he trying different things?
I felt like we were all trying to do different things, so we had to realise that Like Crazy was a very different experience, and this wasn’t going to be the same. I think at first we thought, ‘Oh, it’ll just be the same, it’ll be a continuation of that’, but the method did change. I wanted to try and present a different character, I didn’t want her to be the same as Anna. He wanted it to be a lot more formal in the way it was shot. I felt like he wanted it to be a bit more classic, and the tone to be more classic, whereas Like Crazy, I feel was a very youthful film. It was being influenced by French New Wave, and this was more trying to capture those fifties - in some ways, A Place In The Sun is a film we’re both obsessed with. It’s still handheld, but has slightly more presentational qualities to it.
Are there any other films that were an influence on Breathe In, in that sense, that you’d talked about beforehand?
Lost In Translation as well, we both are huge, huge fans of Sofia Coppola, and the sense of that relationship between those two people - she managed to capture that ambiguity. We both felt like that was something we wanted between Keith and Sophie.
Can you tell us anything about The Amazing Spider-Man 2?
Spider-Man is completely different from anything I’ve experienced before, and a real departure from what I’ve done before, which I’ve really enjoyed doing; something on a completely different scale, and with it being a cartoon, it was really good fun actually. It was really fascinating to see how a film is made in that way, which is so foreign to what I’ve done before.
Have you wrapped on it now?
Can you tell us who you’re playing?
It’s all quite shrouded in secrecy, but I’m the Goblin’s girlfriend - I’m in a relationship with him, and his accomplice. I’m on the dark side.
What’s your character’s name, or can’t you say?
I can’t say actually. It’s all in the vaults of Marvel. I love all that secrecy, I think it’s great. It builds anticipation, there’s too much transparency in everything these days.
What else have you got coming up?
I just made a film with James Franco and Jonah Hill called True Story, which is an American thriller about a couple who become obsessed with a man who murdered his wife and kids. A psychological thriller.
And in the future?
The future is unknown, as yet.
Any plans to write or direct, or collaborate in that sense?
I love working this way with Drake, so I’d love to do something where one has more control. I just made a short film with a friend last year, which was amazing to see something from the development of the script, through to the music and the grade. That’s given me a real taste for the full arc of filmmaking.
Producing, potentially then?
My official title was executive producer, but it was a lot more casual than that on a day-to-day basis. But it was really exciting, because I was acting in it, but also being involved in its making.