It's really a testament to my parents, because I was active, curious and creative as a child, and my parents nurtured that. But I wouldn't say that I was a professional child actor at all. I was never the breadwinner of my family.
Sarah Gadon
In the summer, I love to go up north to a cottage and relax by the lake, swim, go canoeing... I also love riding my bike around Toronto, going to the farmer's market, cooking. That sounds simple, but it's a luxury you don't have when you're living in hotels.
I can walk down the street and have a human experience every day.
I think a liberal arts education isn't necessarily about doing something with your degree; it's about becoming a critical thinker. And I think that critical thinking is so integral to being an actor.
I fell in love with filmmaking. I fell in love with criticism. I fell in love with theory, and it made me really dogmatic in my approach to choosing roles.
I'm a really proud, happy Canadian. I think we've got it figured out in our country. For example, gay marriage has just been legalized in all of the U.S. and it's like, 'Wow, hashtag lovewins,' but that's not necessarily a leap forward compared to what we've already experienced in Canada years ago.
I wore a pink Betsey Johnson dress to my prom, and I pretty much looked like a pink cupcake. I loved that dress!
I think Tilda Swinton is terribly interesting. I think she's fascinating. I love her work.
When it came time to go to university, I wanted to study cinema studies and theater and not necessarily do a fine arts degree.
I think everyone's had that moment where you're sitting there in class and notice someone for the first time.
I look at scripts, and sometimes I apply theory to them. For 'Antiviral,' for example, I was reading Laura Mulvey's 'Visual Pleasure and Narrative Cinema,' and it was all about the psychological process by which we fetishize the female image. It's all about scopophilia.
It varies, but in my experience, directors who are the most comfortable with themselves and confident in their work give you and everybody on the crew the freedom and the space to create.
I prefer the European films that are like, 'No, it's over! They both die. The End.'
That's the amazing thing about our jobs; it's constantly changing, and it's extremely dynamic, and you, therefore, have to be dynamic as well.
When you look at something that's so extraordinary, like a man who is traveling back in time to prevent JFK's assassination, for me, as an actor, you're still trying to seed it in some sort of reality.
I was brought up to express myself and say how I was feeling.
If you've ever had anyone in your life who has been struggling with something, struggling with addiction or struggling with anything, and it's about the resilience of love and how much you're willing to struggle with somebody to preserve your relationship and to try to preserve them as a person.
It's the people who are more insecure who feel the need to control and micromanage. But that's true of any profession and hierarchy with a boss. You have people who know you are competent enough to do your job, and then you have the ones that just hover around.
I have these surreal moments where I'm like, 'I'm pregnant with Jake Gyllenhaal's baby' and 'I'm telling Robert Pattinson that he smells of sex.' But you're acting, so the focus is on the work.
If we learn to understand each other, we will have a better understanding of ourselves.
Without disruptions in life, where would we be?
Should 50 per cent of Telefilm's projects be helmed, produced, or written by women? I think so.
Sometimes when you're working on a period piece, there's this tendency to be nostalgic about the period and do everything superglamorous, which can end up looking cliche.
I was getting a lot of pressure to go to the States, but I never really wanted to. I saw Cronenberg forge his own path, and that made me believe that I could do that, too.
I don't love L.A. It's a great place to visit; it's a great place to meet and work, but I don't want to live there.
I love film, and I love short films.
The Queen is not supposed to have a favourite or prefer anything. From a very young age, they are taught that if you fall down, you don't make a face; you keep your emotions under control, and you don't let other people know what you're feeling. That's a very different kind of way of thinking from how I was brought up.
It's tempting to think, 'This is silly. I'm an artist. I care about my work, my work is first. I don't care about what kind of dress I wear... That's so secondary to me.' But if you care about your work... then you need to take this part of it just as seriously as you would going into an audition and going into work.
When I sit down with filmmakers, I feel like we speak the same language in a lot of ways. We watch the same movies and have the same influences. If anything, it creates a dialogue that makes my work more effective.
I've studied dance since I was very young, and I continue to study ballet.
It's fun being a princess, but it's not very practical! You're trudging through the forest and the mud and all of the elements. You kind of think, 'How did they do this back then?' Thank God I can put on my Nike trainers and walk around the rest of the day!
I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.
Working with Mr. Armani is such an incredible experience because he's so creative and such a visionary, and Linda Cantello is amazing and a true artist.
I'm trying to be a working actor. I'm not in pursuit of fame. I'm not trying to be in the kinds of films that make you famous like that.
This might be really weird, but The Body Shop has a tea tree oil stick that you can put on zits, and it makes your zits go away.
I think about work all the time. I was in my bathroom yesterday and thought, 'I could never work again.' I don't have a job lined up right now - what if I never get another one?
I'm part of a generation that's saying, 'I don't want to do just one thing, and I'm going to do things the way I want.'
I wore Armani Prive to Cannes, and that was incredible. The craftsmanship is something I never understood until I wore it: the structure, the integrity of the fabrics, the colours, how things photograph.
What happens when we questions power structures? What are the consequences?
It's particularly important for a young woman to be in control of her image - to a certain extent. I mean, there's only so much you can do, because people take photos with you and then all of a sudden they pop up all over the place, they're completely out of context and you have no control over how they're used.
Movement is very important to a character, no matter what period you're working in. So when it came to playing Emma Jung and lacing up in the corset, it was really not a foreign thing for me.
When you're in a very specific kind of wardrobe, it kind of dictates your movement; it also kind of enables you - or, I guess, disables you - from certain kinds of movement.
When you fall in love with favourite movie stars, it's not because they're movie stars and unattainable, but because they show you sides of themselves that are extremely personal.
You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.
It's mostly directors whom I get starstruck around.
It's so often that I read for the bouncy, sunny girl men fall in love with who will solve all the romantic problems in the narrative. I don't choose to work that way.
When you're wearing a corset for a long period of time, things that were important to you hours before are no longer important, because doing them exhausts you.
I'm a part-time student, and I plan to finish my degree. I think there are a lot of part-time students with jobs on the side or stressful careers. I'm certainly not the first person to be working while I'm in university.
Since 'A Dangerous Method,' I've had meetings with everyone from J.J. Abrams to the producers of 'Drive.' And they all have the same thing in common; they say: 'Wow you worked with Cronenberg.' He gave me instant film cred.
I think when you work with really wonderful directors who have a really strong vision, it lets you as an artist set the tone for your own career.
