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There was one moment when I was in L.A., and he was teaching me a move. I just looked at him, thinking, ‘Oh my God, I’m being taught to wrestle by Dwayne Johnson. What the hell?’

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For me, it’s always been so obvious that the less we can edit our lives and more we show how normal we all are, the better.
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I do like a bit of danger. Guns, cars, running, bullets. I’m up for it.
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If you ever want to be interrogated, get Michael Shannon to do it. He’s an amazing man. I loved working with him.
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As beautiful as cinema is, it’s a massive part of the problem of why we look at ourselves in the way we do.
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For me, I really appreciate seeing real bodies on screen, that variation, not the same frames we saw for the majority of our upbringing, making us feel like we have to look that way.
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The one thing that I always try and take with me, if there’s, like, a remake, or you’re doing something again, is that every generation has a new story to tell.
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I think it’s good to not edit your life too much, or you give people different standards.
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There was one moment when I was in L.A., and he was teaching me a move. I just looked at him, thinking, ‘Oh my God, I’m being taught to wrestle by Dwayne Johnson. What the hell?’
FLORENCE PUGH

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It’s always shocking when you see a modern woman in a period story line. It doesn’t make sense.
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I can definitely hold my hands up and say wrestling wasn’t something that I grew up watching.
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My characters do have some fantastic taste in men.
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Playing Paige, I felt I had to train to wrestle.
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I was acting with all my childhood heroes: Meryl Streep, Saoirse Ronan, all of those amazing women.
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That, for me, actually is the most important thing about doing a period film is trying to make these people as lovable as they are back then.
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I love Le Carre’s writing.
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I think you’re always attracted by characters that are a little bit like you, or at least the worst parts of you that you can finally accept and say, ‘All right, at least I know that now!’
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