It was almost like being a child again because you felt like you were in your bedroom and it almost felt like no one was really watching you. So, you were just kind of having a bit of fun on your own doing silly voices in the bedroom.

I wanted to live where I could pop to the bar that Humphrey Bogart took Lauren Bacall to, or the little restaurant where Charlie Chaplin had a booth.

There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"

Nobody is more individual than you, so be confident with who you are and what you have to offer because everybody has got things to offer.

I think because I did become a well-known face in my thirties and not in my twenties, I was pretty settled in my boots and I knew who I was. And I think there's a sort of Scottish thing, too, where you don't take yourself too seriously, and you don't get carried away with your own sense of self-importance.

I'm thinking of Mary Poppins, The Sound of Music... there are too many to name really. And all the old classic ones like Snow White & The Seven Dwarfs and Bambi. That's brutal!

I was in King Lear with Sir Tom Courtenay at The Royal Exchange in Manchester. In fact, that's where I met my husband. I was playing Regan and he was playing Cornwall and together we fell in love plucking out Gloucester's eyes. It was great fun. Everyone assumes that I was Cordelia because I've got blonde hair but I was Regan and they gave me a long auburn wig. It was great, good fun.