There is not a lot of separation between work and home life.

When you fall in love with someone, you're not really changing at all. You're really just reliving something that already happened at some point.

His [Gough Whitlam's] effect on the geo-cultural-political map of Australia is so vast that wherever you stick the pin in you get a wealth of Gough's legacy.

I think when you have a character as richly drawn, I suppose then there are subconscious, mental notes that you've made.

When you're onstage, you're acutely aware of the reaction of a particular group of people, because it's like a wave.

In the current climate, things that are true, brave human stories become political.

Personally, I prefer to play against the look: If a character appears particularly unhinged, with makeup running down her face, I like to play her as if she has it together. I think that juxtaposition makes it so much more interesting.