My husband wasn't put off by it - he thought it was hilarious to see me dressed as Dylan! He didn't particularly want to kiss me with stubble all over my face - it felt a bit odd! But I think he's used to it [the make-up process].

Being on stage a lot is quite physical.

o matter how much research you do, or invention you do, whether it's a character from a novel, a completely invented character or someone who actually existed, it's a work of faction. By the very fact you only have an hour and a half or two hours to tell a story, you're telescoping events and it is, in the end, a work of imagination.

It's important to travel and move and have a continual set of experiences so you've got more to feed back into your work. For me, it's a natural thing.

It's interesting when you get those roles, which seem like nothing on the page, and you kind of subvert them. It's hard to say no.

I think the terrifying thing is you see all these people who go to the same cosmetic surgeon, and they end up, after a while, looking like everyone.

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.