The interesting thing for me about the debate about same-sex marriage ... is that it's one of those issues where it has no impact on anyone apart from the people that it impacts upon. So I find it quite bewildering that it's - that it's so complicated for people.

If you over plan New Year's Eve it's going to be a disaster so you have to be alive to changes.

It was fantastic to be able to have my kids on set. Dash, my eldest son, who’s not quite five, was into knights and his godmother had given him a plastic Marks & Spencer knights’ outfit and [first assistant director] Tommy Gormley said that he could stand to protect me during the scene where Clive [Owen] is talking about the immensity of sitting on the throne. I’m actually looking through an archway at my son standing in his knights’ costume protecting me!

I like to put perfume on my pulse points, but I also love the way you can sense it - there is an atmosphere that comes from releasing a scent in to the world - it's a primal thing. I spray around me, not just on me, and it lingers in the room after I leave.

When you go to a concert, part of being there is that you're all hearing the same thing. It's about being in a crowd. If you go to a gig and there are two people there, then it's not the same thing.

It's part of my job. You can't play Veronica Guerin sounding like this. It just wouldn't wash. But what I find fascinating about doing an accent - unless it's a farce - is that it's not slapped on.

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.