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.

I think you need to have a healthy sense of doubt because I think doubt leads to inquiry.

You know, when you see yourself on a big screen, I tend to watch from behind my hands. There is absolutely the regret. You always get that at the end of every project. That's what's great about theater: at least every night you get the chance to go out and re-offend. I'm endlessly disappointed, which is what propels me into the next project, probably, not to repair the damage but to kind of hopefully keep developing. Otherwise there's no reason to keep doing it, is there?

The first thing is to accept that theater is an unknown. If you go to a concert, you know the music. If you go to an art show, you can literally see the art on your phone before you see it in person. But with theater, often times people aren't prepared to take risks, even though that's exactly what's great about it.

I think you're peripatetic when you work in this industry. My husband and I are assuming the role of co-artistic directors at the Sydney Theatre Company in 2008. But as long as the film industry will have me, I will have it.

Yaron has elevated the way Australia perceives circus, both nationally and internationally ... I mean remarkable.

I think probably winning these things [an Oscar] can be a bit of a curse depending on who you are and how you think. But I haven't been on a journey to get anywhere in particular, so that hasn't changed. And my criteria for choosing projects hasn't changed.