Tone is always such an important thing, and that's achieved through a multitude of people. It comes through the writing, it comes through the way it's shot, and it comes through the production design and the sound design.

There's comedy in tragedy, and tragedy in comedy. There's always light and dark in most jobs. Whether it's framed as a comedy, drama or tragedy, you try to mix it up within that. You can work on a comedy and it's not laugh-a-minute off set. You can work on a tragedy that's absolutely hilarious.

The story revolved around this universal identifiable fear that we must all have, at some point, when you commit yourself to being with another person, to have and to hold until death do us part. It's a huge thing. I just felt like it was a brilliant examination of what would happen, if the person that you trusted implicitly and thought you knew every follicle and pour of, inside and out, started to not be that person anymore, inside. Physically, they're still there, but they're not there mentally.

The different variables involved in anything creative, really, are massive. When it comes together, it just clicks, I suppose.

I think it's amazing to have one writer write every episode of a series. It's very rare, I think. You get a voice that continues.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

I was lucky, I had support from Mum and Dad - they said as long as you work hard, anything is possible. I never thought past those two things - that I liked living in imaginary worlds and that it is possible to do that for a living.