Everybody has an image of [princess Margaret], to a certain extent. But I felt it would have been harder if we were playing them as they are now. In a way, I don't know how much of a living memory we as a collective have of them in the '50s, when Margaret was 21 and this sort of Elizabeth Taylor. You don't think of your grandparents as being teenagers. You just can't - your brain just can't go there!

I would argue [princess] Margaret is the tragic figure of the century.

That external struggle mirrors the struggle of this life force of energy that [princess Margaret] was.

I knew she was a party girl. The book I liked most on her was called [princess] Margaret: A Life of Contrasts and getting to know her, it was how conflicted her position and her internal life - or self - was. She is so fiercely royal and so fiercely "sister of the queen" or "daughter of the king" because that is her identity and it's all she's ever known. And at the same time she is struggling to push the boundaries and to break away from it, to be different or to modernize the monarchy, to turn it on its head.

I watched her do speeches, but the only footage we could find of [princess] Margaret was archive footage, which was of her public presentation of herself.

I watched tons of archive footage of princess Margaret and listened to the music she loved; that was really immersive and brilliant.

My dad is a big extrovert - he's a doctor - but he always loved [William] Shakespeare and he took us to tons of theater.