Granted, it's not easy to be a super-tall woman in Hollywood. But there are times when it works in my favour. In 'The Night Manager,' for example, both of my co-stars, Hugh Laurie and Tom Hiddleston, are also well over 6 ft. and it was lovely to look a co-star in the eye and not have them standing on an apple box!
Kissing in films, it's just another thing you have to do. It kind of becomes as technical as how to open a door, really.
A good night in is a series of documentaries.
Dancing gives an innate physical awareness - it's physical training. Acting feels like the same medium but just with words.
People ask me what it's like to be tall, and I don't know what to say because I don't know any different. I grew up in a very tall house, so I wasn't an anomaly there.
When I went to the Victorian College of the Arts in Melbourne to study drama, I felt I'd finally found my place in life.
Television is the medium that's allowing women's stories to flourish.
I guess the bigger you dream, the further you have to fall if you don't get it, so it can be a bit of a scary thing to be that ambitious.
I think there's something beautifully old fashioned about waiting all week then sitting down and watching something on television together. I'm generation box set, accustomed to binging on multiple episodes at a time, which is fun but quite a solitary pursuit because you do it alone.
I am very tall, and when you're a teenager, you want to be like everyone else. I used to slump a lot; it's very human at that stage to want to be part of the crowd and not want any part of you that is sticking out.
It's tricky territory, height and co-stars. The only thing I can say is that it's never been an issue in my life.
Sometimes I have a nervous breakdown over my suitcase - over socks - because your brain just goes, 'I just can't pack again. I can't.' You're looking at your suitcase going, 'I'm in five countries in two weeks, and it's four different seasons.' That's when my brain melts.
On a film set, everything's done for you. You get to a stage where you can't even remember the last time you made yourself a sandwich. The crazy thing is that, as actors, we're trying to portray the human condition, but we're often not living in reality.
One of my favourite things to think about is, if you could be invisible and go back in time, where would you go? I've always said ancient Egypt. I would love to see them building the pyramids, and I've always had a real fascination with medieval time and monarchy in medieval times.
There is something about a theatre room that is really like a laboratory for trying things and failing, because you have time to do that, and you can explore something deeply and discard it if it's not working.
I have to say that filming 'The Night Manager' was not just amazing but also very daunting at first. I used to describe myself as the token plebeian surrounded by all your national treasures. All that glittering talent in one place; I knew Hugh from Fry and Laurie videos that my grandpa used to watch, and Tom Hollander's 'Rev' is hilarious.
Every time I see a good play or watch a good movie, I have the same feeling I had as a child of wanting to be that person on stage or wanting to run through the forest with a big dress on.
I don't have a story about an epiphany in which I suddenly realised I wanted to be an actor. It was much more a case of the idea dawning on me gradually.
I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.
I was very new to working in front of the camera when I started shooting 'Gatsby', so I set myself the mission of gleaning as much information as possible out of the much more experienced actors. The cast was astoundingly talented.
