I was 11 when a teacher suggested to my parents that they should send me to drama classes to curb my disruptive ways in the classroom. The next Saturday I was acting, and thereafter it became a ritual of my youth to see a show at the Belvoir on Sundays and, if I was lucky, another at the Opera House on Monday after school.

You can't manufacture a career as an actor because you aren't in control of what projects come to you, unless you are No. 1, two, three or four in the world.

My biggest ambition when I was younger was to appear on stage at what was then Nimrod, which is the theatre where my father used to take me on Sunday afternoons to see matinees. The most extraordinary things used to occur on that stage.

I'll never forget anything about Middle Earth. That's part of my memory now so I won't miss anything.

I take a certain pride in having maintained a reputation for fast copy throughout my newspaper career. Fast-breaking stories left my typewriter in a hurry. Not great literature, perhaps, but fast, and usually accurate.

I remember all the stages in my career where I almost didn't have enough confidence to try for something, almost didn't have the guts to follow something I was excited about doing, because I didn't know anyone else who'd done it, or other people made me question it.

It's a life choice to be a girl chef, as it is to be a boy chef. It feels pretty natural to me. It's a full-time, full-scale, full physical job, and a lot of times, it can take the place of kids and family. To be in this career is much more difficult for a woman to have a family, marriage - whatever that means. It's not a 9-5 job.

I love my job. But I like to have fun at work. So I don't get finicky if one strand of hair is standing out in a shot. I don't get finicky about broken nails. I don't let small things affect me. I'm not perfect. Nobody is. There's no fun in being perfect. I enjoy my work; there's no pressure on me.