Jacqueline McKenzie

I can’t do theatre in the US,’ she says, ‘because I don’t have a green card.

Everybody is just at the start of this huge process of trying to unravel what’s going on with the 4,400, where they’ve been and why they’re back and what they’re trying to do with us in the present. And we’re trying to work out what messages they’re sending us.

You don’t choose. I just go where the work is.

No matter how many helicopters there are, when it comes down to it there is the camera and you.

I was spooked when I first got the role, as I was afraid I wouldn’t have the companionship I need on a shoot, because I’m so into the process itself, not so much the end product.

You have to have a lifestyle if you live in LA, otherwise it’s deadly.

That’s a curious paradox that I don’t think a lot of people out there know; that you get really scared before you go on. You come out in a nervous rash, and it’s not like you actually love getting up there and showing off.

It’s just so fragile. The growing sense of ‘Oh, God, what am I doing? Am I any good? Will I ever work again?’ All those questions of self doubt, they do creep in.

And the reason for that I think is that in Australia our films don’t get the exposure, so the process is foremost. But anyway, I love being part of the team and hate being stuck in a corner somewhere.

I love being part of the team.

It was hysterical going to work. I would just walk in and think, ‘What in hell? Am I here? What’s going on? I’m going to wake up in a minute. I’m in a dream.’

We blush very, very easily, and we get terrified of audiences.