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It's good for me to pull away from something that is just done for effect, which was basically Sue White in 'Green Wing.' In that, it was very much: if in trouble, gurn, or fall down. There was no character background to Sue. You didn't know who she was. She didn't have any toehold in any kind of reality.

I decided there and then to sue the bastards.

A few years after 'Melrose Place,' when the luster of 'Melrose Place' wore off and what was left was just the stink, and I was just doing bad TV movies, that was a personal low point. I felt I needed to stop doing those, and I did.

The thing about the 'Melrose' novels is that I have to feel they're impossible when I set out.

In 1990, I was in 'The Three Sisters' at the Royal Court and won the Clarence Derwent award for my supporting role as Natasha - the prize was £100. I could have paid the gas bill, but I ended up buying a porcelain and silver Bavarian coffee set in an antiques shop in Penzance.

I stopped courting Hollywood a long time ago.

Show business got really tainted for me.

The whole 'Melrose' series is an attempt to tell the truth, and is based on the idea that there is some salutary or liberating power in telling the truth.

I left 'L.A. Law' after five years when my contract was up because I felt I had done all I could do with the character. I didn't walk off the show with a three-picture deal to pursue this wonderful film career.