I don't recall making a conscious decision to become an actor. I just remember winning a prize at a theatre festival when I was 17 and saying: 'Oh, that's what I have to do.'
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The repeated action of working and playing acts like a trowel that uncovers a hidden structure under the earth. It is an action that deepens and develops.
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My experience of my father's death was that it was still taboo; nobody would meet me after my father died because they didn't know what to say.
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'Mnemonic' is a play about memory.
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In Japan, sometimes it's hard to know what you are looking at.
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I spent the majority of time at school trying to break the rules. I would climb to the top of buildings; I even burned a building down once - not intentionally, just because I was interested in fire. I remember going through the rule book, ticking off the ones I had broken and looking for the ones I hadn't.
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I was very bad at mathematics in school, and I always had the feeling as a kid that when I worked on problems, that I would be wrong.
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Haunted since the day its discovery was projected all over the world in 1994, I, like many others, have always wanted to see inside the Chauvet cave, site of the world's earliest known cave art. Quite rightly, we will never go. It is closed to the public.
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'The Magic Flute,' I think, is fundamentally asking what is it to change people's consciousness.
