I saw an adaptation of Ingmar Bergman's 'Fanny and Alexander' at the Royal Theatre in Copenhagen. The story is just legendary for us Danes, and it was really well done.
Great theatre is about challenging how we think and encouraging us to fantasize about a world we aspire to.
Now I'm on television, I'm far more conscious of my skin than I used to be - I would often leave the theatre with layers of pancake make-up still on my face, but on a medium such as TV, I have to be more fastidious.
From there I did a one year theatre acting course in Fife, and then three years of drama school in London.
My first job was at the BBC but was really dull. I was working in the BBC's reference department, where I did a lot of filing. I had always been interested in films and theatre, so I thought that getting a job at the BBC would be a good idea, but the job was really mundane.
I've had plenty of lessons about film acting and theatre acting.
I've learnt that there's acting for film, acting for theatre, and acting for an audition.
Film acting is so different from theatre acting, and TV is about letting things pay off and not winning every scene.
I've taken the experiences that I've had in the theatre and applied them to film and television and now games.
After my schooling, I started theatre. By the time I graduated, I was doing theatre 24x7. Luckily, the FTII (Film and Television Institute of India) acting course started.
Film directors don't come to the theatre in Sydney. In London and New York, they do.
I have a very 'theatre' face. I have what they call a wide mask. I probably would have been a big film star in the '20s with the silent films where they used a lot of key lighting, and make-up carved out your face.
Why do you act? You act for an audience. In the theatre, you're in their presence. Film stars don't know what it is to have an audience.
You get pigeonholed. Some people are film stars, and some are theatre stars who do one-off telly. Somehow, I get into long-running series.
I loved theatre and film when I was growing up in Harpenden, Hertfordshire. My mum's a reflexologist and my dad's a corporate financier.
A theatre receives recognition through its initiative, which is indispensable for first-rate performances.
I had a teacher who loved movies. He had a little theatre called The Flick, and he would let a bunch of us volunteer to work there, and he also let us make little movies in class.
We see a transformation of warfare from the big armies and battlefields in open spaces to a fragmentation of armed groups and smaller armies, which move into city centres, which increasingly become the theatre of warfare.
Had I not done Shakespeare, Pinter, Moliere and things such as 'Godspell' - I played Judas in a hugely successful production before I did 'Elm Street' - I'd probably be on a psychiatrist's couch saying: 'Freddy ruined me.' But I'd already done 13 movies and years of non-stop theatre.
My plays have been performed before children, workers, and peasants, and they have well understood the meaning of my theatre. What is needed for people to watch my theatre is a freshness and openness of mind.