I learned that kids are like actors on a set: They want to know that their director gives a shit, has an actual plan and, just maybe, knows what he’s doing. In other words, they want leadership. And you can’t attempt to lead by being all things to all people or a slave to PC society

You see, people never really grow up. I don’t mind most religious people, I talk to them. I listen to them, you know, banging on. “I prayed very hard and then the fairy came.” “Did he? Good. Have a biscuit.” I only get annoyed when they try and make me see the fairy. “You have to let the fairy into your heart.” Look, I wouldn’t let him into my garden, okay? I’d shoot him on sight, if he existed, which he doesn’t. Now have another biccie and be quiet, will you please? But you can absolutely understand the desire to believe in something, to support you. Children like to be supervised by adults. That’s why children go, “look, no hands” or “look, I can do this” or “I’m really good at this”. Whatever it is. Because it validates them, it shows them that they are there, that somebody else is watching over them. Grown-ups are the same, not that there is any such thing as a grown-up, really. They liked to be watched by something. Because the planet’s not gonna miss us, when we’ve finished fucking it up and killing each other. So we needed the idea of God to have somebody to miss us, or at least notice that we weren’t there anymore.

In my limited experience, shows are like children. You can teach them manners and dress them in little sailor suits, but in the end, they're going to be who they're going to be.

Theatre is all about people. You can love a play and character and can be the right person to tell that story. But if you don’t click with the other people in the play, it won’t work.

In early youth, as we contemplate our coming life, we are like children in a theatre before the curtain is raised, sitting there in high spirits and eagerly waiting for the play to begin. It is a blessing that we do not know what is really going to happen. Could we foresee it, there are times when children might seem like innocent prisoners, condemned, not to death, but to life, and as yet all unconscious of what their sentence means.

Acting is about trusting your instincts, not censoring yourself and not looking back. Directing is the opposite in a lot of ways. It's measured. Number one, as a director, I get the script way before the actors do, so I have moments to graph out how the episode should be, understand the plot points and convey that to the actors. It's a much more structured approach, which is a bit more of my personality. I like to be more calm and in control. From there, you hope the actors bring other creative variables to the table. It's collaborative, but I'm still steering the ship.

But you say, “by obedience to another he loses his liberty.” How then is it that children suffer the orders of their father and mother, and pupils the injunctions of their instructors?

Fully to appreciate a play we have to maintain a delicate balance between what is taking place apparently on two different levels of the mind. On one level we are involved in the drama, are living imaginatively with its characters. On the other level we are enjoying a performance by actors on a stage, being fully aware that we are in a theatre.

When I was eight years old and forced against my will to participate in the Christmas play at the church my mother was a Sunday school teacher at, I was singing at the front of the church thinking, ‘How did I get myself into this shit?’

What I experienced at drama school was the fun and the excitement of being given a part. And when you're a student and you are given a role, something is assigned to you. And you're going to do a little scene at the end of the term. That's absolutely the most thrilling thing in the world. So you're doing it, in other words.

Children are more influenced by sermons you act than by sermons you preach.

When the child imitates the rules practiced by his older companions he feels that he is submitting to an unalterable law, due, therefore, to his parents themselves. Thus the pressure exercised by older on younger children is assimilated here, as so often, to adult pressure. This action of the older children is still constraint, for cooperation can only arise between equals. Nor does the submission of the younger children to the rules of the older ones lead to any sort of cooperation in action; it simply produces a sort of mysticism, a diffused feeling of collective participation, which, as in the case of many mystics, fits in perfectly well with egocentrism. For we shall see eventually that cooperation between equals not only brings about a gradual change in the child's practical attitude, but that it also does away with the mystical feeling towards authority.

Through religious education, our young people also learn respect for and an understanding of other beliefs and how to make a positive difference to themselves and the world by putting their beliefs and values into action.

Religious faith often finds itself at odds with story-telling. Puritans ban acting companies. Islam is uneasy about all forms of representation. And why? Because the experience of walking out of the theater after a performance is a paradigm of disillusionment, and religious people are officially supposed to believe, first and foremost, in their own literal faith, from which there are no exits. They've taken the big leap, and live, ever after, in free fall.