What got you started?
[The director] Brian Astbury made me do it. He ran Arts Threshold, a basement fringe theatre in Paddington. A friend wrote a play I wanted to be in. Brian said, "You're too gobby to be an actor – why don't you have a go at directing?"
What was your big breakthrough?
Probably directing Afore Night Come at the Young Vic in 2001. It was the first main-house show I'd been trusted with, and I got a big award for it – which, frankly, changes things.
How does directing opera differ from directing theatre?
In opera, the music is sometimes more important than the drama. I find that strange. I'd go, "We should be moving on," and the music aficionado would go, "Yeah, but shut up and listen."
What's the biggest myth about being a director?
That you have a vision. I surround myself with smart people, and I make decisions. There's nothing visionary in that.
What advice would you give a young director?
Stamina is the greatest virtue in this game; only do work for personal reasons; and make your overheads low. I was 36 before I earned £10,000 in a year. People go, "Oh, you've got a lovely career, you must be rich," but I still rent, and I don't have a pension. Unless you get a War Horse or a Billy Elliot, you're struggling.
Is there an art form you don't relate to?
Television. I'm sure there's brilliant TV out there – people tell me there is – but every time I give it a go, it just seems formulaic.
What work of art would you most like to own?
One of the Easter Island heads would be nice in my lounge. I love ancient folk art: Celtic coins, a bit of an Aztec map. Anything that wasn't made to be a work of art.
Is there anything about your career you regret?
Not really. I've made a lot of mistakes – sacrificing friendships in pursuing the art too hard – but those are the things that have kept my ego in check.
What's the worst thing anyone ever said about you?
That I was rubbish in bed. I was 16, and it was true, but it didn't make it any less painful.
What are you most proud of?
Pride has always been my major weakness – so, if you don't mind, I'm trying to give it up.
In short
Born: 1965.
Career: Trained as an actor at Rada, then turned to directing, working extensively at London's Young Vic, Royal Court and the National theatre. Productions include Festen, London Road, Cabaret; and for English National Opera, Dr Dee and Don Giovanni.
High point: "Doing London Road at the National theatre."
Low point: "At an industry Christmas party many years ago, I was hit by a profound sense that I didn't belong."
• Cabaret is at the Savoy theatre, London WC2, box office 0844 871 7627, to 19 January 2013; Don Giovanni is at the Coliseum, London WC2 (eno.org; 020-7845 9300), until 17 November.
