Professor Randall was a great advisor and a great mentor. He taught me, I think, in the best possible way. He was not a brilliant lecturer. His courses were fairly pedestrian. I didn’t think his seminars were particularly interesting. But working with him on a one-to-one basis as his assistant, I think that’s the way one has to learn to be a historian. That is, he was writing, and if he needed some particular reference, I had to go find it and get it. If he was writing, he wanted everything checked meticulously over and over again. So I had to take the manuscript over to the library and check it all out. So that by working closely with him, I got to see, first of all, a lot of the library and its extensive holdings, but I got, even more important, to understand what a scholar is about. It is about care. It is about “pains-taking.” It is about judgment as well as it’s about very skillful writing. He was an excellent writer as well. So in that sense, Professor Randall and Mrs. Randall shaped my future career.

Growing up, it was the music, the style, it was what you saw, what you read, what you looked at, the vernacular that influenced you the most. I carried that, it was so important to me.

Well, if I had studied theater, I would not be making the kind of theater that I’m making. My theater came about by living. My first play that had text was written with another 13-year-old young man named Christopher Knowles who spent 11 years of his life in an institution for brain damaged children and was composing text that were arranged mathematically and had to do with geometry. I was fascinated by his mind and the way he was putting words together. Not only was it interesting to hear, but it was also very interesting to see. It wouldn’t be necessarily right for someone else, but for me it was something I was drawn to. It came about by living, not by reading a book.

I think that I followed the influences of the people whose style and cooking I admired. When I went to Restaurant Gordon Ramsay in the early days, it was the best and the most exciting cooking in the UK at that time. Later on I worked with Thomas Keller and Alain Ducasse and eventually I chose to go to work in Le Louis XV because when I set foot in the kitchen, I just knew it was for me. I think you can see all of those influences in the techniques and the flavors that I use: there’s a real purity to the way that we cook and a real natural process here at my restaurant, Core, that always stayed with me from my time at Alain Ducasse.

Eric Idle’s Always Look on the Bright Side of Life. That’s me, really.

Specialisation leads to extinction. We are learning more and more but about less and less, and one day we will know everything about nothing. There is nothing wrong with being a populist. It does not have to mean dumbing down, as people think.

Foolhardiness. I wrote two chapters and a synopsis, sent it off to a publisher, and it sold. That's what emboldened me to continue.

Losing the people I love.

I try to be a Sherlock Holmes of botany. It's not enough to enjoy plants – I want to know why they are wilting, to work things out.

Having a family can be a rude awakening for some people but it wasn't like that for me. I've absolutely loved it and I still do. I've got two daughters, Polly and Camilla, in their late 20s now. You get these people who say, "Wait for the terrible twos," and, yes, they've had the odd flounce, but they've got increasingly joyful to be around. My wife Alice and I are very close to them and value their company hugely.