Having found suitable men, our next problem was to keep them and nurture them until they were ready. To do that I had to give them work of significance to do, and not treat them as apprentices. As I allotted them important tasks, some of the old guard became apprehensive for their own positions. They saw no reason why these bright, young, energetic men who had not contributed to the struggle, should come in and displace them before they were ready to go.

For me, making architecture is the same as thinking. For more than thirty years, I have been making architecture by going back and forth between ideals and reality, between the fictive and the substantive. My hope has been and continues to be, not only to solve realistic problems, but also to pursue the ideal by overlaying speculative imaginings.

What is rewarding about the priesthood is, one, that you have an incredible privilege of being privy to some of the most extraordinary things about people. I mean, as their parish priest, you visit people who are sick, say, on their death bed and they tell you things that they probably have not shared with any other person. You are privileged to bring the Holy Sacrament to people at a time when they are probably at their lowest. But you also have the privilege of meeting up with people at their moment of great joy, when they are getting married, or when they have a child baptized.

And I acted when the actors didn’t show up. As the director, I knew all the lines and I took over more times than I wanted to. I didn’t know much about directing, but I was the only one willing to do it. Someone had looked around and said, “Who’s going to be the director?” I said, “I will.” I said that because I knew my way around the library. So I went to look for a book on how to direct a play. I found one called The Fundamentals of Play Directing and checked it out. I didn’t understand anything in it. It was all about form and mass and balance. I flipped through the book and there in Appendix A I discovered what to do on the first day of rehearsal. It said, “Read the play.” So I went to the first rehearsal very confidently and I said, “Okay, this is what we’re going to do. We’re going to read the play.” We did that. Now what? I hadn’t got to Appendix B. So I said, “Let’s read the play again.” That night I went back to the book and sort of figured out what to do from that point on.

Delivering papers in the freezing cold for my granny. I got paid in Panini football stickers, so it wasn’t all bad.

The real problem is that the pain actually gets worse. You have created massive acidosis in your muscles so there is a huge quantity of hydrogen ions and the pH in your blood changes. For 15 minutes you lie there thinking, "God, this is really bad. I'm going to die. It has never been this bad before." And every time you think exactly the same thing. You have to lie to yourself by saying you're not doing a second set. Then, without moving for 15 minutes, almost to the second, I would roll over and think, "OK, I think I can do a second set now." During those sessions I have never felt more alive or so close to death.

I just like to get to the start line knowing there was nothing else I could have done, that there wasn't a single session I didn't give 100 per cent. The physical certainty means you can relax mentally and let the performance come.

A road track car, a Porsche GT3. I’ve done the 24-hour race in Le Mans, which was a dream come true.

I don't enjoy it but I know that I have got to live with [myself] if I'm not going to give it 100 per cent. The key thing is getting to the start line and knowing that I couldn't have done any more, that I didn't back off. You accept the pain, because if you didn't there would always be that element of doubt.

The London terror attack on 7/7 in 2005. I was in London the day before for the Olympic bid. When we won I thought, “I should stay over – it will be a great party tonight.” But I decided to go back to Manchester for training. Bombs went off on what would have been my route to the station.