I was a nursery school teacher, and I worked with youth groups. I loved that job. It was exhausting, but you got a lot back - all their purity and insight and innocence is so on the surface, and they're so unrepressed; they'd really scream at you and then give you a massive kiss.

When I was young, I wanted to be a writer or painter. I was always writing stories, and I excelled at drawing. My teachers encouraged my art work. When I was 9 or 10, I began learning piano and started writing music.

When I was writing my dissertation, I wrote about Freud and the process of sublimation, which is when you learn to stop breast-feeding, or stop going to the toilet whenever you want to. It's about learning to repress a desire for instant gratification.

In the music industry, intelligence in women is undervalued.

If you get to No 1, people say, 'But you didn't win a Grand Slam.' You cannot win, because you can say the same the other way round. In my opinion, both are really important. If you want to finish your career really happy with what you did, you have to win both.

I'm lucky that I do something I love, and I am proud, as I think it's a positive message to give to young women: if you want to have a career and be married with children, then you can. It's full-on, but it's doable.

No one's career is full of highs. Somewhere down the line you are going to get kicked where it hurts and it's how you deal with that.

No doubt, the most important thing in my career was my time with Mr. Bergman, with whom I worked in so many films and also in so many stage productions, so it was a continuous working relationship and also a friendship, of course, that lasted for so many years.