Actors want to impress at the beginning, so you take advantage of that by suddenly saying, 'Right, you're here for two weeks.' What you're doing is creating a siege mentality.

My kids are too old to remember this now but, when they were much younger, I swore to them if this miracle ever happened, I would receive it in the spirit of Tigger from Winnie the Pooh, and thats what that was.

I tend to score with songs from Western pop music.

It's not so much what you learn about Mumbai, it's what you learn about yourself, really. It's a funny old hippie thing, but it's true as well. You find out a lot about yourself and your tolerance, and about your inclusiveness.

I've sort of escaped my background, as people often do, through art and culture.

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.