I tend to score with songs from Western pop music.

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.

What you do is take the power [popularity] gives you - which is very temporary and minor but significant - and use it. The danger is that you use it on a vanity project that no one wants to watch.

When you're in zero gravity everything moves at the same speed and nothing stops it. If you throw something it travels forever but it still travels at the speed you threw it at. To make it plausible, movies have chosen to show it in slow motion.

The extraordinary thing about India is that it's such a family place. It's full of families everywhere.

I have this theory that your first film is always your best film in some way. I always try to get back to that moment when you're not relying on things you've done before.

Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.