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 love that sense of change that you'd get in pop music every three minutes, every four minutes.

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.

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

Both of my sisters have been teachers and they used to say you get asked between 300 and 600 questions every day which you have to answer. That's exactly what directing is. And the vast majority of those questions are not very interesting really, but they need somebody to make a decision - a good one or a bad one - and they follow it.

Clearly, you can think back and see that a character has had enormous odds stacked against him and has to overcome them. It's usually a guy, I'm afraid. But then you're setting up a new movie you have amnesia about these meetings, when you've discussed it more analytically.