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.

Although I behave in a quite reserved way in my personal life, give me a stage and I'll be as flamboyant as I can.

Everybody expects you to be qualified to talk about your films, but in a way, you're the least qualified person to talk about them. When you're finished, you don't watch them at all.

That survival instinct, that will to live, that need to get back to life again, is more powerful than any consideration of taste, decency, politeness, manners, civility. Anything. It's such a powerful force.

There's lots of things that can be solved with cash. And there's occasional things that can't be solved with cash, which become a bureaucratic nightmare for some reason, and there's no distinction between the two.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.

I mean suspense, twists are almost impossible these days.