We talk about feelings. And about sex. And about bodies, and their gratification, violation, repair, decoration, deferred, maybe permanently deferred, mortality. Feelings are a bodily thing, and respecting them is called, is, kindness.
If you want to teach women to be great writers, you should show them the best, and the best was often done by men. It was more often done by men than by women, if we're going to be truthful.
I think the virtue I prize above all others is curiosity. If you look really hard at almost anybody, and try to see why they're doing what they're doing, taking a dig at them ceases to be what you want to do even if you hate them.
I watch a lot of sport on television. I only watch certain sports, and I only watch them live - I don't think I've ever been able to watch a replay of a match or game of which the result was already decided. I feel bound to cheat and look up what can be looked up.
Where would we be without inhibitions? They're quite useful things when you look at some of the things humans do if they lose them.
I think my characters with my fingers, I think my characters with my guts. But when I say I think them, that is what I do, I feel them with the sympathetic neurons and I work out with my brain what it is that I am trying to write about, or I can't do it.
America is full of readers of all different sorts who love books in many different ways, and I keep meeting them. And I think editors should look after them, and make less effort to please people who don't actually like books.
I'm not trying to be something that I'm not, and I think a lot of people can relate to that. They want something that's real, and I think I give that to them.
I don't want to abandon one work for the other, and I don't think I need to sacrifice anything to put my all into either one of them.
There must be a story within him/her that wants to come out. That's the reason why 'Dil Chahta Hai,' 'Lagaan,' and 'Rang De Basanti' worked so well: Ashutosh, Farhan, and Rakesh had a story inside them. It's very important that the director should have the fire in the belly to tell the story.
