Everything is discursive opinion instead of direct experience.


Besides the actual reading in class of many poems, I would suggest you do two things: first, while teaching everything you can and keeping free of it, teach that poetry is a mode of discourse that differs from logical exposition.

I want young Indian composers to be able to do more than just film music. I want to give them the skills that will enable them to create their own palette of sounds instead of having to write formulaic music. It doesn't matter if they become sound engineers, producers, composers or performers - I want them to be as imaginative as they like.

As a little girl, I didn't like stories about little girls. I liked stories about dragons and beasts and princes and princesses and fear and terror and the Four Musketeers and almost anything other than nice little girls making moral decisions about whether to tell the teacher about what the other little girl did or did not do.

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.

Essentially, it is the director who is the creative head of a film. The final authority on all decisions lies with the director. That is how it should be. And then other team members can give their creative inputs.

My father, I think he played percussion in high school. My mother played piano when she was very young, but only for a brief while. I don't think she had a great teacher. In any case, neither of them were really into music at a young age.

I grew up playing hockey and some football, and I always think about the first time you walk into the locker room on a new team. The cliques are looking at you funny, and you make one friend, but then they're trying to stab you in the back.