Growing up, my mother was a very strong woman who was not very big, about 5'1'', but boy, you grabbed a tiger by the tail if you messed with her. I know grown men that messed with her, and through her wit and intelligence and her no-quit, she never lost a fight. That's very influential on me when I'm telling stories. I love exploring that.

I look for absurdly simple plots so that I can simply focus on the characters. Having an understanding of what dialogue's easy to say and hard to say - I think that that's helpful, too.

The movies I make - the goal isn't a mass audience. They're not expensive films. So the attempt is to reach a much more limited audience - one would say an audience that enjoys films that challenge them emotionally and intellectually.

Part of our job as storytellers is to show people pockets of the world that they don't know. The more we understand, the more we don't judge.

Most of the conversation about how geopolitics is changing in the 21st century focuses on the shift from west to east and on how we're moving from the bipolar power equation of the Cold War to a new bipolar relationship, that of the U.S. and China, that determines the mood music for everyone else.

Actually I'd had a certain amount of experience in Europe in the inter-war period, as a banker, and I was also a member of the Board of Directors of the International Chamber of Commerce.

If the white man wants to live in peace with the Indian he can live in peace.

In the 1970s, we got a Labor government that put more emphasis on trade with Asia; the Vietnam war ended, and refugees were coming in. We were more part of Asia than America and the rest of the world. There was the proximity, for a start - all these countries and cultures just north of us. It just made sense that that's what we were part of.