You really have to soak up the culture of the people to get it right. If you're making a fiction film, it's entertainment, but you want it to be as real as possible.
I didn't go to film school, I went to acting school.
The film is a romance with songs and dances, aimed at a family audience.
We're making a commercial Hindi film catering to all types of audiences.
Then in college I became obsessed with film, and wanted to be part of that.
I came to New York to be an actor and I became a film producer first.
In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.
Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.
For me the most moving moment came when I first started working on 2001. I was already in awe of him, and he had very much already become Stanley Kubrick by the time the film started.
Kubrick never explained the ending to us, or what his intentions were. He didn't intend for it to be a predictable film.
Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.
Film scores are often based on short themes, and it helps if you've got some way of developing these themes and making them sometimes last 4 minutes and sometimes last 40 seconds. One ends up doing it subconsciously.
You do a James Bond film, you're being part of an anachronism, a tradition.
If you're doing a drama that has some comedic elements you can't forget that it's primarily a very serious film that has some light relief.
I prefer film to the stage. I always like the rehearsal better than I like performing.