There are hurdles, there are handicaps, hardships you have to face in life, but you hope for a great future.

India has the purity, the innocence. India knows what it wants. There is a direction. It has so much to offer.

An outsider can see some things much better.

But it is not conscious strategy to go for unconventional roles.

Everyone starts a film thinking that it would be a big hit. But sometimes it goes haywire.

I have lot of respect of filmmakers who work in Telugu and Tamil.

I ran away from my house when I was about 12 years old to audition for a film.

In India I've been to all the award functions, but that was in Hindi; now it's in English so it's a much bigger scale.

Instead of focusing on my looks I focus on the character that I am playing.

Not exactly but I get inspiration from stories which are unconventional.

If you make a feelgood film which is complete candyfloss, where everybody is good and everything is beautiful and hunky dory, it won't appeal to the audience.

One must not believe any of those mythologies about oneself as an artist.

One of the great currents in the contemporary experience of art is that it seems to come out of the experience of the author.

Re-investing in one's own little moments of insight is very important.

Red, of course, is the colour of the interior of our bodies. In a way it's inside out, red.

Sculpture occupies the same space as your body.

The eye is a very quick instrument, much quicker than the ear. The eye gets it immediately.

The idea is that the object has a language unto itself.

The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.

There's something imminent in the work, but the circle is only completed by the viewer.