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But Basquiat is the first thing I've done that I'm really proud of.

My connection with Basquiat was really in Los Angeles, which really was a whole different world to what he was experiencing in New York.

For me, it is very important to believe in the kind of movies I do. 'Rang De Basanti' made me feel good about Indian cinema. The movie instilled in me a confidence so strong, that I wanted to be a part of the revolution in Bollywood.

For three hundred years we have had our focus on the individual. We have distinguished him from the objective world as the Middle Ages did not think of doing. We have given him the world and the universe as a playground for exploration and discovery.

We must, however, acknowledge, as it seems to me, that man with all his noble qualities... still bears in his bodily frame the indelible stamp of his lowly origin.

For mine, the villains of the piece were always important. In a traditional sense, that's always an important role.

What matters poverty? What matters anything to him who is enamoured of our art? Does he not carry in himself every joy and every beauty?

We could see that he was a charismatic guy who jumps over the moon and is very competitive, but nobody could have predicted what he would become to our culture.

What we see changes who we are.

I asked Dalai Lama the most important question that I think you could ask - if he had ever seen Caddyshack.