I love people who have really long locs. I love how they can go in different directions or pile it up into a big crown on the head.
My work is not directly about the social or political.
Everything is discursive opinion instead of direct experience.
Probably all the attention to poetry results in some value, though the attention is more often directed to lesser than to greater values.
That's a wonderful change that's taken place, and so most poetry today is published, if not directly by the person, certainly by the enterprise of the poet himself, working with his friends.
I joined the Madras Christian College but dropped out after three months. Telugu music director Ramesh Naidu asked me to assist him, and I did so for over a year. I did think of rejoining college, but by then, I was discovering the musician in me. I worked with Illaya Raja and Raj Koti and soon shifted to commercials. This led to movie offers.
There are things I take sides about, like capital punishment, which it seems to me there is only one side about: it is evil. But there are two or three sides to sexual harassment, and the moment you get into particular cases, there is injustice in every conceivable direction. It's a mess.
I have been connected with the Niels Bohr Institute since the completion of my university studies, first as a research fellow and, from 1956, as a professor of physics at the University of Copenhagen. After the death of my father in 1962, I followed him as director of the Institute until 1970.
There must be a story within him/her that wants to come out. That's the reason why 'Dil Chahta Hai,' 'Lagaan,' and 'Rang De Basanti' worked so well: Ashutosh, Farhan, and Rakesh had a story inside them. It's very important that the director should have the fire in the belly to tell the story.
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.