There is more to Indian cinema than just Bollywood. I think regional cinema, especially Tamil and Marathi cinema, are exploring some really bold themes.
You can make a film in a way that, when the audience leaves the theater, they leave with certain answers in their head. But when you leave them with answers, you interrupt the process of thinking. If, instead, you raise questions about the themes and the story, this means that the audience is on its way to start thinking.
I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.
Working on the themes I was interested in, through the context of a particular family, was a very economical way of dealing with a lot of the issues I was concerned with.
From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays.
There are many wonderful themes from 'Moana' that people discover, and I also hope they're inspired to go on their own journeys and to learn more about the Polynesian culture, because we're pretty great! I'm so proud of the people the filmmakers talked to - the Oceanic Trust.
One of my biggest Disney influences in terms of world-building on this record was a background painter named Eyvind Earle, who was working in the '50s. He would make hyper-modern shapes that were sharp retellings of pastoral themes.
If someone were to call me 'the next Amy Tan,' it would not be because - or not primarily because - we have similar themes or subjects or styles. Let's be honest: it would be because we are both Chinese American.