Even if things look very precise and very organized, chaos is always there. But I like the moment of chaos to be at the beginning. I cannot deal with the chaos at the end.
Gilmore Girls' felt very apart from everything else that was happening. I felt very lucky to be able to be on a show dealing with those issues. I was proud.
John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv.
Life was very simple. My parents had come from the North of England, which is a fairly rugged, bleak, hard-working part of England, and so there was not the expectation of luxury.
No matter how solid or structured or set you think you are, there is, you know, a very thin line keeping us all from sort of chaos, in some perspective. And you know, I don't view that really as a negative thing at all, but it just is the truth.
The one major disappointment I have is that I didn't get a hundred against India in India. I got lots of runs against India in England including a double hundred I am very proud of.
I don't know if I'd do well in a structured, corporate environment. I'm very open. I share everything. I don't care. I don't have anything to hide. I'm very transparent that way.
I am an artist and a writer, and I do think that one always places oneself in the picture to see where one fits. I left home when I was sixteen and lived in places where it was very easy for me to have fallen the other way. I could have been on the large convoy because I was a woman and I was alone. In India, that's not a joke. I could have ended up very, very badly. I'm lucky that I didn't.
I think the presence of caste in India, how the villages are geographically structured on caste lines, is very different from China. The presence of an egalitarian culture is striking in a Chinese village.
Democratic systems based on the concept of a homogeneous nation such as England are very definitely not applicable to heterogeneous countries such as India, and this simple fact is the root cause of India's constitutional ills.
I think that I have this core group of fans that fell in love with the character I played on Buffy and now they're following me to everything I do. They're very dedicated and loyal. I'm very lucky.
I don't do my hair very perfectly because I think it looks sexier when you don't have everything perfectly structured out.
The ratio of boys to girls is bad in three big countries in Asia: China, Vietnam, and India. It's worst in the north of India, where there's horrendous poverty. The number of girls in many of these places is so low that it has social consequences. You get young men without jobs and without women, and this leads to chaos and political danger. But the south of India is very different.
For me, filmmaking is an ongoing self-reflection process. I kind of push everything to the edge. I feel very exposed and fragile when I make a film. It's a process of dealing with loneliness. And it's also very dramatic - because while you are working on a film, you just realize how incapable you are of dealing with all these things. And you open yourself up, and it's like your heart is utterly exposed. And it's very tiring on a daily basis.
School is very important; it was very important for me. It gave me an enormous amount of confidence, especially at Yale where we were dealing with all the classics. In dealing with the classics, you are dealing with the very best.
Mum is from West Waterford, Dungarvan. She's a farmer's daughter. She's a nurse. She left home very young - I think she was 18 - and went off to train as a nurse in England. My dad is from India, just south of Mumbai. He was one of the first in his family to go to college, and he went to England in the '70s; he emigrated there.