As the director of a film, as the story teller, you have to keep your voice alive.

To make films, you have to have something to say. To have something to say, you have to be a student of life. And to be a student of life, you have to be feeding yourself with what life, politics, society, and your family fuels you with.

New York City is home to so many people from so many places and the uniqueness of it is that you never feel a foreigner. English is almost hardly ever heard in the subway. In fact, it's weird.

It is shocking that the screen does not reflect the way the world is and the diversity in the world... What the world really looks like should be on screen, and it isn't.

Creative freedom is an imperative for me, but it doesn't really exist in a Hollywood game.

Christmas lights may be the loneliest thing for me, especially if you mix them up with reindeers and sleighs. I feel alone. I feel isolated. I feel I do not belong.

Middle-class Pakistani cultural life is what I've seen, what I know - they're not all screaming faceless mullahs. It's disturbing that in American films, the character on the other side is not even named.

From Vietnam's 'Deer Hunter' to Iraq, films are never about the person who has had his house destroyed.

Americans are not used to being bombed in their beds, but if you come from anywhere outside America, it's not highly unusual.

There's nothing universal about Indian families except that the family itself is deeply important across the country. It's sort of the fabric and anchor of our country.

With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.

I know what it's like to be in one place and dream of another. I also know what it's like to feel that nostalgia is a fairly useless thing because it is stasis.

For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.

I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.

I am an independent film-maker first and foremost. I have always cut my own cloth.

I am at home in many cultures. I live actively in three continents and I've done that for most of my life, so I just make films as I see the world, and that happens to speak to people. I do things that I want to do.

They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'

I listen to Ustad Vilayat Khan's 'Raga Khamaj' and 'Raga Jaijaiwanti' virtually every morning, a lot of Abdullah Ibrahim, Michael Kiwanuka, Savages, and contemporary Ugandan pop.

Truth is more peculiar than fiction. Life is really a startling place.

I think there's a level of ignorance, when, in the callowness of youth, you imagine that you are inventing the world for the first time. You imagine that your parents don't know what it feels like to fall in love.

India somehow constantly rivets and inspires me, and I feel very relieved to have come from this country which has a very 'lifeist' approach to living fully, no matter what one has or doesn't have.

I think, in terms of activism associated with my films, be it 'Salaam Baalak Trust' or 'Maisha,' taking the idea of cinema as a way to change people, I feel heartened. I am glad that we have impacted thousands of lives.

In Uganda, I am surrounded, unfortunately, by evangelicals; I can't bear it. Every night I hear the chants of Baptists urging people to be born again.

It took me three years to learn to dress in the American way, especially in winter. That was just like me. I barely wear socks even now.

I grew up in a very small town which is remote even by Indian standards. I always dreamed of the world.

You know, the sad thing of post-9/11, which was of course horrific, was that the city in which I felt completely at home for two decades, suddenly people like us - brown people - were looked at as the 'Others.'

I'm inspired by people that are marginal. I'm excited by their resilience.

The dignity of everyday life - the beauty of it, the attitude of it - is what I live around. And it is never on screen, and it is certainly never associated with Africa. If we see Africa at all, it is always used as a backdrop: a big blob of a continent rather than a specific street or a country or a place.

The film-school mantra is that if you don't tell your own stories, nobody will.

I don't want to say that we are the world in that we are not distinct from each other. I want to say that the humanity that is our foundation is common, but my culture, my beliefs, my values, what makes me sing and what makes me happy and the language I speak in and the relationships I have in the world are distinctive.

We have to realize only in communication, in real knowledge, in real reaching out, can there be an understanding that there's humanity everywhere, and that's what I'm trying to do.

Truth is much stranger than fiction and, often, much more powerful.

I immediately was captured by 'The Reluctant Fundamentalist.' It gave me a springboard into contemporary Pakistan and a dialogue between Pakistan and the rest of the world.

Katwe is fifteen minutes from my home. It's entirely about knowing it from the inside. For instance, the incredible vibrancy of style. Kampala is the center of used clothing in the world. Everyone dresses in secondhand clothes, but they look astonishing for it.

Every frame and every scene has to have an intention.

We never see the fancy schools with the blazers and ties in films about Africa! But, in fact, we too have class and elitism.

I'm the bullheaded type, and I really don't give up if I fall in love.

My close friends call me the bulldozer who never says no. I have never not made a film.

In America, we have so many movies and so much media about the Islamic world, the sub-continental world, but it's not a conversation, it's a monologue. It's always from one point of view. 'If we don't tell our own stories, no one will tell them' is my mantra.

I want to question what the outside is and who defines it. I often find those that are considered to be on the outside extremely inspiring.

I am Indian, and my home is Kampala. My world is already diverse. But films are financed by those who want to see themselves on screen, and it is a white male world. Still, it does feel like America is waking up. Let's hope it's the start of an avalanche.

I dream of living off the land completely - in vain, because the monkeys eat everything.

It's only at this age that I can say the word 'art' without flinching.

I am still attracted to stories about people who are considered to be on the outside of society. I still seek inspiration from those stories.

My films, no one else will do.

Humility is not a trait I often associate with America.

Never take no for answer, and try to make films that turn you on.

In our house we say 'adolescence' is a western word. We don't believe in it.

You have to want to be in the company of those you're making films about.

Bollywood actors are so set in what they want, and the way they want it. And why shouldn't they be? But it is not the same in Hollywood, because the love of the audience is not the same.