I think the starting point has changed for me over the years. I think with Court , The Disciple and the short film, it was the setting, the world that got me interested. It was very sort of driven by fascination and curiosity, and a very unconditional kind of curiosity, where it’s like, “Let’s just immerse ourselves into this world that we have no idea about.” And hopefully a plot, a certain theme or certain characters will evolve and emerge from there. And now after The Disciple , which takes place in the Indian classical music scene, I want to work even more from sort of an inside-out manner, where it’s the themes, and it’s my concerns, and my worldview that comes first. But then again, there’s no one rule, right? It’s always going to be different for every story, for every film.

Sometimes I start a story with just a feeling. Often it is a place or an image. A house, a tree, a mountain. A sentence or a phrase. Sometimes it is like a line of music, a tone. Sometimes it is a character. It’s happened a couple of times that I start from one of those places and work for a few days or weeks and one morning I will wake up with a sentence that makes me realize that one of my new characters could be related to one of the characters I wrote about 45 stories ago. Something in my unconscious mind will weave those people together and put them in the same place. Sometimes I find a way to cast an image or tone, attach it to a character I’ve already worked with. Something in me wants to connect layers over time… not just families but friendships over time, over generations. I think a lot about how we build community over time or place. Sometimes it seems that I can’t work on a project really hard without connecting it to this gigantic web that I constructed over the years.

Just circumstance. I was running a small theatre group and somebody didn’t deliver a play.

A typical day is probably lots of meetings and stuff. But if it’s an idea that we’re developing, what might happen is I might talk to some of the people in the lab, maybe have them come in the office and brainstorm with them, and say, “Well, here’s a problem that we need to solve,” or need to solve better. So just as an example, when I had this idea that we could create better materials, I got about four or five people together with different backgrounds — chemistry, engineering, safety, toxicology — and we started putting chemical structures on the blackboard and say, “Well, this might work,” or “This might not be safe,” and ended up with certain structures that we thought would be good. And then, one of the guys would go out and try to make those structures, and we’d go from there.

"How to Live" feels like such a masterpiece for me that if I did nothing else with my whole life, but write that one book, it still feels like it would have been a life well lived.

I disagree with the question.…I think too many people think that way. They think that getting something is going to improve their life. I challenge anybody who thinks that way, which almost everybody does, to try to flip it on yourself and look around you and think, “What things could I get rid of around me here that would positively influence my life?”

My oldest friend, in three words, would say "My friend Derek." How's that for a cop-out answer?

14. I always played music until then, just like piano lessons. Viola, violin and clarinet as a kid. But at 14 I started playing guitar and I was like, “this is it. This is what I want”. I am so thankful that I had this single mission from the age of 14 till 29. For 15 years of my life I wanted nothing but to be a great musician.

20 years ago i read a brilliant book called How Buildings Learn by Stuart Brand. Again, I highly recommend this book. In fact, I think it's my most gifted book. I love this book. I've read it so many times.

Kevin Kelly is one of my top five heroes in my life. I think of him all the time. He's a very deliberate role model for me. I want to be like Kevin Kelly. He's a straight up hero.