My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because that city seemed to me the centre of paralysis.
I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
I once heard a learned man say, "Every evil has its remedy, except folly. To reprimand an obstinate fool or to preach to a dolt is like writing upon the water. Christ healed the blind, the halt, the palsied, and the leprous. But the fool He could not cure."
I had neither expert aid nor advice. I studied no courses in writing; until a year or so ago, I never read a book by anybody advising writers how to write.
To have come on all this new world of writing, with time to read in a city like Paris where there was a way of living well and working, no matter how poor you were, was like having a great treasure given to you.
The test of any good fiction is that you should care something for the characters; the good to succeed, the bad to fail. The trouble with most fiction is that you want them all to land in hell, together, as quickly as possible.
The principles of the Vedanta not only should be preached everywhere in India, but also outside. Our thought must enter into the make-up of the minds of every nation, not through writings, but through persons.