Images also help me find and realise ideas. I look at hundreds of very different, contrasting images and I pinch details from them, rather like people who eat from other people`s plates.
As a rule, with me an unfinished [idea] is a thing that might as well be rubbed out. It's better, if there's something good in it that I might make use of elsewhere, to leave it at the back of my mind than on paper in a drawer. If I leave it in a drawer it remains the same thing but if it's in the memory it becomes transformed into something else.
We depend on our surroundings obliquely to embody the moods and ideas we respect and then to remind us of them. We look to our buildings to hold us, like a kind of psychological mould, to a helpful vision of ourselves. We arrange around us material forms which communicate to us what we need — but are at constant risk of forgetting what we need — within. We turn to wallpaper, benches, paintings and streets to staunch the disappearance of our true selves.
Faced with a world of "modern ideas" which would like to banish everyone into a corner and a "specialty," a philosopher, if there could be a philosopher these days, would be compelled to establish the greatness of mankind, the idea of "greatness," on the basis of his own particular extensive range and multiplicity, his own totality in the midst of diversity.
My idea of village SWARAJ is that is a complete republic, independent of its neighbors for its own vital wants, and yet interdependent for many others which dependence is a necessity.
My advice to female directors is not to wait until you feel like your ideas have been pre-certified or until you think you've gotten some approval for them. Then it's too late! Follow your gut. That's hard to do, but the only way to be original.