How does a new work begin for you?

That blank sheet of paper stage is one of the hardest stages, and one of the reasons it’s hard is because at that stage there’s nobody counting on you but yourself. Today it’s easy because we’ve got millions of customers counting on us, and thousands of investors counting on us, and thousands of employees all counting on each other. In that beginning stage it’s really just you, and you can quit any time. Nobody is going to care, so you set about doing the simple things first.

When I’m writing a book, I start gathering material for years before I start writing it. I will find newspaper clippings, overheard dialogue, images that come to my head, sort of vague scenes from a plot, and I just make a huge, messy list of those things. I’m doing that for the next book, and I’ve been doing it for a long time, and I’m still not even close to being ready to start. Maybe in the fall I’ll start it, but I’m not on the cusp of starting it really. I’m just gathering that raw material. And what deserves to go in that document? It’s hard to say, but I know that things come together. I know that this article about Chinese surveillance definitely belongs in the same place with my son telling me about this dream he had. These are somehow connected. I have no idea how, but it’s just a feeling that I have, like an instinct. The Need and The Beautiful Bureaucrat very much began that way.

No. I think when I first started writing songs, I was approaching it more literally or narratively in the beginning, but through observing some of my close friends and some of my heroes write, I pretty quickly shifted into at least starting the process from a more subconscious space, or a more instinctual space. And I’ve really come to believe that it’s all there. It’s all already there, and if you can just kind of open the window and step out of the way, at least at the beginning of the process, with your subconscious mind, you can unearth so much raw material, and then go back and sift through that and shape it.

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.

To be honest, it’s always different. I never know what I’m going to do when I get a new project! Sometimes I’m going to get a bunch of trace paper, I’ll make a silhouette and then just go through variations until I hit something nice. Maybe we put those sketches up on the wall. Or maybe I’m going to print the full-scale silhouette of this thing, or I’ll do it in 3D modeling… And on and on. The thing that’s consistent when I am in creation mode is that I have to be pretty particular about my schedule. I have to stay spiritually in tune. Exercise is really important for me because truth be told, I can have a lot of nervous energy that comes out at the beginning of any project, like, I have no idea how I’m gonna do this one! I don’t know what the process is going to be for this one, I don’t know how long it’s gonna take.

We often start with the physical place itself, and with stories about that place. Deepen that research. I’m really interested in how places are constructed beyond a parochial idea of local, like what kind of stories, and what kind of movements, and what kind of trajectories are tied to a particular place. Then, once we start looking at a story of place, it somehow very often becomes a story about migration.