Quotes from Gurinder Chadha

'Up the Junction' really made me understand the power of cinema to create a vivid sense of a community. When I went on to make 'Bhaji on the Beach,' it was this sense I tried to recreate.

I know it sounds really weedy, but we are all children who seek approval from our parents.

Indian films never show cows. When you go to India, the most noticeable thing is the cows. Everywhere you look, there's cows walking around! Just by introducing the idea of animals - livestock walking around - suddenly makes it more real.

One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.

I am not afraid to be a pioneer. When a door is ajar, you need to open it fully. And once you are in that room, you need to see what other doors there might be and where they might lead.

I saw 'Billy Elliot' again, and what I loved about it was the way it had become a social document, a reminder of what happened with the mining communities in the '80s. And I thought, 'Everyone keeps wanting me to make a sequel to 'Beckham,' but maybe a musical remake is the answer, embracing all this theatricality.'

I've been wanting for a long time to create a show which allowed me to show the British Asian community in a truly three-dimensional way, exploring the relationships between generations and what it means to be British and Asian as values become fluid.

I tell stories about people audiences might think they have nothing in common with, then they emotionally connect with them and find they're not different at all.

I love 'I'm British But...' It's such a sweet, innocent, open-hearted film, and it has the sort of openness that I still aspire to with everything I do. It wears its heart, head, everything on its sleeve.

On the outside, America looks like this great melting pot, but on the inside, there's this segregation in American cinema. Why does a Latino film have to be for Latinos? Why is a black film just for black people? Why?

DVDs have their place, but the cinema is a tangible, emotional experience that I would hate my children not to have.

My pregnancy was great, but the last three weeks were manic because my blood pressure was going up and up.

Southall Broadway, in west London, has been a constant part of my life from the day I arrived in England as a baby from Kenya in 1962. My parents rented a room in one of the terraces off the Broadway, and I've seen it change from an ordinary English high street to what is now 'Little India.' with a confident Asian community.

Australians have a fantastic sense of humour and incredible taste. I was there for 'Bend It Like Beckham,' and I had a great time. Aussies loved it, and I think 'Bride & Prejudice' is going to do well, too, because it's all about having a good time.

I'm absolutely delighted because I'm part of the process that has made Asians very much part of the mainstream fabric of Britain, whereas, when I first started, we were completely on the margin.

Once I started writing the screenplay of 'Bride & Prejudice,' I was convinced Jane Austen was a Punjabi in her previous birth.

Constantly, I've been asked to make a sequel to 'Beckham.' However, I thought a West End show was the proper way to go. Once we made the show, I wanted to make sure that I embraced the West End genre rather than just put the film on stage.

When you're told that as a filmmaker of colour, the stories you want to tell aren't commercial enough, then you start thinking, 'I'm going to tell them anyway.'

I use humour a lot because humour is a great equaliser. Everyone laughs at the same things if you set them up properly, and that makes everybody equal. At the end of the day, I see my job as being there to entertain as well as inform and provoke.

Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.

It's not simply that British films do well at the box office and generate revenue, it's that they provide a window to the world of what Britain and its culture is about.

Writing film scripts is the hardest thing in the world. A script has to go to five or six drafts, and you need the feedback of other people and to keep coming back with a fresh eye, honing it down.

If you want to be a director, work with writers and find different ways of telling stories with film, then do a course. This way you can consolidate what you've learnt and use the course to go further.

One of the things I want to do with 'Desi Rascals' is go a bit deeper into the characters and their family lives and have a bit more heart and a bit more inter-generational story-telling, so it's not all about young people.