Slum Voyeurism?

For me, the slums were so extraordinary. This is something that's very difficult to convey. I think when you go, if you don't know the city, as I didn't, part of you expects abject poverty. And what you find, of course, is an extraordinary energy of life there. People on all sorts of levels are all working, doing bits of business. You sense a kind of resilience against all odds. It's really breathtaking. As a filmmaker, I wanted to try and capture that energy, as well as show the circumstances in which people are forced to live. But despite that [the people] are extraordinary. I hesitate to use the word inspiring because you would be foolish to use that word about it, but on a human level, it is inspiring. If we could all live our lives as resourcefully as people with so little do! Whereas we [in the developed world] live in such luxury, yet complain about things and moan about things. There are people who are making the most of themselves in very limited circumstances.

Do you worry that the movie will face a stronger backlash in India? Have you taken any legal precautions?
No, not legal. Our priority at the moment is the children, and what they've been exposed to.

The child actors?
Yes, the young actors, especially the two that come from very poor backgrounds. We are working hard to try to protect them both. We have been for a long time, in terms of their long-term educational plan, but also what's happening now with the press following them. I also worry about any kind of violence, anybody getting hurt. In terms of furor, criticism, debate, you realize that part of your responsibilities as a very privileged person, as a filmmaker, is to stand up and be counted if you're proud of the film. You listen to what people have to say about it, and I'm proud to do that.

How long did you spend in Mumbai?
I spent about a year there, and was there permanently for eight months: five months preparation and then approximately three months filming. As soon as you touch India, specifically Mumbai, you feel electric, in good ways and bad ways. A pulse just charges through you. That hasn't changed since we started the film. I feel more alive than I've ever felt in my career.

It sounds like India had a huge impact on you. Can you just walk away from it?
Well, you can get on a plane, but you can't walk away from it. It's always going to be with you.

Do you think you will make another movie set in India?
I would love to make a thriller in the city. We made basically a picaresque film with elements of a thriller, romance, comedy. But all the time you're there, you're thinking, this would be the most extraordinary place for a thriller. Some of my favorite films actually used that element of the city; my three favorite films are "Satya," "Company" and "Black Friday." So I would love to do that. I don't think I'll do it next—it probably wouldn't be wise for me to do it next. But I would love to do it. I've begun talking to a couple of people about that idea.

Do you have your Oscar speech prepared in case you win?
[Laughs.] This is a wonderful opportunity: because the film features Benjamin Franklin—he's in the bit where the kid gets the [$100] note—I can use his great quote, that "Nothing is certain in life except death and taxes." To which I would add, "and law cases and protests." We've had an extraordinary reception and been given some extraordinary awards. You have to make sure that you thank the right people, but that comes from your heart, really, rather than too much preparation. So, no.