Actually, bizarrely, in America, I get more appreciation from the odd, unusual stuff I've done, almost because I'm not, if you like, famous in America as I am in England.
I was the editor of the school newspaper and in drama club and choir, so I was not a popular girl in the traditional sense, but I think I was known for being relatively scathing.
I've never changed the way I live. I still walk the streets; I don't give a damn. And everyone's very nice to me. But this new idea of being famous for no reason at all? I can't actually get my head round it.
I've become completely well adjusted to being a cult figure.
The show I did in England catered to a broad range of people. I like that. I don't want nouveau cult status, though I know we've got that sort of audience in the states.
When I wrote 'The Rozabal Line,' I had no preconceived notions of what a commercial bestseller should be. I have always viewed 'The Rozabal Line' as my first love and probably my best work. The fact, however, is that it is my least read work.
It's an uncommon phenomenon, but Mahesh's popularity has never been dictated by the success of his films.
I've had pieces in my catalog that kind of amble along, that really never go anywhere, but are known and liked.
