I sense a kind of fear of writing black or Asian characters from non-ethnic writers, who perhaps feel that they don't know the culture and therefore can't write about it. By and large, if there's an Asian character, I might get a call. But if the character is called 'Philip,' the chances are I won't.
I was far too embarrassed to share the experience of Indian food at school. As a kid, you're desperate to fit in, to assimilate in some way, and everything about me stood out.
It always interested me that 'Goodness Gracious Me' and 'The Kumars,' when shown around the world, were referred to as British comedy. It was only here that they were referred to as Asian comedy, even though I always felt it was very British in its humour and structure.
We lived above my father's launderette. Both my parents ran the launderette, but my father was also a factory supervisor, and my mum worked part-time in an accounts office.
When we created 'Goodness Gracious Me,' it was quoting 'Python' and Woody Allen lines that really bonded the writers, and the 'Spamalot' material is so utterly, wonderfully surreal that it hasn't dated.
I have issues with inheritance tax, particularly coming from a migrant family. My dad has worked incredibly hard all his life, so it seems odd to me that someone who has gone through that experience and has managed to save then gets taxed for dying.
I started working myself from about 14, really, so I wasn't a burden on my family. I did a paper round and a milk round. When I was 15 or 16, I worked in a supermarket on Saturdays stacking shelves, and then every summer I temped, right through university until my working days started.
I went to a psychotherapist for a year and a bit, and it was fantastic. I went in with a very clear question: I couldn't work out why I behaved in a certain way in certain situations, and I got that answered.
I'm sure I went through a stage when I resented being Indian because in every other manner, in terms of cultural reference points and vocabulary and all the rest of it, I was way ahead of everybody else - so the one thing that set me back was being Indian. And I couldn't do anything about it.
I've always felt I had to prove myself, and now it has become second nature. When I first went to university, I took lodgings with a woman who said, 'What are the chances of you staining my pans?' I said, 'I don't think I understand the question...' and she said, 'When you cook your curries.'
If I go anywhere where there are people who vaguely look like me, there is always that feeling of, 'Actually I do look quite similar to everyone else.' At moments like that, I become very, very British. My accent gets more clipped, and I stride around as if I've got an empire.
My mother had been an English teacher in India before she came to the U.K., and she taught me to read early on - not only in English, but in Hindi, too. My teachers didn't like the fact that I was reading more quickly than they were teaching, and as a consequence, I would sometimes get bored in class.
On a radio drama, I'd like to feel that I had just as much chance of playing Mr. Darcy as anyone else because I can sound like him, yet many radio producers find it very difficult to extend their imaginations to employing anyone who's non-white.
One of the benefits for me of starting late in this business is I realised that if acting was the only thing I could do, I would struggle, so I always wrote as well.
Theatre has always been better disposed to colourblind casting than telly or film. Given that most television is contemporary, and it reaches 56 million people, I am disappointed there still isn't more representation.
