In Mumbai, I feel like a stranger.
Bollywood is a different ballgame. I am quite used to Tamil and Telugu films.
Though I have an idea about the climax, it always changes when we start shooting.
I understand the angst of a filmmaker.
I write my scripts on a whim, without worrying about plot points and graphs.
I've portrayed cops as heroes for far too long, I think.
And I'm not homophobic.
The music I listen, the book I read, and the people I meet; these are some things that keeps me going.
Ranbir was my first choice for 'Ek Deewana Tha.' I tried to get in touch in with. Forget about meeting Ranbir. I couldn't even meet his secretary. Yes, even the secretary refused to meet me.
All the women close to me - my mother, sister, wife and friends - are strong and independent.
Generally, I feel I'm cast aside because of the kind of movies that I make.
It's just that I can write something nice is what motivates me.
Yennai Arindhaal' is perhaps the quickest film in my career.
If my tale has to revolve around a protagonist and there is action around him, I can only imagine him to be someone from the police or the Army.
I understand that bureaucracy, hierarchy and managing politics is not easy.
When people think I've lost it, I'll make 'Chennaiyil' and show them I've still got it.
I go straight into shooting with a script that's 80 per cent complete and I wait for my characters to grow on me before I finalise the climax.
If I could talk in only one language for the rest of my life, it'd be Tamil.
I'm not a big fan of fantasy; I'd rather watch 'Desperate Housewives' than 'Game of Thrones.'
How the audience as a collectivity feels about a movie is important.
