I don't start a film with the heroine but with the cinema subject. If there is a woman in the story, she has to be of a particular type. It's not as if I start with Madhuri Dixit and then think what kind of film.
When I write an original story I write about people I know first-hand and situations I'm familiar with. I don't write stories about the nineteenth century.
What is attempted in these film is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.
I was interested in both Western and Indian classical music.
I had developed this habit of writing scenarios as a hobby. I would find out which stories had been sold to be made into films and I would write my own treatment and then compare it.
