I've met Shah Rukh a couple of times. He had even dropped by on the sets of 'Agent Vinod'.
Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.
For thrillers, it's especially difficult to carve out a good trailer.
What you see in my script may not be what's in the film. Sometimes it's a very scary thing, when I have to shoot in the morning and the scene's not good enough, and it's only me there, and there's no signal to even call the others and say, think of a better line.
I do not think that when I write a female character, I intend to reflect my thoughts on gender equality, but I always make sure that my female character is not decorative, they are human, they are good, bad, complex and close to reality.
My women characters should not exist only to play the 'love interest' of a male character.
My idea is to write a story where every character is well etched out, irrespective of their gender. Because they all are human beings and stories are on the situation and human mind.
It is unlike the quintessential thriller where someone is up to something and the audience is speculating. 'Johnny Gaddaar' is the opposite of a thriller. In this case, the audience knows right from the outset what transpires and who the likely culprit is. It is a suspense caper.
Some of our best writers are self taught. Screenwriting is a combo of craft and art. The craft part can be taught, about how to be visual and economical with scenes. However, finally it's the individuality of the writer that will come into play.
On a serious note, I just enjoy exploring the unconventional. I like Alfred Hitchcock; I actually grew up watching his films. A thriller gives you much more scope of exhibiting creativity in terms of playing with the camera and sound, as against a typical love story.