If you are known to do something well, people want to see you do that. But what you choose to do is up to you. After 'Delhi Belly,' I got some 40 scripts - some on the same lines as 'Delhi Belly.' So, I guess people only get stereotyped if they want to.
In my early days, I didn't know what a good film or a bad film was, and I was trying to make some money. As it happens I was lucky. I made some good films.
I'm super comfortable with TV, especially in my situation where I pretty much have 100% freedom. That's the ideal, and I've been fortunate in TV to have pretty much everything I've done be at least somewhat successful.
I could have signed 10 films after 'Jai Ho,' but those films would have done nothing for me. I wanted to wait for the right project.
I just like the process of taking something written on a sheet of paper and giving it life and shape. I like the collaborative process of filmmaking, which is all simply to say that I love my work and I would continue to look for things that have the potential to be engaging and successful.
It's not like I wakeup everyday and say, 'You know what, I need to do a horror film.' Statistically it's only like forty percent of my output but it's a great ride and the fan base is really dedicated and that's always cool. When you're lucky enough to be in a good one it's fantastic.
When I was new, I didn't know where my career will go. Initially, my films were not even successful, but then I learned a lot from my mistakes.
I am interested in Bollywood. Everyone wants to do bigger and better work. I also want to do good work.
I worked with the Coen brothers, which had been a dream of mine.
Paul Laverty is a wonderful writer and we've worked together for a quarter of a century.
I've been really lucky in terms of film projects with people, terrific actors and also writers and directors that I really respect.
But I have had the luxury of working on good films with great people.
There was a period where I did do a lot of television, but the luck of the draw worked in my favour, as they were all shows that were either fan-favourites or cultist things.
I'd love to say I made the smart decision of picking projects that became hits, but with 'The Good Wife,' I read the script and something inside me said, 'I love this, I want to do this.'
I'm proud of all my films. I've enjoyed great success in many different genres. I have been very blessed to have so many ideas and to continuously produce successful films.
I've been blessed to get the kind of films I have done.
I've known Greg Berlanti from way back. I've done two shows with him, and both times, he was like, 'I've got something good for you,' and they did not disappoint.
TV kind of worked out naturally for me. I was fortunate to do a show like 'Breaking Bad' and then go straight into something like 'Friday Night Lights.' It's not something I focus on, but when they're great projects, I can't pass them up.
In Hollywood, there's a network of creative executives, and when they hear something is good, it catches fire.
Suneel Darshan is the kind of director I'd want to work with repeatedly.
Architects love to rethink a project - that's what we do. If something is successful, like a house or a kettle, in this case, it's a great compliment when someone wants another one.
I am glad to be in demand as a director.
'Gilmore Girls' and the first 'Guardians' were the two most substantial jobs of my career.
M. Night Shyamalan can draw quite a few people to quite a few things, and having the opportunity to work with him is very cool.
A lot of times in Hollywood you're as good as your last job.
