Badlapur' is a drama, a character-driven story. It is not so much about plot.
I don't think because a story has humor in it means it's brief. For some reason, people think anything that's 30 minutes is a comedy, comedies can be longer or shorter, so can dramas.
I'm not a huge fan of very plotty shows. I'm much more of a fan of character-driven stories.
In a time when supernatural dramas are taking charge, Dil Toh Happy Hai Ji' is a slice-of-life story. I have grown up watching such shows and I am sure the audience will love it too.
Sometime during your life—in fact, very soon—you may find yourself reading a book, and you may notice that a book’s first sentence can often tell you what sort of story your book contains.
'Kaavalan' is not like 'Sivakasi' or 'Pokri'; it's a love story.
Headline writing is tough because often times you are given a predetermined number of spaces and words depending on the layout and the type of the story.
I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.
For my type of story and my kind of writing, I think 'Vanity Fair' is the right forum.
Before I became a suspense novelist, I wrote romantic suspense as Alicia Scott.
There is only one genre in fiction, the genre is called book.
In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.
In a short story, you can use someone - we're only going to be with that person for maybe 10 pages, and they can have sort of a one note personality. And in a novel, you need to have arrows pointing more than one direction for that person.
