When you are under pressure, you make the bold steps faster; you don't make the bold steps slower.

What we are doing is we are putting in significant training into the people we have currently to upgrade their skill resources, upgrade the presentation resources, and upgrade what we expect from them in terms of not business as usual.

Interestingly, many Indian companies where there's a father-and-son combination are being run as joint CEO organizations because the father has not given up running the company and the son is actively involved in running the company, and there is division of responsibilities.

The principal challenge we face is to go up the value- and domain-skill chain and build a strong consultancy front end and, also, to globalize our leadership much more.

Our managers need to have a strong integration of managerial skills and technical understanding. One cannot substitute for the other.

Technical people tend to be more 'techie,' and management people are more 'managerial.'

To have strongly integrated managers who have a deep understanding of technology is a rare and difficult combination to build. You have to invest a lot in selecting and training these people.

We get first-rate faculty members from the leading engineering and science institutes to train our people.

In any software work, you have IT consultancy competence required to build the systems.

The U.K. and the U.S. are quite similar in that they have high-productivity, English-speaking workforces who don't mind working long hours. Working in those countries is not a problem.

It is the strength of our culture that we can have Sonia Gandhi, who is Catholic, a Sikh prime minister, and a Muslim president.

We believe that two people who have worked together for more than 10 years and been in the company for more than 15 years would be able to work very well as a team.

Being a young parent, you can play cricket, football, and I can play chess with my son. In fact, he plays the piano better than I do.

It is good to be a young father, a young parent. You have that energy, and you are growing up with them.

I am the public, a boy from Chandigarh who's bought tickets in black and revered films since childhood, and when I choose scripts, I take out the garb of an actor-slash-star, and I consume the script as a layman.

I couldn't be a conventional commercial actor without being a star-kid. That kind of a big film needs a certain mounting, a little paraphernalia around you. And nobody would give me that.

I was very nervous as a child and had stage fright.

In theatre, you learn the story is more important than the actor.

I was very immature when I married.

I always thought millennials are going westward, and they probably won't understand vernacular poetry.

I have certain viewpoints that come out in certain shayaris.

I approach every film as my first film.

It's good to be an outsider.

For me, novelty matters; uniqueness matters.

Life is the biggest workshop: you have to observe life. You have to be one with the milieu more than anything else.

You have to have a macro outlook, see the film in totality, whether it will resonate with people or not.

I have done a lot of street theatre and plays and interacted with the public through radio and television.

My son had seen 'Dum Laga Ke Haisha,' but he wasn't happy about it because my father bullies me in the film.

I would love to do an action film. In college, I have played a lot of aggressive characters.

I am very bad with numbers.

A good script can come from anywhere.

What is a commercial film? I think every film is commercial, as every film makes money.

I have grown up watching conventional films. I am a huge fan.

I know I have become a star, but I don't want to believe it.

I learnt so much from all my films, successful or unsuccessful.

Your family can keep you grounded, make you keep things real.

The running thread of my career has been different scripts.

I've always made my own decisions and selected a script on my own conviction.

Nobody will tell you that you're typecast until your films aren't working; if it's working, they'll call it your 'zone.'

I'm glad I've established this as my zone: 'the taboo breaker.'

I think actors are very obsessed about looking different and behaving differently, but all people need is just a different film. They don't want a different you; they want a different story.

An actor's off-screen persona should never overshadow his on-screen characters.

My gut has never let me down.

I want to do more new-age content, look beyond conventional cinema.

With 'Badhaai Ho,' the lines are so quirky and the situation is so humorous, awkward, and bizarre that people are taking away a lot from the film. The dialogues are amazing. We aren't trying to make people laugh, but the situation is like that, that people are laughing.

It is a conscious choice to go for content-driven scripts because that is the key for any film to work. There are no two ways about it, and I have always been attracted to great content.

Even when I was looking for my first film, I knew I wanted to be in something that was good. I knew I was not a star kid, and I will not get any other chance.

If a film is entertaining, it will work irrespective of anything. It should be entertaining and engaging; otherwise, it becomes a documentary.

I have realised that life is never perfect.

I am glad I have a partner like Tahira who is very brave, strong, who is an inspiration.