I was offered a lot of romantic and comedy films.

'PKP' was a huge success, and even the sequel did well. I became very choosy after that.

My characters in both 'Pyaar Ka Punchnama' films were so relatable that every other guy connects with me.

If you have talent, then success will come to you.

I don't fear being judged as a misogynist.

Would I do another 'Sonu Ke Titu Ki Sweety?' I'd do it as many times as Luv Ranjan wants me to.

More than my own happiness, it's my mother's happiness that makes me happy.

If I have to do 40 films like 'Punchnama,' I will take it up as long as I enjoy it.

Maybe girls think that I can never be in a relationship and I can only give advice to other men to not fall in love or get committed to a girl. But that's not true.

I am a reflection of my mother.

A lot of my friends ask me for advice.

All my characters have been relatable.

People think that I have figured it all out, at a young age, about love.

For 'Guest Iin London,' I got a lot of appreciation.

Personally, I'm a fan of comedy movies that I can watch with my friends and family.

In the beginning of our career, we want to make an identity, and I am happy that people think I have good comic timing, and they are casting me in films.

I think comedy is a genre that has a lot of potential. It is a very content-driven film genre.

Since in the end, as an actor, I cannot do much apart from giving my best on camera, I won't let myself be affected by the business of cinema.

There are films that look very interesting when on paper, but things change while shooting. At times, things changed during post-production, and I see no reason to blame anything on anyone. It is a collaborative effort. If it failed, we should face it.

Since two of my films of 'Pyaar Ka Punchnama' series worked, people think I am good in such roles.

After 'King of Monologues,' now I'm loving the term 'Bromantic Hero.'

It is always good to perform with an actor who is good and inspires you to do better.

Shah Rukh Khan is an institution in himself. Like me, there are millions who adore and worship the Badshah of Bollywood. I've been a huge fan of him even before I decided to become an actor.

'Baazigar' was the movie which initiated my drift towards acting.

If I like a script, I will definitely pick films of different genres, but I won't do something just for the sake of it.

I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.

My parents wanted me to get a degree.

The reason I am an actor is because I have faith in myself.

I never wanted to be an engineer.

My worst fear is to not able to understand what my director wants me to do. I might not be able to reciprocate to his idea or vision. I may not be able to perform before the camera. Those are my worst fears.

There's no glory in climbing a mountain if all you want to do is to get to the top. It's experiencing the climb itself - in all its moments of revelation, heartbreak, and fatigue - that has to be the goal.

A lot of the best suspense operates on a careful withholding of information as opposed to the doling out of information.

Sometimes evil is in the form of a malignant clown, and sometimes evil is in the form of policy and legislators, and sometimes it's a grinning death mask and it has something more viscerally terrifying about it.

Claire Denis's 'Beau Travail' is one of Denis's greatest achievements. One of the most mysterious and beautiful endings in movies.

Best advice: 'Just be yourself.' Worst advice: 'Just be yourself.'

I'm a director first and foremost, and I hope that the fact that I'm female is just one of the many things that informs my unique perspective on the world.

We have to accept that making movies is a never-ending process of occasional progress, frequent setbacks, and unexpected curveballs being thrown our way. Navigating that process requires stamina, curiosity, openness, and creative fire.

Making 'The Invitation' and waiting to make it on my terms and getting final cut and doing it the way I needed to do it was incredibly challenging, but it has really been so great for me. I'm so thankful that that's happened, that I got to work with actors I really like and have just such a good experience in delving into that story.

The genre of horror is really just a way to manage much larger, much more terrifying realities in our daily worlds.

I think there are always going to be people who say, even if they are engaged in the movie, they just want it to move faster.

I guess because there aren't many women working in the kind of variety of spaces that I've had the opportunity and privilege to kind of work in, that there is this extreme scrutiny about my career.

I think the crux of this urgent and real conversation about representation and diversity in art-making and storytelling both behind and in front of the camera ultimately has to do with simply seeing more human perspectives.

I don't think I could have had a better experience than I did with 'Girlfight.' It was a humbling experience to be so well received. And it was equally humbling to be ripped to pieces with 'Aeon Flux.'

I grew up in the Midwest. I understand a sense of the small-town mentality, small-town social politics.

I understand the power of sorrow, and I understand how far it can take us from ourselves if we let it.

What fascinates me is that when we look at the history of women in politics, so frequently the women who get the farthest are the women who are quite conservative in their political views.

I think my narrative is actually pretty interesting if I step back from it and don't engage too much in it, personally or emotionally.

Polanski is a great example of a person whose personal life clearly has been just fraught with scandal and transgression and criminal acts. And yet, in 'Rosemary's Baby,' I think he's made one of the crowning feminist statements in film.

One of the things you hear about when studying the nature of fanaticism is that a lot of the time, people don't start as fanatics. They shift and evolve into that state. That's a process, a systematic process of losing your identity and sense of self.

I do think there's a preoccupation that women understandably have with this idea of the roles we're meant to play and whether or not those roles serve us or ultimately kind of imprison us.