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With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.

I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.

I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.

I am very lucky: not very many writers can say they genuinely like the film of their book. However, I do.

I sign a film based on the story, the role I play, and the maker.

I always felt that if I was going to do a movie, I wanted it to be authentic.

In the course of my movies, the financing and the releasing were always the tough part. Because I loved the creative; I loved the writing. I loved the making of it. Because, I guess, I never had the giant blockbuster, I never got that sort of ease for the next one.

Whether it's a movie I'm in or not, if there's a good movie, and it's low budget, and you know everyone's done it just because they were passionate about it and they cared for it, if it has any kind of audience, it's just a wonderful outcome.

I did a fantastic emotional film, 'Autograph.' But the audiences rejected me in it. They like to see me laughing and fighting.

I haven't signed as many films as I'd like to because there are no good roles, as disheartening as it is to say.