What are your thoughts on the industry’s feelings towards female directors?

It feels special to fall in the bracket of “woman directors” in Bollywood. I work in London, I live in London, I’ve gone to a film school in London and I’ve made a lot of short films and documentaries, etc.

I came here to make my graduation film that was titled Ravi Goes to School. It went to the Edinburgh Film Festival. I shot the movie in Hyderabad and the local team there helped me, too. It was always difficult to get respect from my peers in London.

In Hyderabad no one judged me because I was a woman. Today, after making London Paris New York, the amount of respect I have as a first-time woman director is unbelievable. I think it is a fallacy that the industry doesn’t believe in female directors.

How did the film come about?

I had heard of Goldie Behl (producer), but I never knew Shrishti Arya (also producer). I remember Zoya Akhtar mentioning Shrishti and after doing a bit of homework I found out that there was some similarity in the kind of films she was looking at and I wanted to make. At that time Shrishti was working with Manish Acharya. Also, Ali Zafar (lead actor) had already liked the script because I’d approached him on my own.

I remember meeting Shrishti at her house and in three days I got a call to meet Goldie and they said: “Let’s make the film.” Shrishti charmed the life out of Ali. We all know how Shrishti is (laughs). The film happened with like-minded people and I always wanted that.

How did you feel when you got feedback on your script?

I didn’t know Ali and Aditi when I was writing the movie. I used to imagine Farhan, Ranbir, etc. It was about these laid-back guys. When it came to girls, I did struggle (laughs). That’s the time Tere Bin Laden was released and there was something interesting about Ali Zafar. But the way he responded to the script took me by surprise. I mean, whoever loved the script got back to me immediately.

So where do you think your strength lies – writing or directing?

I am equally good at both. Sometimes you have material you write that you want to direct, no matter what, and sometimes I’m quite happy to write for other people.

The fact is, film is a director’s medium and a writer has to understand that. You have to give birth and allow.

I knew London Paris New York is very intimate material and I knew it could only be me who could direct this movie.

What’s the feel on the ground to your film?

Everybody has used the word “fresh” to describe the promos, trailers and songs as well as the two lead actors.

I don’t follow a typical pattern when I write, but at the same time, there is a certain way of consuming cinema. It is a commercial piece of work and thus a fairly mainstream film.

I like the characters a lot and their personal journeys. Yes, it is fresh (laughs). It is a coming-of-age story of these two people.

What are your favourite movies?

If I had to name a few of my favourite Hindi movies, Masoom would top the list and Mr India. I was more inclined towards parallel cinema. London Paris New York is about these two people and two people only. Can you imagine, every scene has two people. Yes, there are some supporting roles, but they come and go in a jiffy. It’s a slice of life no one has seen on Indian celluloid ever. I hope it’s parallel, yet commercial. Let’s wait and watch how the audience reacts. – bollywoodhungama.com