After 'Muriel's Wedding,' I first went to America, and I was sent all these scripts about fat girls overcoming hurdles. Something in me knew not to go down that road, even if it was a good script.

My English teacher always gave me scripts for plays, but I was into sports. My friend said there were small parts I could go up for, but the director gave me the part of Mozart, which was kind of the lead role. From then on I just loved it.

I've written a couple of scripts. Actually, a pilot. I'm not sure I'm allowed to say, but it's a comedy about three young men in New York City, one of whom may or may not be a romantic like me.

A lot of the scripts I read and the characters I get are 'the girl' in romantic films, and I don't know how comfortable I am, or the world is, with me being that.

I would say 80% of the scripts I get are dramas and not comedies or romantic comedies, which is funny because that's what I do every week.

I don't get a lot of romantic comedy scripts.

The reason I turn down 99% of a hundred, I mean a thousand, scripts is because romantic comedies are often very romantic but seldom very funny.

The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.

If I showed you scripts from my first few movies, the descriptions of my characters all said 'the ugly girl'.

You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.

Movies are not scripts - movies are films; they're not books, they're not the theatre.

I would write scripts and little plays and perform them in the living room for my family when I was little with my brother until my mom said, 'Alright, you need to go do it somewhere else other than the house.'

From the very start of all of this, my mom has read the scripts first. And if she liked something, she let me read it. She told our agent what kinds of parts that we would want.

Changes are required as far as scripts are concerned. People need to open up and experiment in story lines. But we don't have good script writers, producers or directors. The Punjabi industry lacks cinema knowledge and professionalism. It is the saddest part.

I think that's a great opportunity, to pick a script where you can build up a good skill. I think the main thing I look for when I look at scripts is if it's inspirational. If it's something that teenagers can relate to. And is it something that the audience is going to get something out of. If not, then it's really not worth doing.

Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.

I love doing comedy. You don't get many good comedy scripts. They're rare. But, I do love playing comedy. Even in drama, I like to try to find the humor because I think it's very human.

I get a stack of scripts, like, once a month, and most of the time, you find these placeholder girls that are there to provide a bounce for the male character. So we know he's funny because she's serious and she's mad at him. We know he's strong because she needs saving. So really, her job is to validate this personality trait of our hero or male.

Success is freedom - scripts coming your way and getting to choose the stories you want to tell.

All I do when I write scripts is think about food: 'Have I worked long enough to justify a walk to the kitchen?'

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

There's so many things I want to do. I want to work with great filmmakers, great actors, great scripts. And there's no reason for me to do anything short of that, because I'm 24, I don't have a family, I don't need to make tons of money, and I'm not dying to get famous.

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.

My personal experience has been that in my 25 years of writing, I have not been asked to do more than four or five commercial one-shot scripts. These were performed on major national hook-ups but produced for me no immediate additional jobs or requests. One script for BBC was done around the world with an all-star cast.