I apparently jumped at those ideas because of how genius it was. Seriously? If it was so good, why oh why, would I have to do rewrites? This never ever happened. Yes, there were sessions but those were mostly me expressing my disappointment with the writing. Nobody can take away from the fact that if Simran today is a story of a divorced woman, it's entirely introduced by me. If the film has feminist undercurrents, I included that. The father-daughter track, the lover's track in the film -- these are subplots that I added. Even Apurva cannot take away from that, why should I be giving my precious time when I already have other commitments. It was a trying time also because I was shooting 'Rangoon' at that time, a very difficult film. I had to do these things because I wasn't given a team of competent writers. Later on, Hansal did a draft of his own and I could sense that he was under enormous pressure. He wanted to break away from Apurva but he couldn't. We did three drafts together and I still wasn't satisfied. I couldn't sense a spark. Finally, Hansal and I agreed that we'll fine tune this in the US (they reached there about a fortnight in advance) and I'll write the dialogues on sets.
Quote Courtesy: Huffington Post
by Stuti Srivastava