While I was able to pass as white as soon as I came to America, this was not really possible while I was growing up, as it was pretty obvious that I wasn't 'all German.' So my privilege was that in America, I could conveniently withhold one of my bloodlines and avoid racism and discrimination. That is not a privilege most people of color have.

I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.

In terms of writing and developing, TV is very open because TV needs stories. They need new pitches, and they need new ideas. They don't always take the risk for new ideas, but they are certainly open to it. They can't have enough people come in and pitch to them. It doesn't matter how they look or what gender they are.

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

What can I do if everyone from the president to a junior bureaucrat is dying to convict me. If I am such a criminal, what was I doing outside jail before my marriage to Benazir?

Regard your soldiers as your children, and they will follow you into the deepest valleys; look on them as your own beloved sons, and they will stand by you even unto death.

After 'Main Hoon Na,' I got married; so I took some time off.

I'm really lucky to be married to a perfect person.