What was the initial spark or idea that led to the creation of “If You Show Me Yours I’ll Show You Mine”?

Through conversations with friends and family, I started to realize how people are often misunderstood if their actions aren’t looked at with context. Also through conversations, I realized how my upbringing in India and things that I was exposed to was far more sheltered compared to the western world. My ideas of sexuality, growth, the difference between what’s right and wrong, and morality in general was more holistic than individualistic. It’s probably because in the 90s there was a starker difference in the societal structure than there is today. But, all of this to say that, I got interested in delving deeper into the gray especially when there is confusion in the midst of the gray.

As a naive and sheltered child myself, I was confused about my views on sexuality and liberalism in many ways – not really knowing what it meant. As a result, most of the films I have written have been in an attempt to help me understand sexuality, relationships, and the growth that comes with it.

What message or theme were you aiming to convey?

This is not a movie about a teen exploring sexuality, nor is it about sexual abuse. It is about the tension between innocence and maturity in a family that pulls you in opposite directions. This is a movie about the unsettling moral dilemma within a child who is ill-equipped to tell wrong from right, especially when it comes from someone who you have complete trust in.

Torn between Restraint and Freedom. Religion and Atheism. Families try to shield their children from the harsh realities of the world to protect their innocence, and rightfully so. But at what point does that cross the line into over-protection, and further, when does it do more damage to the child than good?

Which scriptwriter’s work do you admire the most, and why?

Recently, Martin McDonagh’s work has blown me away. He creates a unique tone with all of his films, specifically blending dark humor, complex characters, and moral ambiguity. His no-nonsense dialogues are filled with brutal honesty. Characters speak their minds without holding back, which leads to raw and truthful exchanges. His characters are flawed – the ‘gray’ that I keep talking about – and morally ambiguous. And through his writing and the serious situations they engage in, we, as the reader or the audience, are forced to confront psychological and moral consequences of violence, love, the harsh realities of society’s indifference or hypocrisy, and the blurry line between right and wrong.

Which books or films had the biggest impact on you growing up?

In terms of books, one I think about consistently even today is a book I had read in high school – Wide Sargasso Sea by Jean Rhys. It’s the prequel to Jane Eyre that tells the story of Bertha Mason, the “madwoman in the attic” from Charlotte Brontë’s novel, offering her perspective and reclaiming her voice. In Jane Eyre, Bertha Mason is portrayed primarily as a mysterious and menacing figure—a “madwoman in the attic.” She is depicted as wild, animalistic, and violent, often described in dehumanizing terms. Throughout the novel, Bertha is rarely given a voice or backstory of her own, solidifying her role as an antagonist rather than a fully developed character. Wide Sargasso Sea reimagines Bertha’s story, giving her a more sympathetic, complex background. It highlights how systemic forces like colonialism, racism, and patriarchy shaped her life and mental state, making her madness not just a personal affliction but a societal consequence. It gives a voice to the marginalized, flipping the narrative and making us question the roles of villainy, madness, and victimhood. I think it’s one of the first times I realized that every character or person has two sides to their story.

Another influence was the films of Hitchcock. His films, much like Wide Sargasso Sea, reveal the complexity and duality within characters. He was a master of exploring the darker, hidden sides of his characters, often showing that no one is purely good or purely evil. Films like Psycho and Vertigo play with the idea that characters harbor secrets, motivations, and flaws beneath their surface. Hitchcock’s ability to craft tension through character ambiguity inspired me to dig deeper into the human psyche, exploring the gray areas in my storytelling.

Tell us about your writing journey.

My writing journey began with a strong interest in science, but over time I realized that storytelling could bridge the gap between analytical ideas and human emotion. I became passionate about using narrative to explore the psychological and moral complexities behind innovation, conservation, and the ways these forces shape individuals. Influenced by psychological thrillers like Blue Velvet and the films of Hitchcock, I’m drawn to characters struggling with inner turmoil or moral dilemmas. My writing focuses on peeling back the layers of the human mind, revealing how personal and societal pressures drive people’s actions, and challenging audiences to grapple with the gray areas of human behavior.

What do you think is the most important aspect of scriptwriting?

Characters! Characters, characters, characters. Knowing your characters as well as you know yourself (or think you know yourself). Creating characters with depth and clear motivations while ensuring emotional resonance and strong subtext. When audiences can connect with or understand a character’s internal struggles, they become emotionally invested in the story. Subtext plays a crucial role here—what’s unsaid often adds layers of tension and intrigue, making the narrative more engaging. Ultimately, it’s about crafting moments that evoke strong emotions, whether it’s empathy, fear, or joy, and ensuring those feelings serve the story in a way that leaves a lasting impact on the audience.

What is your process for coming up with new and innovative storylines?

I look for inspiration in unusual places—scientific discoveries, forgotten historical events, or even conversations I overhear—which often spark new ideas.

If you could write for any character or franchise, who would it be?

Kendall Roy from Succession – absolutely one of my favorite characters in present day television. He is broken, self-destructive, yet tragically human. Honestly misunderstood by anyone who is not “Team Kendall”. Writing for him would mean delving into that emotional chaos, exploring how he confronts (or avoids) his brokenness, and whether there’s any chance for redemption in someone so deeply wounded. The challenge would be in balancing his ambition with the raw vulnerability that makes him so real.

What are some of the unexpected joys you’ve found in your script writing journey?

One of the unexpected joys has been the realization of how personal the process can become. As I work through different characters or themes, I often find myself drawing on experiences or emotions I hadn’t planned to. The more I write, the more I discover how much of myself is in the story. And a by-product is how much it has helped me understand myself better.

What advice would you give to someone starting in this field?

You’re not a writer unless you write everyday. Freewrite, doodle, scribble down ideas—whatever it takes to keep the creative flow going. It doesn’t matter if it’s a full scene or just a random thought – just keep a few hours aside every day, ideally in the morning, to write. You never know when an idea will strike.