Before I met her, I had heard that she throws a lot of tantrums; so I was very scared of meeting her. But she was a pleasure to work with.

For me, Dolly Mishra was like a jasmine -- she was serene, pure, innocent. The moment she comes on screen, I wanted the audience to feel for her and her unconditional love for Omkara.

She wears pastel shades before she meets Omkara, dominated by the colour white.

I didn't want her to wear fitting clothes, because I didn't want her body to be highlighted. I told her that she's a simple small-town girl. She only wears a bindi and kajal -- no other make-up. On the first day of shooting, she had put on a lot of make-up. Vishal immediately exclaimed, 'Nahin, Nahin... (No, no)'

He said he wanted her complexion to show.

At first, she was a bit nervous, which is justified because of the type of cinema she does. But she has a lot of confidence in Vishal. So she was quite cool with it, and even joked that she would take less time to get ready for the shot.

Her white lehenga in O Sathi re (left) was one of the toughest outfits. I didn't want her to look too glamorous, yet I wanted to fantasise.

The first lehenga we designed for this song was too glamourous. So we had to tone it down. Eventually, I designed five outfits for this song. And because she wears this same outfit for the entire song -- which is very long -- I made three spares. She had to roll in the hay, run around etc, so I had to keep spares so that the shooting doesn't get delayed.