her triple roles by playing each one as differently as possible. She used the script to identify unique characteristics of each—Aradhana is a Punjabi girl, Ruksar speaks with the manners of a popular Bollywood actress from Lucknow, and Radha displays a contemporary confidence. Of the three, Chopra found playing a girl from 1910 to be the toughest. She said, "There was no reference point for it except some books," and the few sketches Kohli was able to provide for costume design. Even with only written sources, she worked toward developing an accent that would have been typical for a Punjabi girl from Pakistan. In contrast, Chopra was able to consult Saira Banu, a leading Hindi film actress of the 1960s, to understand the way her character Ruksar lived. Like Kapoor, Chopra enjoyed the novelty of playing a character in 1910, "a certain period which normally [she] would not get to play," and she related best to her contemporary character Radha. But for her Ruksar was the most interesting. "I got to play a superstar actress of the 1960s," she said. "I got to wear the glamorous clothes of those days, don big hair-dos and speak the way actresses spoke then. I loved all those things." Manish Malhotra and Kunal Rawal designed the costumes for Chopra and Kapoor respectively. Malhotra also consulted Asha Parekh, who gave several insights into the life of actresses in her day, to design Chopra's costumes and look to play Ruksar. Filming Muneesh Sappel handled the art direction while Sunil Patel did the cinematography. Sappel created three sets depicting the 1910, 1960s and 2012 settings for the three storylines. He did extensive research for six months, visiting each location in person to ensure that the sets looked authentic and real, and using visual effects (VFX) to complete the designs. The 1910 portion, which is set in Sargodha, Punjab, during the British Empire, was easy to recreate with "a temple, mosque, market, a small village, brick houses etc." Initially, the crew wanted to use an actual village as the set, but were unable to find one that had not changed in the past century. Instead, they chose to construct a set that would be historically accurate. Sappel said that the set for 1960s Mumbai was much more time-consuming, with "trams, chawl, guest houses, old studios and old cinema houses" to create the intended atmosphere. Principal photography started in