Your roles in films like Parched, English Vinglish, and Life of Pi have been deeply impactful. How does your character in ‘Sikaar’ differ from or align with the characters you’ve played in the past?
This is a film called Sikaar, which means “hunt” in Hindi. It’s a very interesting role of a British police officer who is an Indian guy, very mature and well-travelled. So it’s a lot of fun to work in this particular role.
What drew you to this script, and how do you think it will resonate with audiences?
I think it is a very interesting thriller, and I have not really worked in many thrillers. It’s set in a beautiful location in Isle of Wight in England, and I get to work with my fellow SMEs. All these factors, and the fact that the story travels from Assam to the UK, exploring that part of the world in an ASMEs film, is probably the first or maybe the second one. So I wanted to be part of it.
You’ve worked across various platforms, including international cinema. How does the experience of working in a global context compare to working in Indian cinema?
The difference in working in different film industries inside India and across the globe is very varied. In Western countries, especially in Scandinavia, where I have worked not only in films but also in theatre, they are very disciplined, organized, precise, and meticulous about their planning. In America, it’s normal to have a very planned shoot, and if something is not planned, it’s a surprise.
In India, in Bombay, it is pretty planned in many ways, but you can still expect some hiccups or delays. In Assam, lots of surprises occur. If a shoot happens smoothly, that’s a surprise; if it doesn’t, that’s normal. In Bengal, it is pretty smooth, but still, it’s interestingly chaotic. Hollywood projects, like Star Trek, are meticulously planned, eliminating any surprises beforehand, making the experience smoother. In India, different film industries always bring fun in confronting these surprises.
Given your extensive experience in both commercial and indie films, how do you see the evolution of Indian cinema, particularly with the rise of diverse storytelling?
I think there is a huge improvement in storytelling and craft. The new generation of filmmakers wants to make a difference in storytelling and align it with international standards. However, there is still a long way to go. Decision-makers who fund or approve projects often don’t match the quality of the filmmakers, directors, and other talents. Their understanding of cinema and good cinema differs from the craft and taste of the talent in the industry.
The entertainment industry has seen a surge in biopics and real-life inspired stories. Is there a particular real-life figure you would love to portray on screen?
There is a trend of making biopics, but we should find characters from history who contributed significantly to social reforms and shaped our consciousness in India, rather than focusing only on valour or heroism. I would love to portray Rabindranath Tagore. I would also love to play Shankar Dev, a saint in Assam, though I am probably too old for that role now. Tagore, definitely.
With the success of films like Animal, which explore complex, often controversial characters, what do you think about the ongoing trend in Bollywood that seems to glorify toxic masculinity? Do you believe the industry has a responsibility to approach such themes differently?
This is a very tricky subject to talk about, but I think that cinema is such a powerful medium. It changes and shapes people’s worldview, their ideas of how they look at life, how they feel about certain issues, how they look at relationships, their idea of love, their idea of patriotism, especially for those who do not read much, who do not have access to books or high-quality, complex, and nuanced books. For them, film is the go-to thing.
For them, a film is the go-to thing to enjoy, and yet they get influenced by the views the film is trying to express. You must be aware of the documentary Five Came Back, which is on Netflix. The American filmmakers were sent to Europe during World War II to get real footage and then returned to America to make films to inspire the youth of America to join the army and fight across the Atlantic. It has immense power, so I only advocate or urge filmmakers to understand that they have a very powerful medium in their hands, and they must be responsible for how they use that powerful medium.
Subjects like male chauvinism and male toxicity are very important issues to talk about, but they should not be glorified. You do not glorify something that you know is toxic and not good for society. Discuss these issues, analyze them, and discourage people from embracing them. Once you know that something is not good for your health, society’s health, or your family’s health, you do not glorify it. That is a disservice to society.
Mental health and well-being are increasingly being discussed in the film industry. How do you manage stress and maintain your mental health amidst the pressures of the entertainment world?
Each of us must find a way to be calm and get de-stressed. I practice techniques taught by my spiritual guru, including breathing exercises and meditation. These practices help me stay at peace and calm, though it’s a difficult world to navigate. It’s important to look after emotional and mental health, as they are interrelated and affect overall well-being.
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Do you still have a bucket list of actors and directors you want to work with?
I have many people on my list. I would love to work with Anthony Hopkins, Dustin Hoffman, and several European actors. Directors like James Cameron are on my list, as well as art house film directors like Rima Das and Sam Bhaskar Hajarika Padmukumar Narsimharau. There are so many directors I would like to work with.
