The last time we saw Dhairya Karwa was as a Mumbai-based writer in Gehraiyaan (2022). His next, Apurva, largely set in Chambal, is a story that could scare the life out of any city dweller. Director Nikhil Nagesh Bhat’s survival drama follows Tara Sutaria’s titular character as she fights her male assailants after being abducted from a bus. Karwa plays her fiancé who sets out in search of her.

“The only way to survive such [intense] films is to take it a little less seriously. But the subject cannot be [taken lightly]. A film like this reflects generational conditioning,” says the actor.

Karwa is unfazed that the Disney+ Hotstar movie is centred on Sutaria and Abhishek Banerjee’s characters. To him, it was the messaging that mattered. “I knew it’s a great story. When you are starting out, it’s more important to establish the kind of stories that matter to you.”

In the past five years, the actor has featured in Uri: The Surgical Strike (2019) and 83 (2021). After Gehraiyaan, he says he has noticed a shift in opinions about him.

“I got some roles that needed me to shoulder more. I signed two big projects, but they didn’t work out the way [I] had hoped. There was a long gap since my last release because of this. I had to recalibrate [my choices] and that’s when Apurva came my way.”

He will also be seen in Gyaarah Gyaarah soon.

We have witnessed many shades of Deepika Padukone unfold on screen — glamourous, romantic, brave, real and royal. And every time, she comes shining through, revealing yet another facet of her talent and her willingness to wade through unvisited territories as an actor. Even if that means going into the deep end, Deepika takes the plunge. With Gehraiyaan, releasing on Amazon Prime Video on February 11, she is taking one of her deepest outings ever. In a conversation with us, she talks about her fascination for relatable stories, what prompts actors to make brave choices, and how we are constantly finding ourselves in everything that we do. Deep, huh? Read on...

I think with Gehraiyaan, I really wanted to work with Shakun Batra and that was the starting point for me. Beyond that, even while growing up, I was drawn to stories that were more relatable and realistic. I think it comes from my fascination with everything that is as close to real life as possible. Even if I am sitting at home and watching a film on OTT, I am more likely to watch something like this versus maybe a fantastical sort of film. In my 15-year-long career, I have done all sorts of films — from a Chennai Express and Yeh Jawaani Hai Deewani to Piku and now Gehraiyaan, and of course, I enjoy all of them, but this genre, specifically, where characters are true to life has a special place in my heart.

That’s the process of an actor. I think you live life and when you are given certain characters, you draw from various experiences. I think that is the natural process of acting. Sure, there are times you don’t relate to certain situations and characters, but that’s your job as an actor — to make it believable, authentic, real and humanise a character.

There will be times when you will get roles and characters that you can relate to, and there will be times you won’t. It certainly comes from a place of different experiences, and not just relationships. It’s not that just because I am doing a relationship drama, I am drawing from my relationships, or necessarily past romantic relationships. You draw from life. Hence, I feel it is important for actors to lead a life that is full of different kinds of experiences, and eventually, from some of that experience, engagement or interaction with someone, you can draw bits and pieces and put them into the work you do.

Yes, it is the first time an Indian film is doing something like this, but at the same time, at least in my head, it’s not such a big deal that we have an intimacy coordinator. If we were shooting a song sequence, we would have a choreographer, likewise, if we were shooting an action sequence, we would have an action director on set. So, if we are doing a film that has intimacy, you are going to have an intimacy director on board. So, for me, it’s not any different from any other sort of specialization that you need to bring on to make the characters and story as relatable as possible. But of course, you feel safer. Once you know what you are comfortable with, it’s easier during execution.

When Shakun narrated the script to me in London (where we were shooting for 83), I remember allowing it to sink in. It’s not that I haven’t played similar characters before, like Veronica in Cocktail, and Piku, which was even closer to real life. However, this was far more nuanced and layered. So, it took me a while to commit to, as I knew that this would take a lot of my mental and emotional energy. But I remember being fascinated by the story. Well, the story has also evolved from there. When you make stories like this, it’s not like a biopic where you don’t have much room to play. In films like this, where the characters are real, you can always tweak, add and refine it. The script that I had heard two years ago was slightly different, we added a lot more layers to it and worked on it during the lockdown when we had time on our hands. I remember falling in love with my character.

It was certainly something that I was cognisant of, as at any point, I didn’t want to make any of them feel intimidated or threatened. In fact, I gave Shakun the idea that we all go to Goa earlier and hang out, get to know each other and keep reading the script, as it is the kind of film where the relationships feel extremely real and organic. I would like to believe that I made them feel as comfortable as possible and not think of me with any preconceived idea of who I am. And to sort of connect with me the person, instead of the idea of me that they might have.

No, not really. Also, I am not the kind of person who walks into a movie set with the feeling that you have to take me seriously or that I am this actor with 15 years’ experience. I would like to believe that I don’t carry that kind of energy, whether it is on set, or while hanging out before or after shoot, or even during prep. I wanted them to embrace the person that I was. A large part of me is also like that, as I like being very normal. In my routine and the way I am, there are no frills. So, I didn’t have to do anything different. I was just being who I am.

I think it is the audience that is giving us cues and telling us that we are ready for content that we haven’t seen before. I am certainly taking my cues from the audience. In fact, I feel they often shun the predictable and the obvious, and they are constantly searching for something new and different. I think that is where actors, directors and writers today are getting the confidence to go ahead with their ideas and being brave in making those decisions and choices.

The choices I make as an actor haven’t really changed. I was doing this film even pre-pandemic. The difference is that today we can release a film like this on OTT because there has been a boom in the last two years. So, was India headed there anyway like the West was? Certainly, but I think the pandemic only accelerated the growth of the OTT space in India. We didn’t set out thinking this film would be an OTT release, it was meant to be a theatrical release. When we started out two-and-half years ago, no one was thinking of OTT in that sense. I remember doing a meeting with Karan Johar (producer of Gehraiyaan) as he thought that I would resist it. I know he wanted to meet me to convince me, and he was pleasantly surprised when the meeting got done in 30 seconds. He said that he believed that this film was best for an OTT release. I told him, ‘Karan, even I have come here to tell you that this film is best for OTT.’ I would have done this film anyway, so I don’t think the choices have changed. On a personal level, of course, a lot has changed for a lot of people, like the fragility of life and the uncertainty of it all. Now we are more about living in the moment, gratitude and work-life balance. It has opened up people’s minds to a lot more. It’s been extremely rough on people around the world, but hopefully, there is only something to learn from this.

Of course, we are constantly finding ourselves in everything that we do. In different experiences, relationships, and sometimes, even in crisis situations, you learn so much about yourself and the people around you. So yes, the journey ought to be like that, otherwise, you are going to stagnate, if you are not going to look inwards, learn, grow and evolve.

Hopefully, people will continue to tell the stories that they want to. Firstly, the audience is ready for it, secondly, you have umpteen number of platforms to tell these stories. I hope people tell the stories that are in their hearts without fear.

“I guess I have just been lucky,” says Dhairya Karwa, who bagged an envious part in the upcoming film Gehraiyaan. Four years ago, when he arrived in Mumbai from Delhi, he wanted to be a model. However, the city and his love for Bollywood made him pursue a career in films instead. He calls himself lucky because, unlike many other strugglers, Dhairya, since the time he began in 2016, kept getting interesting roles in reputed projects that helped him learn as an actor and get noticed by filmmakers. His upcoming film Gehraiyaan, which releases on Amazon Prime Video on February 11, features him along with Deepika Padukone, Siddhant Chaturvedi and Ananya Panday.

“I was busy cracking exams to head abroad to study in a business school. People used to ask why wasn’t I trying my hand at modelling,” he says, adding, “Once in Mumbai, the kind of welcome I got made me chase a career in acting. I am happy to have scored roles in films like Uri: The Surgical Strike, '83, which was followed by the web show, Made In Heaven. ”

Dhairya says, “Then, when I was offered Gehraiyaan, it felt like a dream come true. It’s like this big Karan Johar project, getting an opportunity to act opposite Deepika, a chance to work with actors like Siddhant and Ananya and getting to learn under a director like Shakun Batra… it’s like every actor’s dream.”

He adds, “I am not a trained actor. I have learnt on the job. The experience and the time I spent on my initial projects prepared me for a film like Gehraiyaan. Now that I look back, the experience and the confidence I gained from my first two films was necessary for me to be the actor that I am today.”

Apart from his work experience, he is thankful to Karan and Deepika, who made him feel extremely comfortable on set. “When I met Karan for the project, he gave me the biggest and the warmest hug. He told me you are here, and you are here for a reason. You are good, now just enjoy it. Don’t take any pressure and keep doing what you are doing. His words were very reassuring and comforting. As for Deepika, I was just smitten by her. She is everything you would expect her to be and more. We know of her as this humongous star and a fabulous actor, yet she’s so simple and warm.”

Dhairya remembers meeting Deepika at the wrap-up party of '83, in which she played Kapil Dev’s (essayed by Ranveer Singh) wife and the former played Ravi Shastri’s part. He shares, “I remember at the party, people were busy clicking pictures with her. I didn’t do that. At one point, I saw she was all by herself. I mustered up the courage, went up to her and told her I am not going to click pictures with you because I am going to do a film with you. At that time, Gehraiyaan was not even being discussed. When I met her for the first time for this film, she was surprised that we indeed were doing a film together.”

Gehraiyaan is creating buzz for its beautifully shot, intimate sequences. Talking about it, Dhairya says, “The credit goes to Shakun, who’s the captain of the ship. For these scenes, we had an intimacy director on board. Intimacy is not a part of the film for a shock value, but because it is essential to the story. We dealt with intimacy with so much care and sensitivity when we performed these scenes. The set felt so safe and secure for us to express ourselves during these sequences.”

The young actor hopes that the film opens up more avenues for him. He says, “Surviving in Mumbai itself is a challenge and Bollywood is an altogether new field for me. Finding your feet can be challenging. But then everything comes with its own challenges. It is all about your outlook towards it. The nature of the business is that it is going to be disheartening for you as the rejections are always going to be more than the acceptance you receive. However, the rejections are never personal. You need to understand that you didn’t suit the part and hence you didn’t qualify for the project. That’s it. But at the end of the day, we are humans and have a heart. We tend to get affected, and at times, it does break you. Instead of crying over the opportunities that I missed, I celebrate the fact that I got to be a part of three fabulous films. That’s all that matters.”

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Dhairya Karwa’s acting career began with Uri: The Surgical Strike (2019), which was followed by '83 (2021), both of which included an ensemble cast. The actor claims that he is confident and secure as an artiste, which is why he was never hesitant to take on those ensemble productions.

“My intention has been to be a part of good, engaging stories, and quality matters to me. Eventually, I believe that if you keep going and stick to your guns, even the smallest part may have a significant impact. It will then lead you to a project where you are at the forefront. I may have had smaller roles in my earlier works, but people have recognized me,” shares Karwa, whose next project, Gehraiyaan will once again see him sharing space with multiple actors — Deepika Padukone, Ananya Panday and Siddhant Chaturvedi.

About how he is ready to shoulder a film on his own, the actor says, “I am striving to now play a lead. It is the kind of responsibility that I am looking for in my career. Ensembles have helped me gain confidence to shoulder films in the future. They have been my learning ground and acting school, and I am prepared now. I have experience. I just have to keep building on this.” 

While he made his acting  debut in 2019, the pandemic  had a significant impact on the pace of his career. However, the 31-year-old is hopeful that things will soon return to normalcy. “The wait has been long. Par der aaye durust aaye. My first two films were signed back-to-back, but '83 took two years to release. All of this could have happened sooner, but that is destiny. I hope that this is just the beginning and that it keeps getting better. I am raring to go and just work,” he concludes.

Patil Jersey actor Shahid Kapoor, and (right) with Ranveer Singh

The task that Vaibhav Patil was dealing with at the moment was simple — to train Shahid Kapoor to run between the crease, as fast as he could. Patil knew that Kapoor’s acting prowess would enable him to perfectly resemble a cricketer in the first few takes. But unless his athletic levels matched that of a sportsperson, his body would give way over successive takes. “Functional training, like the word suggests, trains you to get better at a desired function. In this case, it was about getting the batsman to run between the wickets, faster,” he says of Kapoor’s character in the forthcoming film, Jersey.

“He needed to run with a bat, and in full gear. At the time, Shahid was tending an ankle injury. In a rehabilitative method, we trained him to first run without gear, then with dumbbells, then a [heavier] medicine ball, and eventually, with a bat, and in full gear. Such a progression could take a month, but when it translates on the big screen, it looks efficient,” says the physiotherapist, who also catered to the Indian team at the 2012 London Olympics.

A physiotherapist, one would assume, would be appointed on a sports-film set long into the shooting process, if and when injuries among actors become evident. “We are appointed very early on, often when [casting is underway],” Patil corrects us. “Especially in films like '83, where [we] need actors to look like cricketing legends, the casting process is crucial. As a physio, I analyse if a person will be able to replicate a desired body language, and pay attention to how many injuries and imbalances could become a hindrance. If the director likes an actor for a role, we tell him that we would need more time with that actor to address imbalances. For instance, Dhairya Karwa, who played Ravi Shastri, and Chirag Patil who played [his father Sandeep Patil], were definitely less athletic, and had to start training much earlier. But Saqib Saleem and Harrdy Sandhu, who were cricketers, could come in and pick up things faster.” 

Apart from a three-step process comprising assessment, performance and recovery, Patil equips actors to excel at unfamiliar movements. “In '83, the actors had to wear the stud shoes of the olden times. None of them were accustomed to wearing them, so we had to foresee the kind of ankle issues they could face, and start strengthening the ankle accordingly, on day one.”

When dealing with the aspiring actors undergoing prep work for the hockey film Gold, Patil found himself addressing back issues on the first day of his appointment. “In the era that we were replicating in Gold, the hockey sticks were longer, and the mechanics of the game was different. None of today’s hockey players or the coaches knew how to deal with that length, and they took a few days to analyse the patterns. In hockey, you are constantly bending and running long distances. That puts a lot of load on your back. When I met the 50 actors who were shortlisted and undergoing prep, they all had lower back pain. I told the makers that we needed to change the pattern. I need to evaluate them, build their endurance, and develop a certain baseline strength before [they could even begin to train].”

Given that the actors were also unfamiliar with the sport, “hit injuries” he says, were also common. “Either they’d hit someone with the hockey stick, or they’d incorrectly fling the ball, which would hit another player.” 

For Patil, work on most films follows a standard protocol. A “head to toe” screening process familiarises him with each actor’s strengths and weaknesses, past injuries, and the kind of training that will suit him. He also notes the movements an actor must avoid while training and filming to keep injuries at bay, and the shooting schedule on track. With an understanding of all the actors’ strengths, a training programme suited for each is subsequently drafted. “For the part of the wicket-keeper [Syed Kirmani], we needed to increase the amount of squats and lateral movements needed for the actor. For Ranveer’s [Singh] natraj shot, a lot of thoracic and rotational mobility was needed. There was also a different training for his lateral run during the iconic catch at the boundary.” 

Directors, he says, are happy to pay heed to his request when he opines that an actor needs to be pulled out from a shoot to recover. “When we feel fatigue is setting in, we pull the actor out. Actors don’t realise when they’ve hit that phase, and ignoring it can cause injuries. Also, when you are portraying enthusiasm in a sports film, a weary-looking player is not what you want to portray. So we decide how much time an actor should spend in training, and in recovery.”

While in 83, he was tasked with getting actors ready to replicate cricketers, working with Kapoor in Jersey was simpler because they didn’t have a cricketer to mimic. “So, we could shoot movements that Shahid was good at. The perfectionist that Shahid is, he wanted to be the best in each shot. Since he is a dancer, and knows how to pick up steps quickly, he could learn movements faster and then spend time perfecting them.” 

Kapoor was suffering from cervical spondylosis when he was cast. “That was a disadvantage, but he also had an advantage — his great footwork. We could hence balance the two during [choreography]. I spent a month in Beas at his second home. We would practice daily, and take to ice baths for recovery in the evenings.”

Working on Kapoor’s next action film poses a different set of challenges. While he trained him for power-movements in Jersey, given that as a cricketer, he had to “generate the impact”, for his training in the actioner, Patil had to teach him to “handle an impact”. “That implied focusing on core stability and strength so that he could learn how to fall without suffering a hit.”

The cast of 83 referred to Patil’s work station, where they underwent rehabilitation, as ‘torture chamber’