With his first Hindi film, Lucknow Central, running in cinemas, Gippy Grewal, a front-runner in Punjabi cinema, talks about his journey so far and the road ahead. Read on...

Why did you choose Lucknow Central, which has a strong ensemble cast, for your Bollywood debut when you've played lead roles in Punjabi films?
Well, I learnt quite a bit from Farhan Akhtar, Deepak Dobriyal and Rajesh Sharma. From the word go, I knew that it would be a raw film, which would require a strong performance from me. Yes, I could have started off in Bollywood with a lead role too, but a lot depends on what suits you. I've turned down Hindi films even without a narration, but with Lucknow Central, I decided to hear the story.

Do you mean to say that it was the ensemble cast that drew you to the film?
Yes, I debuted in Bollywood with this film because the story revolves around five people and each one has a space of his own. I play a Punjabi character and it worked for me because I am familiar with that zone.

So, do we see you taking the character-actor route in Bollywood?
No, I am looking at doing lead roles, but I am not hung up on them. I am even open to playing a villain, provided the role requires a powerful performance. Acting is what I love the most, though I have been a singer, producer and director. I signed Lucknow Central on instinct. I'll continue to follow the formula.

Now that your Bollywood debut has released, what's the plan ahead?
Though I am satisfied with my work in Lucknow Central, I am yet to find out what the audience thinks. Now, I'm busy with my Punjabi film, Subedar Joginder Singh, and I also have another project that will soon be announced by Nikkhil Advani. I play the hero in it. The idea is that even if I do one Hindi film a year, it should be brilliant.

As an accomplished singer, despite a couple of hits under your belt, why are you averse to singing?
I want to sing, but I don't want to playback for others. I want to either bring out my own singles or sing in films that feature me. When you sing for others, people seldom get to know the singer. For example, no one on Lucknow Central's sets knew that I had sung Angreji Beat with Honey Singh's music and rap. Aise gaa ke mujhe kya faayda? I'd rather focus on acting.

Punjabi films reach out to pockets in Canada, Australia and New Zealand, apart from the UK and US. As a producer and actor, do you participate in planning your film's international reach?
Yes. Subedar Joginder Singh is releasing in April next year, but we've already planned its release calendar. I would advise my friends in Bollywood also to follow this practice. These pockets have a lot of patrons of Punjabi and Hindi cinema.

Named after the late Princess Diana, she is an intriguing concoction of her varied on-screen characters.She embodies the quiet charm of Meera (Cocktail), occasionally breaks into a vivacious smile like Happy (Happy Bhag Jayegi) and exudes the quiet confidence and clarity of thought like Gayatri, from her forthcoming film Lucknow Central, costarring Farhan Akhtar. In a freewheeling chat with BT, 'That girl in that movie' (that's how people referred to her post Cocktail) tells how a chance career in films helped her alter her reserved behaviour and shy demeanour. Excerpts from an interview with Diana Penty ...

You were a model before entering films.What led to the career shift?
I had never planned to become an actor. While I was modelling in New York, I got a call from Homi Adajania and Dinesh Vijan (director and producer, respectively, of Cocktail), who were planning to launch a new face. Though I was happy doing what I was doing at that time, I decided to explore the opportunity. I auditioned not knowing anything about acting, but I think that they liked the innocence and nervousness that I exuded because that worked for the character.

People often wonder if you are a foreigner...
I get to hear that a lot. I grew up in South Mumbai and I am a total homebody, so I was not seen around. I guess that's the reason many believed that I wasn't Indian or can't speak Hindi. Actually, my Hindi is not as bad as people think it is; it's just that I am nervous, so I avoid speaking the language. I even ask for my script in Devanagari because it helps improve pronunciation.

After Cocktail in 2012, you took four years for your next release (Happy Bhag Jayegi). This year, you have two outings - Lucknow Central and Parmanu: The Story Of Pokhran. That makes it four films in five years. You definitely don't seem to be in a hurry like most of your contemporaries...
Well, I have two films this year and that sounds cooler than saying that I did four films in five years (laughs). I wasn't in a hurry back then because I was launched in a certain way, and the bar was already set high. So, I wanted to continue doing substantial roles, irrespective of their length. Yes, it took me a while to find my second film, but it was a conscious decision to wait for a role that's different from what I did in Cocktail. What's the point of playing Meera in another film with a different name? Happy was totally unlike Meera - she was loud, spontaneous and impulsive. And now, there's Gayatri (in Lucknow Central), who is measured, balanced, sensible and real.

Was it a conscious decision to choose films that didn't slot you as the 'new hot girl' in the business?
I don't want to be part of films that are easily forgotten. I won't sign a film thinking, 'Oh my God! I don't have a film so I've got to sign one real quickly'. Films are not a part-time job. They take months to make and require long-time commitment; so, you can't do a half-hearted job.

You are extremely reserved by nature and such people are often perceived as snooty and high-handed. Does that happen to you?
If you are quiet, you are perceived as super-unfriendly. It happens all the time and it's a challenge because you cannot force people to believe otherwise. You cannot hold a placard that says, 'I am a nice person'. However, once people get to know the real me, they admit that they misjudged me. And then, I wonder, 'What took you so long to figure that out?'

You don't even have a Twitter bio. At a time when most stars have made their presence felt on social media, were you forced to alter your personality a bit to stay in the game?
Well, I used to have a bio. It read, 'That girl in that movie' because that's what people called me after Cocktail. But once I signed other movies, I took it off. I was more reserved earlier. Now, I am more myself as I have grown personally and professionally, but it still takes me a couple of meetings to break the ice. Also, it's true that I had to alter my personality a bit. Initially, I was not comfortable with social media; I couldn't get used to the idea of being so open with people I have never met. Besides, I am very measured. I think 500 times before I do or say something. Even when I am taking a picture, I think, 'I can't post a random picture'. It should mean something. I am particular and anal about things being right. I guess I think too much.

Given your nature, how difficult was it for you to break into this competitive industry and make a place for yourself?
My personality definitely comes in the way. Nobody has told me that directly, but it's a fact that with this job, people expect you to be more social and outgoing. At the same time, I also feel that it's not impossible to do it the other way. At the end of the day, your work should speak for itself. Making people notice you because of your work holds more weight than them noticing you for reasons that are secondary or frivolous.

Was it intimidating to work with someone like Farhan Akhtar in Lucknow Central? As an artiste, what's your takeaway from this experience?
Yes, it was intimidating to be working with such a talented cast, but I always liked how understated Farhan is as an actor. He comes well prepared on the set. That was quite refreshing, since most actors are not like that. They learn their lines on the set.

You condemned Mika Singh's (rather tasteless) comments on your surname at an event last year. (He had said, “She is Diana Panty, I am Mika Kachcha“)...
I have no issues about people making fun of me as long as it's in good humour. I am not the kind to take offense, but there is a certain place and time for everything. A line needs to be drawn somewhere. I respect others and I'll never be ungraceful, so I expect the same from others. To each his own but at that time, I felt that it was uncalled for and the manner in which he did it wasn't appropriate. The beauty industry breeds on self doubt. Commercials make you believe that you have to look a certain way to be called beautiful.

As a model and actress, what's your take on this obsession for 'perfection'?
It takes an hour or two of make-up and styling for us to look this way. A lot of factors contribute to how we look and there's photoshop over and above that. Every young girl, who aspires to look like a model or an actress should know that we don't wake up looking like this. Most girls are unaware of this and it's unfair on them. Also, I won't promote something blindly. Being a public figure comes with a certain responsibility. Even if you are influencing only five people, you have to be responsible.

You have been in a steady relationship for a couple of years now. Does it help to have a boyfriend who is not from the industry?
My boyfriend is not from the film industry and technically, even I am not; so, we are on the same page and he keeps me grounded. I go to work, do my thing and go back home. Our conversation doesn't predominantly revolve around films. You want to disconnect sometimes and he, my mom and a bunch of close friends help me do that.

Bollywood has its fair share of newcomers and mentors. What makes the jodi of Nikkhil Advani and Ranjit Tiwari hatke is that while they play the producer and director, respectively, of Lucknow Central, there's a deep sense of paternity that runs beneath. For Nikkhil, Ranjit is his ghar ka baccha. He has proudly backed him and taught him for eight years before gearing up to display his talent as a debutant director. Here are excerpts from BT's conversation with the duo...

Five years ago, Nikkhil had promised to back your debut film without even knowing its concept. Do you feel that with Lucknow Central, you've lived up to his expectations?
RT: I've learnt the ropes of filmmaking from Nikkhil; I don't have any formal training to back me. It was the last day of D-Day's edit on December 31, 2012, when he casually told me that he will back my first film. It's a gift that I will always cherish. So, I just hope that I haven't let him down. This film will decide where my career heads. I just want people to come out feeling happy after watching it.
NA: He's basically putting the blame on me. So, catch hold of him if something goes wrong (laughs!). It hasn't taken us five years to make Lucknow Central. I just saw the potential in Ranjit as a filmmaker then, as he was hugely responsible for the way D-Day shaped up. Post that too, Ranjit took his time to find a story and flesh it out while assisting me on Hero and Katti Batti.

Ranjit, don't you think that a lighter subject would have been a safer bet for your debut?
RT: There were several subjects that interested me, but this one kept playing on my mind. The general notion is that jails are dark and tough, but if you blend in music with that idea, you can talk about hope at the end of the tunnel. I was fascinated by the idea that there were inmates who were hopeful about their lives because of the reformation work in prisons. Nikkhil, too, loved the storyline because it wasn't a dark film that we were setting out to make.

Nikkhil, your debut (Kal Ho Naa Ho) as a director was a light, romantic film. Why didn't you suggest that route to Ranjit?
NA: I attract people who are looking to struggle, like I have been doing for 25 years. I don't believe in making safe projects. People thought Airlift was a documentary till we cast Akshay Kumar. We've made films like Delhi Safari, which took seven years to be completed. It took me a while before I could make D-Day, which I'm now told is my calling. So, I'm proud of Ranjit's choice for his debut. It's a beautiful journey from hopelessness to hope. It's about second chances. If he had told me that he wants to debut with a frothy romcom, I would have shown him the door. There's no point in making a film that doesn't have a compelling story. We love mainstream work, but there has to be substance.

Your film revolves around lending hope and meaning to a few prisoners' lives. In reality, how far do you think our jails have succeeded in reforming the inmates?
RT: There's room for more work. Having said that, I must applaud jails like the Yerwada that are working hard to reform inmates with vocational training and computer education. Not every prisoner is a hardened criminal; many fall prey to circumstances which they repent. As a society, the onus is on us to give them a second chance at life.

Do you think that it's easy to accept criminals? It's a utopian thought - would you employ someone with a criminal record?
RT: I would and without any regrets.
NA: Why go that far? I employed Ranjit, who has also been jailed. He had a case against him.
RT: I was 19 then, and at that age, you do things in a fit of rage. You get into a street fight, and then get arrested and jailed till you secure a bail. It's a daylong ordeal, but that's also an experience. These are the kind of experiences that you'll put into your films. The richer the experience, the better it is.
NA: Also, the jail inmates are as human as you and me. It's just that they have been in a situation that we haven't been in. Disgruntlement, unemployment and abuse provoke you to lash out. My wife Suparna, who works for an NGO, shares so many cases that she encounters. I believe that once they've faced the consequences of their actions, they must get a second chance. Our idea with Lucknow Central is that bande qaid hote hain, sapne nahin.



Do you think somewhere, even the film industry now wants to liberate itself from the con stant pressure to make big bucks, and instead back more content-driven projects, however small they might be?
NA: I beg to differ. This change had set in around 2009 with Wake Up Sid. Ayan Mukerji's debut film could have been some thing safe and easy, but he made a film which I think is seminal in terms of content getting precedence. There are a lot of filmmakers who back small, content-heavy films, but when the big daddies of Bollywood do that, people take note. In the years after Wake Up Sid, so many filmmakers attempted out-of-the-box, out-of-comfort-zone films, which brought us where we are today. Sadly, it's an industry, so profit-and-loss matter. But this is not generic to India. It also happens abroad.

Ranjit, with multi-faceted people like Nikkhil and Farhan Akhtar on board, did you have to try hard to keep them from interfering with your job?
RT: Filmmaking is a team effort and you have to make informed decisions. Nikkhil's point of view and experience always help me; ditto with Farhan. Before starting the film, we discussed in detail about how we will take this forward. Their presence only enhanced my experience of helming this film.
NA: It's a question of implicit trust. I went over to the Lucknow Central set four times. It was my duty to support Ranjit. Since music plays a pivotal role in the film, I thought the film deserved a good choreographer, too. I got Bosco on board and went to the set to ensure that their interpersonal dynamics fell into place. However, once the bullet has left the gun, you don't start imagining its impact. It would have been ridiculous if I had started monitoring the footage he has shot. I find that idea extremely insulting. It never happened to me, so why would I do that to him?

In his interview to us, Farhan said that he never felt the need to direct a scene while acting in a film, although stories about his interfering ways often make the rounds. What's your take?
NA: Farhan set the parameter of his relationship with Ranjit in their very first meeting. I had gone for the narration with him. After the narration, Farhan started discussing the modalities with me. Then, he paused and told Ranjit, 'Man, I'm doing your film. It's fantastic.' He dissociated me with the film after that, though we have known each other socially and professionally for years. After a point, they didn't involve me in their meetings and discussions. I know how Farhan went door to door, narrating Dil Chahta Hai to so many actors. He knows the anxiety of a first-timer; so, he respects a director's space and never oversteps.
RT: Farhan would often ask questions, but never dictate. It was left to me to take it or leave it.
NA: In fact, we relied on Farhan to guide us with the music. His productions have great scores. Not involving him would be like having Sachin Tendulkar in your team and not letting him open, or telling him to not advice other players on how to face the ball.

While he's one of the most celebrated directors in Bollywood, it's acting that occupies centrestage in his life right now. With Lucknow Central gearing up for release this week, BT caught up with Farhan Akhtar and got him talking about the art of keeping the director in him at bay while acting and opting to essay a role only if it moves him emotionally. He also talks about striking a balance between work and daddy-duties. Excerpts from our conversation...

A writer, director, producer, actor and singer - do these aspects of your personality co-exist peacefully or do they jostle for space?
They co-exist quite peacefully. Perhaps, it's in my genes that I have the ability to completely switch off from other things when I am focussing on one. This helps the transitioning between these roles smooth, without any inner conflict. My creative hunger is fueled by the passions of people I collaborate with - Rahul Dholakia for Raees, Reema Kagti for Gold and Meghdeep Singh Lamba for Fukrey's sequel. Their passion motivates you to not let them down while playing your role as a producer on their projects. You may be working on one film as an actor and planning one as a director, but for the others, their project is the only thing they're working on. As a producer, they look up to you to provide things that a script needs or suggest alternatives, if something seems unachievable.

When you're strictly an actor, like you are in Lucknow Central, are you tempted to direct a scene if you aren't satisfied with it?
No, I've never felt the need to direct when I'm purely an actor in the film. I've worked with four filmmakers on their first films. A relationship is formed creatively at a stage when you're figuring what you want to do with the film. When you hear a script, rarely would you speak about your character in isolation. These conversations happen all the time and it doesn't only happen with me. I've directed films where actors have had their own take on certain scenes, and have wanted to try something different with their characters, which is not part of the script. As a director, if you feel that an actor, with his commitment, wants to own a role without compromising the narrative, you'll have to give them the freedom to do that. I love that freedom, but it doesn't mean that I can get into the director's space.

Direction was your calling, but acting clearly has been a case of Luck By Chance...
Acting did happen by chance. My friend Anand Surapur was making a film called The Fakir Of Venice. When he came to me, I wasn't confident about being able to pull it off but he insisted I do it. Reema and Zoya (Akhtar) told me they've seen the way I entertain people and I should give it a shot. When I acted in my first film, there was a feeling of liberation which inherently wasn't there in me. I used to be a closed person. People have seen me open up a lot more after I turned to acting. It made me a sensitive person and I started enjoying the process. Then, your appetite is whetted and you want to see how far you can take it. I did Rock On (2008) and Bhaag Milkha Bhaag (2012). So, within a period of four years, I got opportunities to push myself further and inhabit a world or a character far removed from who I am.

Does your perspective towards the box office differ when you look at movies from the point of view of an actor, director and producer?
As a producer, it's my job to have an eye on the box office. As a director, I have to tell a story as coherently and universally as possible. As an actor, it's my job to perform. It's an actor who benefits the most with a film doing well when it should actually be the producer. Unfortunately, box office has become the only parameter to gauge success. You can't say that I will make a film without caring for who sees it. Yes, business is one aspect of filmmaking and then there are others like the artistic and the emotional side. Over the years, we've had films which didn't perform well at the box office but are always mentioned as examples. Perhaps, they captured the angst of a generation way before its time. It's difficult to quantify success on the creative front. With box office figures, it's easy because its numbers.

But as an actor, are you willing to take a risk greater than what you would as a producer? Often, we hear makers say it's a 'different' film, but how much can one push the boundaries within the paradigm of mainstream Hindi cinema?
You can push it as much as you want, but you have to have a coherent story which engages people. Filmmaking can't be self-indulgent, it could be the self-indulgence of a writer, or a director who says, 'Let me show you how a film should be made'. It could be the self-indulgence of an actor where the image becomes bigger than the character or of those people who pander to the actor saying 'Let me build on your star image'. These are no-nos for me. In the beginning there is a certain enthusiasm which every creative person should try to hang on to without buying into what people write about you. With experience, you can loosen up a bit. People are remembered for the work they do. No one remembers you for what you wore and the number of parties you attended.

You wrote an open letter to your daughters, Shakya and Akira, addressing the culture of sexual violence that plagues women in society. As a father, do you find it difficult to help them navigate through the milieu we live in?
Like any parent, I worry about the safety of my kids. But beyond that, I don't feel a parent should make a child, and especially a girl child, feel any different because of their insecurities for her. I don't think your fears should translate into the way they lead their lives. Conversations are important for them to trust you and know that they are not being judged. They should be able to speak about everything that's going on in their life. That's what empowers kids to be themselves.

Often, women are asked how they strike a balance while managing work and home. How does a man do that?
It's all about making time. Of course, it was a lot easier when I was living with them in the same house. They want time and a listening ear. The biggest mistake parents make when they meet their kids is that they start telling them what they feel. It should be about what they want to do, eat or play .

Do you feel like being in a relationship now? Have you been thinking on those lines since there is a lot of speculation?
At this point, I'm not thinking about being in a relationship so seriously. Whatever has to happen, will happen. I'm not consciously thinking, 'Oh, now it's been long and I must'. There's no such thing. Whatever is spoken or written about is a part and parcel of what we do, which you have to take in your stride.

Do you mean to say that none of those speculations about your personal life affect you?
It's not a question of affecting me because it's not just me. I can't be selfish to believe that it's just about me.You're taking other people's names. My kids may read it and that person's family might read it. It's unnecessary. Unfortunately, your friendship with the person in question gets affected because you become conscious of it. Sadly, it's not cool. All of this is based on Chinese whispers. Maybe it's difficult for people to imagine that someone is happy just being by himself. Possibly, those who write about it don't have the ability to be happy by themselves.

After Ravi Kishan, who plays a Chief Minister in Nikkhil Advani's upcoming production, Lucknow Central, wrapped up his portion in March, Manoj Tiwari shot for his special appearance on Monday at a Chandivali Studio. “I play myself in the film. Farhan's character is a huge fan of superstar Manoj Tiwari and aspires to be like him. I wouldn't have had so much fun had I been cast as the lead as I did playing this part,“ exults the 46-year-old singer-actor-politician.

A source from the set informed Mirror that it was a concert sequence with Farhan's character trying to reach Manoj Tiwari, who's performing on stage, and failing to do so. “Farhan had already canned his shots so he was not present on the sets,“ adds the source. “However, Ravi Kishan dropped by to meet Manoj.“ Manoj was all praise for debutante director Ranjit Tiwari, who he described as “extremely sharp“ and confided that he'd been shown some rushes and was really impressed. Quiz him about Ravi's surprise visit and he beams, “He waited for four hours till I wrapped up my shoot around 1 am and then took me to his house for dinner. Such greatness!“ exclaims Manoj, who recorded a song for a Bhojpuri film after the late dinner and then took a flight to Delhi on Tuesday morning.