A conversation with Irrfan Khan is always a revelation. On a Saturday afternoon, the actor surprises you by admitting that years ago, when he was doing TV, he was ready to get into films in any way possible and had Haasil not come along, he might have got sucked into big budget commercial cinema and ended up becoming a character actor. “Fortunately, Haasil was the right break and gave me direction and clarity. After that I never accepted a film flippantly. Yes, sometimes I did do commercial films like Thank You and Jazbaa but that was for survival and to see how effective I could be in that kind of a space. The focus always was on telling a story and redefining entertainment. Even an upcoming quirky comedy like Hindi Medium which can be described as 'commercial', is not fluffy entertainment,“ he asserts sipping his juice.

Prod him on whether he enjoyed these films and he nods but says he wouldn't repeat himself, not even for Anees Bazmee with whom he shares a great rapport, which is why he turned down the Aankhen sequel. “I get offered a lot of money to do these roles but to work just for money can be boring and pointless. Life throws up regular opportunities so there's no compulsion to accept everything even though I don't have another business as a back-up,“ he smiles.

But like other actors, he too has jumped into production? Irrfan reasons that he's not a prolific producer who makes films for money. “I make them to enhance the chances of a story like Madaari to be told, to which regular producers may not react,“ he maintains, going on to reveal that he's just completed a road movie produced by his wife, Sutapa Sikdar. “We travelled with this sunny romcom from Mumbai to Bikaner and Jaipur, through Rewari and Delhi to Rishikesh and Gangtok.“

He looks relaxed as he leans back on the settee but Irrfan's busy. On Sunday, he started another comedy, Abhinay Deo's Raita, with Pink girl Kriti Kulhari, and is in talks for an international indie film with a strong storyline. Meanwhile, he's wrapped up two other international films, The Song Of Scorpions, with Qissa director Anup Singh, and Bangladeshi director Mostofa Sarwar Farooki's No Bed Of Roses. “While doing Hollywood films I wanted to do indie projects with a presence in the European market. I began with The Lunchbox, followed it by Qissa and did The Song Of Scorpions just so I could collaborate with Anup again. He's a passionate filmmaker and his way of working challenges your sensibility, making you look at the craft differently,“ he says.

He's equally gung-ho about Mostofa, admitting he did No Bed Of Roses just for him, but not so much about Bangladesh, which has lost many of its 700 rivers and green landscape to the virus of unplanned development and whose locals don't enjoy freedom of speech. The film has been banned in the country. Could it be because it's reportedly based on Bangladeshi writer-filmmaker Humayun Ahmed, who divorced his wife of 27 years to marry an actress and his daughter's friend who's 33 years younger? “It's not based on anybody's life. It simply explores the complexity of a relationship without showing even a kiss. Yes, there is an age difference between the couple but they get married, even if they hadn't, that is no reason for a ban. I have faith in the system and I hope better sense prevails eventually,“ he sighs. Won't our Censor Board, which plays moral guardian at times, object to the content too? Irrfan doesn't think so. “Our CBFC behaves in strange ways at times and it's time we adopted a certification model but I don't see any objections in our country,“ he asserts.

For the actor every relationship is complex and few couples live happily ever after. “We're born with a longing to submerge in God and all our lives we look to complete ourselves. The closest way to do so is to be with another person. But man and woman are made of different chemicals so their chemistry can pull each other down subconsciously. That's why relationships get complicated,“ he intellectualizes.

How does a nomad like him stay married? “For me a relationship is helping each other evolve. If that stops, the relationship, neither romance nor nostalgia can sustain it,“ he avers, saying he's never dishonest in a relationship because that creates negativity. “If you have an affair, have the courage to acknowledge it. My only morality is that I cannot ever think of a friend's wife as another woman.“

Strong words but then Irrfan is emphatic in his views on most subjects including English and Hindi creating a class divide which is the subject of the upcoming Hindi Medium. While he himself went to a convent school because his mother wanted him to speak angrezi, Irrfan's been careful to give his two sons, Babil and Ayan, a taste of our culture even as they devoured American entertainment and borrowed from their lifestyle. “Babil's discovered his culture now, the way I have even though I've often been told by industry know-alls that unless you appear to come from an English-speaking background, you won't be taken seriously. That's the burden of colonisation we carry,“ he rues.

He's okay with people from different states bringing their mother tongue to a metro like Mumbai, but acquiring the language of another country and its psyche bothers him. “Majid Majidi can direct an entire film in India working with an interpreter but if a Hindustani does not know English, usey dekhne ka nazariya alag ho jata hai,“ he reflects. It's ironic that Irrfan, who's as desi as you can get, is a big name internationally while many of our anglicised actors remain confined to Bollywood. “That's because in Hollywood it's not about language, it's the variety and diversity you bring to a role,“ he reasons. “And while the West is alert by talent, Bollywood is threatened by it. Naseer saab (Naseeruddin Shah) is the one of those rare actors who celebrates talent, for others, they've to fit into the existing machinery. Anything new is frowned upon.“

Having a Pakistani co-star today is also frowned upon and Irrfan's Hindi Medium heroine Saba Qamar is from across the border. For someone who's moved seamlessly from Bollywood to indie films, big studio Hollywood to South-Asian cinema, how does it feel to be confined creatively by political diktats? “I wouldn't want to discuss politics but it baffles me how after your film is cleared by a government body, certain groups are allowed to disrespect law and order. Inn logon ko mudda banane ki chhut kyun di jaati hai?“ he questions, arguing that if a film runs in Pakistan or if their talent enrich the Indian film industry, it would only benefit us.

His apartment in Oshiwara has been mired in controversy following discrepancies by the builder. Is he in danger of losing it? “Such discrepancies exist in half the buildings in the city. The court has ordered that owners should not be harassed and the BMC should deal with the problem,“ he shrugs, pointing out that it took him two years to find an apartment which was spacious with high ceilings. “Given a choice I would never live in the city because our cities are not planned and the quality of life sucks. I miss my home in Madh Island which is now our weekend retreat. I had to move to the city because commuting was a problem. Traffic is a nightmare. I wish we at least had cycling tracks.“

With Madaari winning appreciation from all quarters, one person who is visibly happy is presenter and producer Madan Paliwal. The owner of Miraj Entertainment tells us what appealed to him about the Irrfan-starrer.

How does it feel to back a film that has got good reviews?
As a producer, I'm delighted but for me being a part of this project was enough success. Madaari is not just any other film. It is a movie that every Indian can relate to and makes us question ourselves. So, I think we succeeded the day we decided to be a part of it.

What did you think of Irrfan's performance?
When I saw the film, it left me so emotional that I came out of the preview theatre and gave a tight hug to Irrfan. All of us know that he is a phenomenal actor; but his portrayal as Nirmal Kumar has touched a chord with each one of us. Every person who watches Madaari will empathise with his character at some point.

Nishikant Kamat, who has helmed it, is also one of your favourite directors...
Nishikant is an ace director and a master at his craft. He knows how to engage the audience. He ensured that he kept the pace alive and the aspect of a social thriller intact while making such a strong social comment.

The film has a strong female presence in its writing and production teams. How did that happen?
Does it surprise you? Women are at the forefront of every decision-making process today - be it creative, economic or even political. I don't think it was by design in the case of this film. I guess women power is a reality that Bollywood recognises and appreciates more readily than other fields.

For you, is Bollywood an investment or a passion?
I have been a big fan of cinema and Hindi movies in particular. I always harboured a dream of making films that would touch people's hearts. Today with Miraj Entertainment we are trying to do just that. Our attempt is to make movies that are meaningful, have a strong message and connect with the audience.

What are your upcoming projects?
We have been hearing a lot of scripts and will take a decision soon.

After Kangana Ranaut reportedly bowed out of a movie, starring Irrfan, rumours were rife about bitterness between the actors. Moreover, Irrfan's seemingly sarcastic remark -“Kangana has gone so out of reach that I will work with her only if I wish to be a heroine“ - was misconstrued, adding fuel to the gossip. So when she turned up for the special screening of his latest, Madaari, people were a little surprised.

An onlooker present at the venue says, “There was a perception that there's love lost between them but all speculations were put to rest. They were chatting for quite a while before the movie started. During the interval, Kangana looked visibly impressed and made it a point to tell Irrfan how much she liked the film.“ So is their collaboration back on track then? Confirming that they briefly discussed the topic, our source adds, “The mention of the movie they were supposed to do did come up. But going by their conversation, it seemed that the project has been put on the backburner for now.“

Nishikant Kamat is a man of few words. In fact, he confesses this, a tad self-consciously , as we settle down for the interview. He says, “It's nicer to direct a film, however speaking about it is difficult.“ The director exudes a calm confidence as he looks forward to the release of Madaari rather than get nervous about its box-office verdict. In an exclusive interview he tells us about his wish to helm fewer movies every year, his love for cinema and working with first-time producer Irrfan.

Madaari is a real-life drama. So, what were the challenges that you faced while working on it?
It is inspired by a real-life incident (the collapse of an under-construction metro bridge in Andheri in 2012). We have explored human emotions and how the whole accident affected people. While portraying real-life incidents in movies, you can't take liberties. Sticking to the milieu is tough in a real-life drama as I can't incorporate a song with the lead actor breaking into a jig or have 100 dancers in the film. At the same time, I have to make it thrilling and engaging. That is the biggest challenge.

Social media is abuzz with rumours that Irrfan's character is based on Delhi Chief Minister Arvind Kejriwal. Is it true?
I don't understand where these rumours emerge from. I am tired of refuting these claims. His character is not based on Kejriwal.

The film also explores the father-son relationship. So, did you incorporate your personal experiences too?
I live with my father and share a normal relationship with him. I don't know if I have incorporated my personal experiences subconsciously. The movie starts off as a thriller and gets emotional as it progresses. I don't want to reveal much but it was about time a father-son relationship was explored on screen. Having said that, everyone has questions about the way we live in the country and I'm fortunate to be working in a medium through which I can express myself. So, in this film, I have raised questions about our existence, accountability and several other issues.

You have worked with Irrfan, the actor, earlier. How different was it collaborating with him as a producer this time around?
We go back a long way. He was 27 and I was 24 when I first directed him for a TV show. Then we worked together in Mumbai Meri Jaan. Now, we are back after eight years. And the best part was that he got me onboard as the director. Once we started shooting, he was in his element as an actor. Irrfan is one of the finest actors of our country. He's not only immersed in his craft but is also demanding. He is so talented that I'm always on my toes around him. He asks the right questions, so I've to be ready with the answers.

Does that mean he made your job as a director easier?
Yes, Irrfan comes well-prepared on the sets. He is a no-nonsense actor and is serious about his work. This obviously made my job easier. He knew his costumes and dialogues and that eased my pressure to a great extent. I have not taken a single retake because he never forgot his lines.

Given a choice, would you have chosen him to play the protagonist?
Of course. We are both dedicated people when it comes to the craft. I remember there were two scenes which I had not written. Though the film was 80 per cent ready, we waited for five months to get them right. I tend to get stubborn with my scripts so Irrfan understood that.

You have made a few commercial movies but you have won more appreciation for your hard-hitting films. Do you get tempted to make commercial cinema as the box office believes in numbers?
I'm not the kind who gets carried away by formulaic cinema. I love filmmaking. If the story is good and requires a bigger star then I will need that much money to make it, and then come back to the producer with more money too. At times, I'm happy that I'm making a film on a small budget. I'm not worried about star value, the return on investment is more important. If the producer has invested in me, he must get his returns. The number game has never been important for me. A good story and correct budget makes it work. Also, if I have made a Mumbai Meri Jaan, I have also directed movies like Drishyam and Rocky Handsome.

You have also acted in a couple of films. Will you face the camera in the future too?
I act when I'm free but direction is my passion. I'm lucky that I've managed both mainstream and parallel cinema. I'm happy that now, people are enjoying films like Neerja and Airlift. If I had made Mumbai Meri Jaan today, it would have been a bigger hit. And this is a welcome change in our cinema.

Irrfan Khan admits that he is in distress when promoting a film because it's one aspect of film making that he finds boring and extremely exhausting. “I hate it!“ he exclaims, admit ting that it's a huge burden on smaller, trend-setting films because unlike in the South, in Bollywood there is no ceiling on publicity budgets. One could end up spending plenty in an effort to reach out to people with the same formula without knowing if it's effective and, in the process, render the project non-viable.

Working with a limited budget for his upcoming film, Madaari, which he has co-produced with wife Sutapa Sikdar, Irrfan has given an innovative spin to the marketing game plan. He is using the social media to reach out to not just prospective viewers but also politicians like Congress Vice President Rahul Gandhi, Delhi Chief Minister and national convener of the Aam Aadmi Party, Arvind Kejriwal, former Bihar CM and president of the Rashtriya Janta Dal, Lalu Prasad Yadav and even Prime Minister Narendra Modi, asking for an audience with them.

“Our film is inspired by a real life incident and reflects what is happening around us. It doesn't talk about a particular problem but raises questions about the system and how it works. And since these are some of the people who run the system, I've decided to go to them with the queries and concerns of the common man,“ explains the actor, pointing out that one of the most basic concerns is accountability. Pointing to potholes, he says that they are the subject of TV discussions every year, but never is the contractor who built the road penalised. There are no fines or cancelled contracts. “Barsaat aati hai aur chali jaati hai and no one is held accountable. No one knows how much money was allotted and where it went. So many questions and no answers,“ he grouses.

He's already engaged in a live chat with Lalu in Patna. Did it spark hope of any change? “He said what he had to, nothing new, but he's one of those who have retained their sense of humour and people like that. But he's not the only one running the system, there are many. Politics is about serving the common man and when it becomes business, it becomes a concern for everyone,“ he reasons.

Irrfan's off to Delhi today and hopes to meet some more netas. “I've written to Arvind Kejriwal, Rahul Gandhi and Modi saab too. Whoever calls me, wahan chala jaoonga,“ he shrugs, admitting that Madaari was a tricky film and tested them in many ways, “Even when we were cutting the trailer we didn't know how to shape it and eventually went with the thriller. But it's not just a revenge drama. The trailer doesn't offer a glimpse of the intense emotional drama. You'll see.“

Irrfan's Madaari recently made a strong statement against piracy by swapping its release date with Great Grand Masti (GGM), which was leaked online. The social thriller took the lead in showing solidarity with the industry and will now open in cinemas a week later than its original scheduled date.

Irrfan, who turns producer with this Nishikant Kamat directorial, says, “It took us a while to decide to change the date but certain decisions go beyond profitability. There must be unity within the Hindi film industry so that we work for everyone's benefit. That's why we decided to shift Madaari's date from July 15 to 22. I wish the GGM team all the best. I know my fans will be patient despite the delay.“

Vashu Bhagnani, who's distributing Madaari, adds, “Films leaking before their release is a nightmare for all those who are creatively and financially involved with the project. Piracy is the biggest menace of Bollywood and has to be tackled jointly. At a larger level, we must stand together to fight it. We cannot let creativity be stolen and maligned. We're one big family where we work for and with each other.“

Indra Kumar, director of GGM, says, “We are touched by Vashuji's gesture of moving his film ahead by a week on our request.“

Madaari, presented by Miraj Entertainment, Bharat Shah and Easemytrip.com and produced by Paramhans Creations and Saptrishi Cinevision, releases on July 22.

In an industry where actors battle it out to create a new crore club with every film, men like Jimmy Sheirgill are rare. For him, acting is just a job and success to him is having a good night's sleep after a long day. The actor is dismissive about being insecure. Ask him about it and he says, “Bhai, insecure kya hona hai.“ He is temperamental but not complacent; nonchalant but not arrogant. Ahead of his upcoming film Madaari, Jimmy talks to BT about his love for heartland stories and why he will always be a Bollywood actor before a Punjabi superstar.

How does it feel when your favourite actor, Irrfan, offers you a big role in his first production?
It is humbling. I am so happy that he and director Nishikant Kamat thought of me for this role. Though I share only a few scenes with Irrfan, working together after Haasil was wonderful. All of us did this film for the sheer love of the subject. Madaari is a socio-political, edge-of-the-seat drama with a strong undercurrent of human emotions. Often, we want to change the way things function in our country but we don't know how to do it. A movie cannot offer a foolproof solution for such complexities, but I assure you it will be gratifying to see such issues being addressed in the most real way possible in this film.

What was the biggest challenge that you faced?
It was a huge challenge to understand my character's psyche. He isn't an impulsive cop, like the one I had played in A Wednesday. He is mature, meticulous and has a lot of experience. So, I had to approach this role differently. Even my look in the film was created to give this character some depth.

How do you juggle between Punjabi cinema and Bollywood?
It doesn't take much effort. I do only one Punjabi film every year and act in more Bollywood films. I will always remain a Bollywood actor at heart. I divide my time very carefully. Out of 365 days, I devote 40 days for shooting and 20 days for promoting my Punjabi films. It gets difficult to allot more time than that without letting my work suffer. You cannot take up a character and not perform it with sincerity. Recently, I did a Punjabi film in which I had to play a 25-year-old guy and then gradually age till 70. I had to lose weight to look young. Such characters take time and it is better to space yourself out well to do justice to them.

You started off as a romantic hero and then the industry stereotyped you in a slew of lover boy roles. Since you've played a cop many times, do you feel you are being stereotyped again?
I never pick up a film unless I feel strongly about it. I'm drawn towards scripts but more towards characters. Cop roles are intriguing and gritty but you can always make the effort to play them differently. When I have to repeat a character, it is twice the hard work. You lose your ability to surprise yourself and the audience after you've played a similar role before. You have to give him an edge to make him shine. I would never want to be stereotyped. After a few romantic films in Bollywood, I was only getting those kind of roles. I felt I was being pigeonholed. I still try to maintain a variety in my roles.

Do you miss romancing on screen?
I still essay such roles in my Punjabi films once in a while. In Bollywood, I am offered fewer romantic films that touch my heart. When I find such a story here, I will definitely take it up. When I started off, it was a conscious decision to begin with mush. Eventually, I discovered my love for intense characters with films like Yahaan and Haasil. I would love to do light-hearted films but such movies are never offered to me.

Do you have a strong liking for stories set in the heartland?
Since I am a Punjabi, such parts suit me. I have seen the desi rustic life closely, so I connect well to such characters. I feel that people like watching me in hard-hitting roles more.

As an actor, do you face any kind of insecurity?
(Laughs) Insecure kya hona hai. I just go out there do my job and don't think about it too much. How can giving a few lines to my colleagues or taking a few of theirs make or break my career?

Is that why you are comfortable playing supporting roles?
The choice has always been mine ­ a male lead versus a strong character, in which the latter wins. The length of a role doesn't matter as long as it can make an impact. I had a 12-minute role in Bang Bang, but the response was tremendous. When you do such a role, you don't expect anything in return but if you are earnest, your efforts will be appreciated.

What does success mean to you?
For me, getting a peaceful night's sleep means true success. Everyone works hard. And so do I. But for me, the most important thing is going home and spending time with my wife, Priyanka, and son, Veer. What is life if you don't have loved ones to pamper.

Thirteen years ago, when Irrfan and Jimmy Sheirgill shared screen space in Haasil, they created magic. While the actors' sterling performances garnered accolades, the movie, revolving around student politics, earned critical acclaim. It also became a turning point for both of them with appreciation flowing in from all quarters. Now, after all these years, the two will be seen together again in Madaari, which will release on July 15. While shooting for the film, Irrfan and Jimmy often got nostalgic and revisited their memories of Haasil. The actors feel like their earlier collaboration, this one, too, will strike a chord with the audience. As Irrfan says, “The stories of Haasil and Madaari are inspired by the reality around us. They have memorable dialogues and are high on emotions.“

While its trailer has already resonated with cine-goers, the songs Dama Dama Dam and Masoom Sa, which released recently, have also received a positive response.

Madaari, presented by Miraj Entertainment and Bharat Shah in association with EaseMyTrip.com, is produced by Paramhans Creations.

Irrfan, who has wooed critics and audiences alike with his powerful performances on screen, is also known for speaking his mind. The actor doesn't mince his words while discussing things that he feels strongly about. However, his recent comments while promoting his film, Madaari, which releases on July 15, has stirred a controversy.

The 49-year-old actor raised eyebrows when he questioned the essence of fasting during Ramadan and asked if the concept of sacrifice during Bakr-Eid had been lost. He remarked, “We have forgotten the real meaning of rituals. We have made them a tamasha (scene).“

Further, he argued, “Qurbani means sacrificing something close to your heart and sharing with others. Today, you buy a goat from the market. It is something to think about; it is a matter of common sense. All of us should ask ourselves how sacrificing another life earns us any goodwill.“ He also stressed upon the significance of `understanding the meaning of rituals and festivals, lest they are misused'.

However, his viewpoint drew strong criticism as a result of which, he later posted on his microblogging account, “Please Bhaiyon, who are upset with my statement, either you are not ready to introspect or you are in a hurry to reach to a conclusion.“

Further, he wrote, “For me, religion is about personal introspection. It's a source for compassion, wisdom and moderation, and not for stereotyping and fanaticism. Clerics don't scare me!! Thank God, I don't live in a country governed by religious contractors (thekedars) FREEDOM.“ (sic)