During career’s longest break due to lockdown, Rakul Preet Singh is studying business management online and hoping for the best
Akash Bhatnagar (MUMBAI MIRROR; May 21, 2020)

Rakul Preet Singh made her Bollywood debut in Divya Khosla Kumar’s directorial debut, Yaariyan, in 2014. But it was last year, that she caught the eye with Luv Ranjan’s De De Pyaar De, in which she played Londoner Aisha, who falls in love with Ajay Devgn’s Ashish, a man almost double her age. The actress hails it as a “special film as it kickstarted my career” and gave her the opportunity to work with two of her idols. “I am a fan of both Ajay sir and Tabu ma’am (who plays Ajay’s ex-wife in the film). On the sets, they treated me like an equal,” she gushes, adding that it was the story’s tone and her part that sealed the deal for her. “I was getting to play my age in a film that talked about age-gap in relationships in a new way.”

Sometimes, the theme inevitably transcended the screen. “I remember telling Ajay sir that I was two when I sang for the first time. It was 'Rukk Rukk Rukk' (from Ajay and Tabu’s 1994 action-drama Vijaypath). He laughed and told me not to mention it again. I just quipped, ‘Isn’t it what our film is about?’” Rakul laughs.

Recently, Bhushan Kumar informed Mirror (May 7) that a follow-up to the 2019 romcom is on the cards. Ask Rakul about it and she shares excitedly, “I used to message Akiv sir (director, Ali), asking when we would do a sequel. I got to know from the news, too, and I am already looking forward to working with the same team again,” she says.

The actress was looking at a busy year at work before the Coronavirus-induced lockdown broke the momentum. “I would have had three releases this year, Attack (with John Abraham), a film with Arjun (Kapoor) and Indra (Kumar) sir’s film with Ajay sir and Sid (Sidharth Malhotra),” she sighs, confident that after watching her in these films, “people will definitely approach me with more diverse work”.

Prod her on Indra Kumar’s film that reunites her with her De De Pyaar De and Marjaavaan co-stars and was to start last month, and she says, “Now, I don’t know when it will begin, but I am excited about it. It is a fun film in the social-comedy-drama space. Indra sir has an amazing comic timing.”

Till that happens, she’s keeping herself busy with yoga and reading scripts, some of which have got her nod. Recently, she also enrolled for an online crash course in Business Management. “I believe in living in the present. All of us thought of doing a lot of things in 2020, but here we are, sitting at home,” she points out, adding that she is used to choc-a-bloc schedules. “Even down South, I have worked for 350-360 days in a year. This is the longest break I’ve ever had, and I am just waiting to spring back to my normal routine.”

Onkar Kulkarni (BOMBAY TIMES; October 30, 2019)

He began his journey in the entertainment world with television shows. Sunny Singh was a part of one of India’s longest-running daily soaps, Kasautii Zindagii Kay (2001-2008). He made his debut in Bollywood with Madhur Bhandarkar’s Dil Toh Baccha Hai Ji (2011). However, it was the 2015 release Pyaar Ka Punchnama 2 that set the ball rolling for him. This year, the actor reaches a landmark in his career as he gears up for the release of his solo lead project, Ujda Chaman, directed by Abhishek Pathak. In a chat with BT, Sunny talks about his struggles, the mentors who have shown him the way and opens up about the averted clash of his film with the Ayushmann Khurrana-starrer, Bala. Read on…

Ujda Chaman is your first film, which features you as the solo lead. How does it feel to carry the weight of a movie on your shoulders?
It feels really good, especially to see yourself featuring on the poster, solo (laughs!). I was waiting for such a project. I also wanted to do something different. I had faith and knew that one day, something like this will come along. When I was approached for this film, I got excited hearing the concept and details about my character.

Ayushmann Khurrana’s film Bala, based on a similar subject (premature balding), is releasing a week later. Amidst all that excitement, does this bother you?
When I saw the trailer of Bala, I couldn’t believe my eyes! I was like…what just happened? Later, when the feeling sank in, I was fine. Personally, I like Ayushmann and love his work. He is my senior and I am his fan. I had also met his wife Tahira and brother Apar (Aparshakti), they all are very sweet. They are like my family. I remember meeting Ayushmann at the screening of De De Pyaar De. I had a guest appearance in the film. He came to me and appreciated my work in the film. About the clash, I have no pressure, as such. I know that I have given this film my 100 per cent, and I am hoping it will connect with the audience.

Tell us all that went in to get the bald look right on screen?
It was a long, tedious procedure. On the first day, I thought it would be a cakewalk. However, when I sat through the look test, I realized that I had to go through this every day on set. The prosthetics team would use glue and a silicon cap to get the look. It would take three hours for me to get ready. I would arrive on the sets at 4 am and get ready only by about 6.30. Removing it would take another half an hour. During the three-hour process, I would watch movies on my phone. Shooting in Delhi and Ghaziabad was the toughest as it was very hot, leading to sweat getting accumulated under the silicon cap. It would be extremely uncomfortable.

From being a part of a TV show to bagging a solo lead film project, what have been your biggest hurdles along the way?
I have come a long way and reached here, I am truly happy for that. Well, the thing is that I have been extremely focused. I wanted to be an actor ever since I was five years old. I would tell my father (Jai Singh Nijjar, action director) that I wanted to be a hero. I used to enact scenes from the film Ram Lakhan (1989) at home. Seeing my enthusiasm, my father supported me, but also told me that it is going to be a very tough way ahead. He warned me that I would have to stand in long queues for auditions and he also said that he could approach people through his contacts, but eventually, I had to impress them with my talent. If didn’t, I had to ready to face failure. And I have faced it all. I would be very nervous during auditions. After waiting in long queues and then getting a chance to perform in front of casting agents, I would often get the response, ‘Aap mein yeh kami hai, woh kami hai.’ Finally, when I turned 18, a casting agent approached me and asked if I willing to do television shows. That is how Kasautii Zindagii Kay happened. I just took it up to get the experience of facing the camera. After a couple of TV shows, I quit doing that and focused only on movies. One day, I met Luv Ranjan through a casting agent. That was the best day of my life. After my family, he is the only person who I trust and have faith in.

The film industry is accustomed to seeing star kids make their way in showbiz. Lately, sons of fine technicians are also making their mark here, like Vicky Kaushal (whose father Sham Kaushal is an action director). It is interesting and remarkable…
Yes, it is interesting. I am good friends with Vicky Kaushal. In fact, he is from my hometown and our homes are just a kilometre apart. Our families get together during occasions and we know each other very well. He is a very sweet and simple guy. He has been so focused all these years and has worked really hard to reach where he is today. I have seen him go through the process. In fact, on three-four occasions we have gone for narrations together.

As a kid, would you accompany your father on film sets?
My father would tell me stories from what would happen on the sets. I would ask him to take me along, as I wanted to see the stunts live. I remember being on the sets of Vijaypath (1994), where Ajay Devgn was shooting a scene with a tiger. My father was training him, even Veeru Devgan (Ajay’s father, who was also an action director) was there. My father was lying down and the tiger was on his chest. They were demonstrating this to the actor and the duplicate. It was very scary to see my father doing that.

Which is that one actor you idolised while growing up?
I have been crazy about Akshay Kumar, probably because he gives me the Delhi vibes. While growing up, I would watch each and every movie of his. My father worked with him on Khiladi 786 (2012) and many other films.

Your upcoming film Pati Patni Aur Woh reunites you with your Pyaar Ka Punchnama 2 and Sonu Ke Titu Ki Sweety co-actor actor Kartik Aaryan. What’s your equation with him?
I am doing a guest appearance in the movie. It was Kartik who called me and informed me about the cameo. Later, I met director Mudassar Aziz and came on board. It’s fun working with the entire team. Kartik has been a good friend. We know each other since 2011 and ever since, we have always hit it off well.

After sharing the screen with him in Sooraj Barjatya’s family drama, actress wraps up a special turn in his home production
Himesh Mankad (MUMBAI MIRROR; July 31, 2019)

Tabu has just returned from London where she shot a cameo for Saif Ali Khan’s home production Jawaani Jaaneman. The coming-of-age film features the actor in the lead and introduces Pooja Bedi’s daughter Alaia F as his daughter. Visibly in a happy space, the actress quips when asked about the experience, “How was it working with them or how was London?”

She goes on to inform that she has a special connect with the Queen’s City as it holds memories of two other films, R Balki’s off-beat love story Cheeni Kum with Amitabh Bachchan, and Luv Ranjan’s more recent De De Pyaar De with Ajay Devgn. “This is an altogether different film, and it’s amazing to work with Saif after so many years.” Their last collaboration, Hum Saath Saath Hain, released in 1999. “We did Biwi No 1 after that but didn’t have any scenes together. Saif has a great sense of humour and I was looking forward to doing this kind of a film with him,” she adds.

Prod her on the role and she says, “It’s a nice and open spirited space for me. Golmaal Again, De De Pyaar De and now Jawaani Jaaneman are all energetic characters, and in this space, you get to do something fun with the clothes and create a look. It’s different from the serious dramas that I had been doing.”

She recounts that Jay Shewakramani who is producing the film with Saif and Jackky Bhagnani, called her one day with this special appearance. “Since he is an old friend, working with him was sentimental and when I heard the story, I discovered that it is a fun space and was instantly game,” she reasons.

Buzz is, she plays Alaia’s mother. “More than being anybody’s mother or sister, it is a character. I like the way my track has been conceptualised, there’s a correct balance of humour but I don’t want to say more. We want it to come as a surprise,” Tabu keeps it short.

Incidentally, another one of her ’90s films, Vijaypath (right), completes 25 years next week and holds a special place for Tabu as it was her first hit. “It’s a coincidence that Ajay and I did a film in the year our first film together completes 25 years, it speaks a lot about our friendship and the work we have done. Twenty five looks like a big number when you write it, but it doesn’t feel so long when it’s Ajay,” she concludes with another laugh.

Hiren Kotwani (BOMBAY TIMES; February 9, 2018)

Rarely do you come across actors who become so synonymous with their characters that you can’t imagine any other actor essaying that role. Tabassum Fatima Hashmi aka Tabu is one of them. Maachis, Astitva, Chandni Bar, Haider… the list of her memorable performances is long. And, after gripping the viewers with some intense roles in serious cinema, she surprised everyone by becoming a part of last year’s comiccaper, Golmaal Again. But that’s Tabu for you — unpredictable. BT caught up with the actress at her office in suburban Mumbai to chat about her two-and-a-half decade journey in cinema. Excerpts...

You have completed over 25 years in cinema. How do you look back at your journey?
It’s been fun, challenging, gratifying... I cannot come up with any one adjective for my journey. Initially, I found it mentally challenging, as I come from a different background. I grew up in a simple family of academicians in Hyderabad. Acting happened by accident, like most things in my life. I never had an inclination for it. Adjusting to the mindset of the industry and its ways was tough. My journey of self-discovery actually began when I started understanding and giving more to the craft, when I wanted to be more than just the heroine. Meeting people like Gulzar saab, Mani Ratnam, Priyadarshan, Santosh Sivan... from then on, it began to get serious.

Maachis (Gulzar) and Kaalapani (Priyadarshan) are indeed landmark films in your career...
Both the films happened around the same time (1996). At that time, though I was enjoying working in films like Pehla Pehla Pyar and Vijaypath (both in 1994), I wanted to find something more engaging. Working with Gulzar was a dream because I had never thought that I would get to work with him. I wanted to work with someone who makes movies that are real, where I could just be myself and not have to wear make-up. I enjoyed the sense of responsibility that Maachis gave me.

However, when I heard the script back then, I didn’t understand its political relevance or message. When you’re young, you don’t understand certain things. But looking back, it feels great to have been part of such an important film. From that point, I started valuing the craft of acting and understanding it.

While Vijaypath and Pehla Pehla Pyar are Bollywood romances, Maachis and Kaalapani are serious, intense films. Were you trying balance the kind of movies you were doing? Was it a career strategy?
I was too young to think about strategies. Also, my sister (former actress Farah) and I were not trained like that. Jo achha lag raha tha, back then I was excited to do it. I wanted to do meaty roles and Maachis brought me my first National Award. I never felt I was taking a risk. I knew my choices would work and I saw no reason to not do these films.

You were a part of women-centric films like Astitva (2000) and Chandni Bar (2001). Do you think that over the years, more female-centric films are being made in Bollywood?
Female-centric films have always been there. They may sound like a different tribe of cinema, but I don’t look at it like that. The only development is that layered and grey women characters are also being accepted now. Earlier, that was not the case. I think that with Maqbool (2004), the audience began slowly accepting such female characters. Audiences were surprised to see me play a dark character in that film. However, I didn’t think I was doing anything drastic when I became a part of it..

You have survived for more than 25 years in an industry that is male-dominated. What do you attribute the longevity of your innings to?
I don’t know, I don’t think it will be possible for me to analyse it. Commercial success has always helped me stay afloat and let me do other things. Being accepted in commercial as well as offbeat cinema has been my biggest strength.

You started playing mother on screen much earlier than your contemporaries, who have reservations about taking up such roles even today. As a commercial film heroine, were you never worried about your image?
I did what I was instinctively drawn towards. So, there were no thoughts of repercussions or stereotypes. The character has to be relevant to the story. In Astitva, my character was Namrata Shirodkar’s mother-in-law. In Haider, I never thought that I’d be thought of as the hero’s (Shahid Kapoor) mother. The character is more important to me. I would rather pick a riskier role than a plain, safe character that is neither strong nor too important. I’ve never made choices based on conventional standards.

In the interim, there was a time when you were not doing too many films, save for select cameos and special appearances...
Maybe because the kind of movies that I wanted to do were not being made. I was not liking what I was being offered. I think the industry was also in a state of flux. The shift from the 90s to the early 2000s has been drastic and clearly visible. People didn’t know who to cast in what kind of role. I think in the last seven-eight years, we have settled down. There is chaos, but we have reached an understanding and worked our way around it.

Today, what excites you about a role?
The strength of the character, and by that, I don’t mean just being the flag-bearer of human rights. The character should have some strength of her own, or else, it won’t have any meaning. What also excites me is working with people I am comfortable with and those who will help me grow as an actress and individual… I’m the kind of person who is always hungry for new experiences. Hence, I make unpredictable choices. Subconsciously, I push myself towards choices that will help me grow.

Ever thought of stepping behind the camera?
I have thought about it, but it has remained just a thought. Sometimes, the thought would be strong and I would draft stories in my head. Then I would discuss them with my director friends and when they’d say very good, I’d forget about them.

Today, on-air content, which bypasses censorship issues, gives filmmakers and actors ample freedom. There’s also a huge demand for it...
Well, I don’t have that kind of experience. I don’t know many aspects of cinema and filmmaking. And I don’t know if I want to take up that kind of responsibility single-handedly. I can’t engineer a team or create a set-up. Unless something triggers me internally, I won’t give it a thought.

What’s happening on the personal front? Do you miss having a partner?
I’ve nothing against relationships. They happen when they have to. It’s not something that you put down in a couple of points.

Does it bother you that our society is prejudiced against single women?
It used to bother me when people were interested in other people’s lives, but not anymore. It’s human nature. Sometimes, I feel that people also do it out of concern. People will always be curious about single women, more so a celebrity. I think our society has a problem accepting that a woman can be single by choice also.

Known to be reticent, naturally shying away from public glare, one of India's finest film actors opens up on her sabbaticals, cinema, and the showbiz sense of humour
Mayank Shekhar (MID-DAY; January 31, 2018)

It's rather easy to hold a free-wheeling conversation with Tabu. Here's why. She's been around for over three decades, having done over 80 films, which would mean, a fair number of post-release rounds of press interviews across news/entertainment media. And yet, it's incredible how little we know about her. The mystique, aura, whether planned or not, remains. And we can actually begin the chat with the most basic query, on her name. Hence the first question, and similar ones that follow!
 Excerpts from the conversation


You're Tabassum Fatima Hashmi, which is a beautiful name. How and why did you choose to call yourself Tabu in the first place?
It's my pet name.

Sure, but it's like Govinda calling himself Chi Chi on screen.
Tabu works though, you think? When I was working on my first film, as a child artiste [in Hum Naujawan, 1985], Dev [Anand] Saab thought Tabu was beautiful too, and that I should adopt it as my screen name, and that just never changed. Nobody had ever called me Tabassum, except for my teachers and school friends. And I came to Bombay right after school.

A common perception is that you started out as an outsider [from Hyderabad] to showbiz, Bombay. Goldie Anand's wife was your mom's friend. Shabana Azmi is your aunt [mum's first cousin]. You've worked with Dev Anand. Shekhar Kapur wished to cast you as a debuting lead [Shekhar himself is Dev Anand's nephew]. Clearly you're an insider!
That's right. I think the impression of me being an 'outsider' comes from the fact that I never intended to be in the movies. I showed up here by circumstance, accident, you can say. I went back to school after finishing my first film, and I never wanted to come back.

Were you holidaying in Bombay when you got your first part?
We used to come every summer for our holidays, because my mum's older brother, Ishaan Arya, was a DoP, he shot Garm Hava [1973], Bazaar [1982]. I grew up with his sons Sameer and Sagar, we were like siblings. My sister [Farah] and I were at Dev Saab's office, where he was taking a screen test, and because he thought she was so beautiful, he took her screen test as well. I did the movie. We forgot her screen test. She was 16.

And one day, we got a call from Yash Chopra. He told my mother about wanting to cast my sister [for the film Faasle, 1985], since Dev Saab had showed him her screen test. My mum didn't know who Yash Chopra was, she checked with my aunt [Shabana], everyone was really excited. This is how my sister and mom moved to Bombay, and I was too attached to Hyderabad and my school, so I stayed back with my aunt for three years. By then my sister had done a thousand films, and become a big star. And due to my sister, there was natural curiosity in the industry if I'd like to act in films too.
Shekhar [Kapur] Uncle saw me, said I had to debut in [his film] Prem, which I said no to. He insisted that I do just this one film, and that he would then send me abroad for further studies. Which never happened. In fact, I did the film, and he ran away [from the project].


That was a massive debut.
Yeah, it was huge.

Rather early in your career Gulzar called you a combination of Nutan, Meena Kumari and Nargis! Anyone would fall off their chair hearing that.
(Long pause) I don't know what to say, I try and see it from the outside, and then hope to do my job well.

And ideally stay from the traps of showbiz?
My life is [in the] showbiz, it isn't so separate from my work. Yet, regardless of my profession, I would still remain the same person — someone whose internal life, is distinct from the madness outside. And I've always been like this, through school, college. It takes me a long time to open up with people, media, work-associates… It's just a personality type. I don't have the bandwidth to be out there, be everything, to everyone.

You're more the 'board-game night with close friends' kinda person?
I do that. I essentially like being with people I can laugh a lot with. And people in the movies [unlike in many other professions] generally have a sense of humour. There's a common thread of jokes that exist in the film industry, with a very specific language.



Give us an example.
"'Cut to' usne aise bol diya." "Maine aise bola aur woh 'stop block' mein gayab ho gaya!" This is still '90s, but there are really specific terms. "Arrey yar, yeh toh bahut bada twist aa gaya teri kahani mein!" "Yar, kya 'game' kiya usne girlfriend ki life mein!" "Uski band baj gayi…"

What I find amazing is how film critics go gaga analyzing your performances, sub-text in your work, etc. But when you're asked about films that you loved doing, you say Saajan Chale Sasural [1996], Biwi No. 1 [1999], and in a recent interview you said Jaal: The Trap [2003]. Have not even seen Jaal: The Trap, what's this finest movie you've ever made?
(Laughs) Don't exaggerate, I didn't say Jaal: The Trap was the finest film ever! I think it was a great role for me to do, back in 2000, so early in my career, nobody had cast me like that. Mere role mein twist aa gaya! You just haven't seen the movie, and so you don't know. Didn't it look like I was having fun in Biwi No. 1?

In Saajan Chale Sasural, the audience had fun, I had fun, the producers made money, it was a fun experience! It was a treat to watch Govinda take a scene to other levels. On paper, it would look like, okay, this is what's going to happen, and it's funny. But you would never be able to imagine the flavour Govinda would bring to a scene, turning it into something so tasty. And that's his forté.

I know someone who hung out with you on the sets of Chandni Bar [2001]. What amazed him is that he'd be chatting with you, you'd go off, do an intense scene, and just come back to continue the chat. Does that switching on-off come naturally to you?
Gulzar Saab also used to say the same thing. Actually, I don't know, I've really not been able to decode the process of acting. I've tried. I still don't think I'd be able to articulate it [the process] into a few lines or paragraph. At all times, there have been too many factors determining what I was doing, or how I was doing it — the inspirations, people I was surrounded by, what kind of access I had regarding a role. I also don't think you can carry around what you've given in a shot, because there's a finish point with 'cut', and a beginning with 'action'. And I don't know what happens between the 'action' and 'cut'. It's just in front of the camera, after which the moment is over.



Do you rehearse for that moment though?
The lines and movement, of course, you have to rehearse. But I really don't know what'll happen in the 'take'. Even the director might give you different instructions in subsequent takes. I remember Ang [Lee] doing that [for Life Of Pi, 2012]. He would try the same shot with different interpretations to arrive at what he wants from a scene. For different actors, different kinds of briefs work. I don't know what kind of actor I am. Only someone who's observed me may be able to answer this. Also I've come to the conclusion that there is no right or wrong way of doing anything in life — as people as well, we're evolving. In action sequences, you obviously have to rehearse a lot. You can't just show up and slap someone. Otherwise, sometimes you just lose it when you rehearse a lot, and at other times, you can only get it right once you rehearse a lot.



Can you recall a character that you rehearsed extensively for?
You're taking my exam.

Okay, did you rehearse a lot for Ashima's role in The Namesake [2006]?
We just had one reading in New York. I got into the film just two weeks before the shoot's start, which took me by surprise, and I was so not prepared for it. To my advantage, I had already done a film in Bangla [Abar Aranye, 2003], with Gautam [Ghose] Da, which I had dubbed myself. I had a certain understanding of the culture, people, and place — that really helped a lot during The Namesake. I also had a lot of friends to refer to, especially since there was no dubbing involved. The dialect was Bengali accented English specific to someone, who's lived in New York from 1977-2005!
But The Namesake was an experience that changed a lot in me. There are milestones that you can look back on, and this film would be one of them. I was in America and didn't know anyone except Irrfan [Khan]. The entire unit was American — no one making any filmy jokes! I lived in an apartment in New York, and the first 10 days were devastating. It was cold, snowing, my sisters were in California and Chicago, and I would call them and cry, because I could not get my favourite brand of corn flakes in the supermarket. I would ask them: How come the tea doesn't taste like in California? This was my struggle.

Those are serious first world problems. We feel sorry for you.
No, I thought it would've been better if I could bring my team along. But once we started shoot, came into a routine, it turned out to be the most valuable experience of my life. I made friends. We worked five days a week. I also learnt the way America approaches cinema, acting, style of shooting, contracts. The Screen Actors' Guild [reps] would come and check on us. I still get residuals from The Namesake, almost twice or thrice a year, in dollars!

Every time we watch The Namesake on TV, something goes in your pocket.
Yes, you are paying me. That's the way it should be, and I really respect that.

What are the other milestones you can think of?
From the beginning? Then it has to be Maachis [1996], Astitva [2000], Hu Tu Tu [1999], Chandni Bar [2001], and The Namesake, because of geographical exploration. Then Life Of Pi, and Cheeni Kum [2007], in a very nice way.

You've said that of all the characters, the one in Cheeni Kum has been the closest to you. What do you mean by that?
That is one character that I can identify with, in the sense that I could be that person.

Means you could fall for Amitabh Bachchan?
Of course. That is why I did the movie! I could totally fall for somebody like that, but has to be exactly like him. I could totally understand my character's headspace, and I guess that's why R Balki wrote the film keeping me in mind. Coming back to milestones: Haider [2014], and Maqbool [2003], definitely.

The first milestone for you, one imagines, would be Maachis, and your association with Gulzar. The two of you share a fabulous relationship. How did you first meet?
I still don't know what made him [Gulzar] cast me in Maachis, and I still ask him that. At the time, my song, Ruk Ruk Ruk [from Vijaypath, 1994] and trailers of Pehla Pehla Pyar were on air — full-on dancing. But he still does not answer my question. It is now that I understand that the director, and the cinematographer, has a completely different perspective on an actor. They have an eye.
Vishal [Bhardwaj] has had the ability to see me in a very different light. I was caught off guard, when he approached me with Maqbool. It was like a drug to feel that someone looks at you like that. He could see the deep layers of madness, sexuality, lust. I felt completely bare with him. With Maqbool and Haider, I saw and met myself in so many different ways than I had ever known.

So Gulzar saw you in the promos of Pehla Pehla Pyar and called you up?
He called up Shabana aunty. I said, of course, I'd give anything to be a part of his film. He's made films like Mausam [1975] and Angoor [1982] in which his characters are so real, and still they are the leads. So I went to meet him at his house. I always narrate this incident, as it is the strongest memory that I have: So he had a cold, and he kept sniffing into his handkerchief, I went and sat. We both just sat for an hour. And I was thinking, "Kya bolenge yeh mujhe. Main kya jawaab doongi [What'll he say]." I was completely tongue-tied.

He's sitting across you, sniffing, and you are just sitting too. I'm sure he must be reading something.
I think he was writing something, and I kept waiting. After an hour, I said, "Achha Gulzar saab." And he was like, "Achha thik hai." It was his way of saying that you are doing the film. Two-three days later, he handed me the script, which was such an 'Oh My God' moment. It was the first time I was holding a script.

First time holding a script. What are you saying?
Yes, after Prem.

Vijaypath didn't have a script? They just told you, 'Aap madam udhar se ayenge, or Ruk Ruk Ruk karenge'?
Aise dance karne ka, aur romace karne ka. I was like, "Yay, very good. Feels nice to dress up. Ajay Devgn is my friend [Laughs]. Outdoor main mazaa karenge [will have fun]. Pehla Pehla Pyar was shot in Switzerland, so I was jumping with joy.

You're not making this up.
No, I was just too happy to be on sets. Chintu ji [Rishi Kapoor] would offer me chocolate. Later he would instruct, "Seedhe khade reh [stand straight]!" But then Gulzaar Saab happened. So he read the script to Chandrachur Singh, and me. I didn't understand what I was doing in the film. I couldn't understand anything.

Were you intimidated?
The subject was so heavy, and deeply political, which you would get now. You can figure what the film meant to him, and what it was saying. Gulzaar Saab was obviously there like a father-figure, and he made it feel like a picnic. Then of course, my relationship with Gulzar Saab impacted me the most in life. I found a home in him. He's somebody completely divorced from the craziness and predictability of the movie industry. He also encouraged me to write. He would give me blank notebooks, and after few months would ask me if the book was over.

What kind of writing?
Observations, encounters, experiences, and I would read to him. And he'd say, "Bohot achhe beta!" That meant everything to me.

In that sense, you'd say Maachis probably turned around how you perceived show-business in the first place. If we see your films before that, you really wanted to go to Switzerland, and have fun.
I still want to go to Switzerland. I think when you experience everything, you can enjoy everything. You can't do that if you are putting yourself out there for one kind of experience alone. It's going to exhaust you, and burn you out.

Is that why you take long sabbaticals?
This line is always thrown at me as an accusation. It's a good thing though. I recommend it.

Is there another sabbatical coming up?
No. There's so much time between films that I don't have to consciously take a sabbatical. Anyway, films are so spaced out these days — nobody does 10, five, or even two films at a time.

But you've done that. In 1996, if I'm not mistaken, you had eight releases.
Yes, [I was doing] three shifts a day. I once had four releases on the same day. It was crazy, but it was the way it was. Also, you're much younger and you have much more enthusiasm, and energy, to be everywhere, doing all that a young girl loves — wearing good clothes, romancing, acting.

What are the biggest changes you've seen in showbiz since the time you entered?
Social media. That's the biggest change.

Can't imagine you being active on social media.
I'm on Instagram. You don't have to engage, opine, listen, and it doesn't take up that much time. Another change is that everything, except the actual shoot, has become a project. It's not just about the film, or the product anymore. The quality of preparation you put in post-shoot, and everything else, has also come into focus. So you don't know where your actual energies are getting distributed.

Speaking of distributing energies, there was a time that you took a really long break to learn Spanish. Were you able to master it?
That was over 10 years ago, in 2004. I planned to finish everything in a year-and-half, and not work for a year — just not do movies for some time. But no, I've forgotten Spanish. [It's] Only when I go to California and order food in a restaurant that I get to practice it.

How many languages do you know?
Telugu. I can speak Marathi; little bit of Tamil, and Malayalam. And Bengali, fluently.

For people who love your work, and have only seen your Hindi movies — could you recommend some of your non-Hindi films [a retrospective if you may]?
Ninne Pelladata [1996, Telugu], Kandukondain Kandukondain [2000, Tamil], Iruvar [1997, Tamil], Kaalapani [1996, Malayalam], Rakkilipattu [2007, Malayalam], Andarivaadu [2005, Telugu], Abar Aranye [2003, Bengali].

Audience Questions:

Did you plan how you wish to chalk out your career — follow a serious film with a light-hearted one?
I don't think my generation of actors was the planning type. Because so much was happening, I was just doing what I wanted to do — sometimes because the money is good, or the role is great. I did Aamdani Atthani Kharcha Rupaiyaa [2001], for instance, especially because Raghavendra Rao was making it. That was my second film with him. I consider him my guru. My first film, Coolie No 1, was with him. I learnt stuff from him — that you should have your own house, own money. Be careful with your time. Always be punctual. Do your work, and not think about anything else. He's taught me so many things about conduct: Always walk properly, dress well, look nice, and beautiful. Sleep on time. Enjoy life. Also he packs up at 5.30 pm, and would take us on picnics in Singapore!

Now we know how you can be cajoled into signing up for a film. Picnic pe chalte hai, picture banayenge!
Shopping karenge. Mall mein jayenge.

I was thinking about Drishyam [2015]. There was such a brilliant shift in your character — you had to be tough, still looking for your missing son.
I must say Drishyam is one of the most difficult characters I have done in recent times. I knew it was difficult for me to crack, because of the conflict in her personalities. She had to be this person [strict cop], and yet the vulnerable mother. And there was a danger of her becoming completely dark and negative. Which of course was not required, because you also have to see the vulnerability. I don't think I've played somebody like her — so strong and correct. As an audience also you're conflicted between wanting to hate her, but also understanding the pain. I don't know how I did the role, but it was a journey.

-Transcribed by Mohar Basu, Sonil Dedhia and Sonia Lulla

Meena Iyer (BOMBAY TIMES; July 5, 2015)