Chasing Creativity with Rajesh Kumar: From 'Rosesh' to Versatile Roles and Farming

[00:00:12] Hi, this is Kiran Manral. Welcome to another episode of Chasing Creativity. Today I have with me the very wonderful Rajesh Kumar whom we know as Rosesh. But now we know him as Mo Characters. So we know him as so many Mo Characters and wonderful characters.

[00:00:34] Welcome to the show. Thank you Kiran. It's an honour. In fact, it was happening since a long time that we were not matching the horoscopes. We had a match. We had a chance.

[00:00:46] Absolutely. I just watched Rao Tukhar Raj yesterday and I was so happy to see a show that was not like the typical crime shows that are on. And I want to come to this first before we go back to your other roles that you have done.

[00:01:01] The character you play in Rao Tukhar Raj is a cop. But it's an understated cop. It's not, you know, you're in the face cop. So how did you build on Mr. Negi? I've got a very different answer to it because this is a very experiential answer.

[00:01:22] The reason was that we were shooting in Mountain where Dopehar could hear the cricket very clearly. So what happened was that when we talked to each other, you'll notice that when a person goes, we suddenly start talking very softly.

[00:01:45] We do not want to disturb the jungle also. You know that whole ambience of a Shanti, there is this wind sound. So when we were shooting, we realised that it was only us who were making sound. Otherwise everything was quiet around us.

[00:02:03] So when we started delivering our lines or talk, start talking, we had already had an impact on it. So that's why we have a very peaceful Rao Tukhar Raj. It's because of the mountain.

[00:02:19] Because that Shanti, it started getting over you. And then when you were talking, there was no aggression. Mountain people, they are generally very quiet people. There is no aggression in them. Our husband is a mountain person. He is very aggressive.

[00:02:38] He must have gone out of the mountain. But the mountains that live in the mountains, because there everything is difficult. There is only one level of difficulty. So that was the reason why his rhythm got different.

[00:02:53] It was more like you were blending your own instrument into that music, that concert of Mountain I would say. That is the orchestration of the mountain. You are going to play your own instrument in that.

[00:03:09] So how do you blend that? So you have to go little more calm. You have to bring some patience from inside. Then you will understand everything. Secondly, keeping the cop was, human was very difficult. Because this comes from this experience.

[00:03:31] Even today, we see any police car or any traffic person. We realize suddenly that there is some danger. We never feel protected seeing police. Absolutely. That's very true. Correct. Now how does this happen? Or why is it happening with us?

[00:03:48] They say that there is always a police in your service. But you are scared. You see Mumbai cops, suddenly if a police officer comes from your building from a bike and you are sitting at the window and you see this guy.

[00:04:04] Suddenly there is something which you know you feel that there is no mistake or that it is not coming from me. Or if he comes for passport verification from below then he is scared. This happened what my observation says because in our DNA, police are scared.

[00:04:21] Before freedom, police was meant for atrocity because you know, Britishers were using that same police force against us. So somewhere in our DNA, the fear of police has been sitting since then. And why am I saying this? Because there is a scientific example to it.

[00:04:41] Sorry, it is getting a little elaborate. But scientific example is that if you fence a farm and give it a light stick and if there is a cow there and she has eaten a stick, you won't believe that this research is done

[00:04:56] that for three generations, the one who will be born, they don't go to the fence. That's very interesting. Three generations of trauma. So you must be in a generation of atrocities that today you don't see the police as a threat.

[00:05:14] You are civilized but you always have a fear inside you. So I think that's what we tried to get over in Rautu Karaz. You know, they are just human beings. They are wearing khaki clothes but they are human beings.

[00:05:31] That is why they were concerned more about their work. So this is how they are supposed to be. So this was an advantage and plus definitely it was Nawaz Houdin's acting

[00:05:53] and the way he keeps it very simple in his performance. It had to be backed with a simple performance. The action had to be simple for you know to keep the balance. And the language is a little bit there because I have done my schooling from there.

[00:06:13] So it was easy for me to catch the mountain way. So it was an advantage for me. But did you have to interact with cops out there to see how they were and get their body language or anything like that?

[00:06:28] Because see any which was physicality, I had a cop inside me. Whether it was a stomach, or whether it was a heaviness, or whether it was tired of climbing the mountain. You know, you called me. So you are not always very, you are suffering the elevations in life.

[00:06:49] So what happens with a human being, I remember I did a very funny thing which I wanted to make a reel out of it. So there was a girl in that, Samriddi, who was doing Lata's character, who was a female in the police department.

[00:07:03] So I remember that we were going for makeup on the shoot. So in the hotel, I think it was a gradient. Cardio for the year done. So we all were walking together and she was walking next to me and I was just looking at her.

[00:07:19] So she felt little uncomfortable, you know, the way I looked at her. She said, sir, everything okay. Because I just looked at her and smiled like this. Sir, everything is fine. I said no.

[00:07:31] I am just looking at her and saying, you are just looking at me and smiling like this. Because you are on the mountain, you are romantic in your own way. But she is also looking at you and she is facing you with a problem.

[00:07:49] So it is gender agnostic. Agnostic. But yeah, it worked because whatever Anand who was directing, I mean, whatever he had thought about the film, that it will work like this or it should be done in this. This is the meter.

[00:08:09] It was very clear because the takings were very simple. You won't believe that our schedule was 33 days. After doing 8-9 days of party, we had also cancelled the shoot. Sometimes it happened that our weather got better, it's raining, it's very cold. So we do party.

[00:08:28] So the party was cancelled till 5-6 in the morning. You know, that kind of work atmosphere we had. And the schedule for 33 days, we finished the whole film in 23 days. Wonderful. After taking 8 days of good rest in that mountain.

[00:08:43] Wonderful. It doesn't show at all in the film that it has been choppy or anything. Yes, nothing is known. He doesn't know anything because technically he was very clear. Performance wise, he belongs to Bangalore actually.

[00:08:55] So Hindi, a little bit, he was like how will we do in Hindi? So he always used to call me, what can I say here, what can I write here. I want to convey this thought, you know, can we find some word which...

[00:09:08] So lot of work and there was a complete involvement of everyone. Okay. And that is what it shows. That there was no one-upmanship and thanks to Nawaz, he never came across as you know, I am playing the main lead and you guys stay away from it. That's important.

[00:09:24] Yes, he is a very good government. It looks like a film that was made with fun. Although it's not a fun film, it's a very intense film. But, Rautu Kairaz, Cota Factory. These are very unconventional roles from what you've been taking up earlier.

[00:09:43] It's a very definite shift that you made and a very conscious shift that you... Very conscious, very conscious. Would you like to talk about that shift? Oh yes, I mean, many people say that the time of Corona,

[00:09:54] Sara Bhai was revived because people were sitting at home, they were watching a lot of Sara Bhai. So they expected me to be the same, not realizing that it is already 18 years old. And this year, September, we'll be completing 20 years of Sara Bhai.

[00:10:13] So I was 28 at that time. Today I am 48. How can I live like that? And I have to grow as an actor. I can't act with the audience's perception. Or the makers say that they don't want to see, oh, Rosé is doing this.

[00:10:32] No, it's not Rosé which is doing this. It's Rajesh. You know, I had to demarcate that. Rosé is like a Spider-Man who got stuck in his own web. You know, web. I'm locked in myself rather than swinging and going away. I just got caught in my own web.

[00:10:50] So because of the revival, when I wanted to get back to acting post that farming experience, whatever I had. So when I started approaching people, casting agencies, they all said one thing. Sir, everything is good. The audition was very good. How to break the image?

[00:11:12] How to break the image? That was the toughest thing. That was the toughest thing. And then purposely I thought that there are only two ways I can go. Either I completely go to Dubai Patla, but people say that I am sick. So they don't go there.

[00:11:26] Let me put on weight. I have height to carry that weight. And let me put on and with Haddi happening at that time, when I met the director, Akshah, he also told me how to break from Rosé. Because this character is in the UNUC zone.

[00:11:44] The one who was with the movie, Nawaaz, that he has to come home. So you have to fit in that. And Rosé shouldn't. Because the first thought comes from these people. So then he suggested that we do one thing, sir, can we turn our hair?

[00:12:03] I said yes, we have to complete it. He said no, no, one. One is a crooked type, let's complete it completely. And you won't believe it because I gained weight because I went crooked. I signed four films back to back. Wonderful. Wonderful.

[00:12:18] So then the web series happened because suddenly there was a shift in the complete physical shift. Now people, even today, many people who meet at the airport, they have doubt. Are you the same guy who had played Rosé? What do you say? No. I swear.

[00:12:37] I mean, I am going anywhere these days. The first thing, I did an interview in the morning in the Hindustan Times where he's seen me, sir, before COVID, how much weight was there, how much he increased, then how much will you do? Oh mother first.

[00:12:49] Yes, I mean, the whole detail was taken about why there was a reason to increase. Because when he approached me, I was shooting a Lucknow, when he approached me, he said, sir, sorry, you are the same person who is Rosé. I said, yes, I am the same person.

[00:13:05] Sir, I don't understand, I don't know. I said, this is this conscious decision was it paid. I read a long time back that Shamikapur had done something the same when he was very thin earlier and he was married to

[00:13:21] Gita Bali and they decided since you're not getting heroes, you need to put on some weight. So I think that worked for you as well. I mean, after a lot of good roles, I actually did last one and a half year, I did nine characters Wonderful.

[00:13:36] Nine completely, this is my family, which has a very old look of the 90s father. Kota factory is done, your talks have been done, it's done, it's done. Rahu Tuka Raj is done. What else? Now I'm doing a show with Nikhil Adwani Freedom at midnight, we're employing

[00:13:58] Pakistan's first Prime Minister, Yakka Talikaan. Oh wonderful. So exactly same height and weight he had. I mean, both of them have photographs and I said, I'm looking like a ditto. So that is one more character than Bini and family, with Pankaj Kapoor, yet to release, I think August

[00:14:18] release. So very different, different, different, all nine different shades. How do you decide that this is something I want to do? I think make us decide and then I just, Okay, it's not in your hands. Not in my hands obviously because character to what he did.

[00:14:33] But he thought he had a rosé-ish, not like that. Now, that Rajesh as an actor, look at his cut, cut, his physicality, and then whatever role suits me. I mean, you can always call me for that. How difficult?

[00:14:50] I mean, I, you're saying what you're saying, I can understand that, you know that rosé-ish has been a cage of sorts for you as a performer. Breaking out of it, now coming out of it and to experiment with this vast array of roles.

[00:15:05] How has that process been? Because now suddenly you're doing so many different roles, such a variety. See when I did rosé-ish, it happened in 2004 or five. I did a lot of television shows after that. I mean, till 2015 back to back I did television.

[00:15:22] I mean, a lot of different roles. Rosé-ish was just one-off. Rosé-ish also became popular later. Okay. I mean, after 2005, Rosé-ish became popular somewhere in 2009-10. Okay. Yes, it started after 8-9.

[00:15:38] But by then, I mean, I was doing Babu baby, then after that Mrs. Mr. Sharma, then Neeli Chhatriwale. I did a lot of shows like play Dracula, play Ghost, a lot of television. But I have wonderful, I would say career in terms of as an actor.

[00:15:56] I never, okay, Rosé-ish created an image where I got caged as an image. But as an actor, definitely I have done, you know, more than 35-40 different characters. Mind of no.

[00:16:13] And if I make a collage of it, then that means, how much a person can do something, it will be seen. The journey has become very good now. But even in this journey there are struggles.

[00:16:29] Because I am trying to place myself, find a place for myself where, you know, I mean, with likes of people like Baman-e-Rani, people like, you know, Pareesh Rawal, Pangashtri Party or Manoj Vajpayee. Such a space where age and performance and character goes hand in hand, you know.

[00:16:55] Where the character is being written for you and good things are happening. I think I am stepping into that slowly. That's a wonderful space to occupy. Because I think of those actors as chameleons. Whatever space they are given, they blend into that. Yes, absolutely.

[00:17:10] And I remember I was doing this film in 2014 with Supernani, with Rekha Ji. So, Randhir Ji said something very good, after Madanpuri Sahab, that in the industry, you should cook potatoes. Every vegetable will be needed by you. That's such wise advice. That's something to remember.

[00:17:30] That's what I feel, that's the space which no one can take. How do you prepare for your characters? A lot of preparation goes now. Now, it's a very good job because it takes 6-8 months to complete a script.

[00:17:47] Then the way now we act also, that format has changed somewhere. Where earlier when you were doing television, the camera was acting half way and you have to hold the expression. Now, I'll tell you a story. I have two small stories with me.

[00:18:12] I had just said in an interview that I am not a trained actor, I am an actor who has been trained. So, there were two very good things.

[00:18:28] When I was doing one brother, Nasir Ji had told me a line that when I was not able to react, he said start listening. And the day you start listening, the performance will happen on its own. It took me good 7-8 years to work on listening. Really?

[00:18:47] Yes, after 4 years of being a father and a daughter, there were two or three shows where I started listening. That was a big help. Anurag Kashyap said something very good recently during the hard day.

[00:19:03] Where he said that when two people talk, we look in each other's eye and talk. So that's what the audience also does. When they are watching something, they are looking at the actors' eye. When you are so true and false, everyone knows. And the camera does not...

[00:19:19] For example, Irfan Khan was very expressive. But Irfan Khan, if you notice, he never looked down and didn't think. He always used to look up and see because he knows that the audience is looking in his eyes. So he did not want to deceive the audience.

[00:19:37] And he wanted to be true at that moment of performance. So he said, if you know how to move your eyes, if you know how you use those muscles of your eyes and every... If you take 360 degree of eye, every degree has one thought attached to it.

[00:19:55] For example, if I look at you like this as a different meaning. If I look at you like this as a different meaning. If I look at you like this is a different meaning. If I look at you, every degree has some thought attached to it.

[00:20:09] He said, that's the space you have to work on. Because it's a close medium. If you are looking at a big screen in a film, your eyes look very big. There is no theatre. You have to use more vocal, use more bodies. This is the whole game here.

[00:20:28] So those two things worked. I started working on it and that has changed the way I perform now. So now when you do television, there are many actors who act to listen. But they're not really listening. What did he say? You know, you don't have to do that.

[00:20:49] You're just listening. Which was right. If you're eating, don't act. It's a very simple thing. You're walking. But it's a very difficult place to get to because within your mind you have to act. But to do it without the acting. Correct. If you want to eat, then eat.

[00:21:11] When do you do half of the food? I liked it. After that, you're eating. So just eat. So to bring that simplicity now, it takes a lot of awareness within yourself that you have to go through that within yourself. No one will come and teach you that.

[00:21:36] You have to be alert, you have to be aware. That's what I felt. And that has changed the way now I act. And because of this, any character holding becomes a little easier because now you react according to the character.

[00:21:52] And if you just listen, then it's not like your listening will bore you. You don't blink a lot during the performance. If you want to say something, a lot of my people who have given the reviews

[00:22:08] and even for the Chai Koda factory, I have shown it out of focus. But the way I'm just looking is adding something. I have got a two minute voice note of a friend of mine. She said that I have reminded you of a scene six times

[00:22:28] where only your eyes have said, now tell me what's the answer to it. Someone had asked someone a question and I am sitting there and I'm supposed to react. And my eyes are only saying, now tell me what will you say?

[00:22:48] So how it happens is because you start listening. These are small things. Now I'm putting it in the right place. There will definitely be some complicated characters. The entire team works on that. How is it said? Like I am a Bihari, people are slowly getting to know this

[00:23:12] but the Bihari character that is called Gho is very strong because I know I can justify it much, much better way than people are acting. That hasn't come your way yet? Not yet. It's still yet to come.

[00:23:28] I'm just like, I'm in Delhi but the door is not open yet. I want you to ask about Kota factory. You have played the role of a maths professor at Kota factory. How is your relationship with maths? My relationship with maths is very...

[00:23:46] My maths teacher gave me a message, congratulations. Finally you picked up the subject of maths. I said, yes sir, finally after 40 years of leaving maths types. Very bad at maths and that's what I did. Luckily I didn't get any script where I had to teach maths.

[00:24:07] Which is what I noticed, you were not at the blackboard at all. I was like, no one knows what's going on in my mind. I went to take out the unitry method myself, so I took out the x and y method in the unitry method.

[00:24:19] It took me about 5 hours, from 9 to 10 in the night. From 9 to 2 in the morning. Where x was written for two years. I thought that finally I found beta but the bar was minus 5.

[00:24:37] So how did you decide beforehand with the director that I am not going to be doing any teaching scenes? I had requested that. Thankfully they... I don't know, maybe while writing they thought that Jitu bhaiya has taught, Pooja did, they will teach now. So maths sir...

[00:24:57] I had dubbed a lot in the middle. There was a scene where I was behind and he had to dub there. They gave me a full maths dub. Now I was sending, cos theta and I was fumbling in dubbing. I was so scared of maths.

[00:25:16] But it managed to happen. We spoke about physical change which you went through. But there was also mental change that you went through and also a shift of physical shift back to your roots. And what brought that on? Your bio still says farmer. Yeah, it still says.

[00:25:37] And it is one of the things which... It's a generational work which I have picked up and this life is too short for that kind of work because it needs attention now. It needs attention. A little bit of awakening amongst the consumer more than the farmers now.

[00:25:59] Now it is time to teach the consumer. You don't need to teach the farmers because the farmers left the farmers and are now watching the ADM. Because there is no money. Marginal farmers are 82% land holding in the whole country. Organic content soil should be 2% normal.

[00:26:22] So approximately 62% in India. Organic content in the soil has gone down to 0.58%. 0.58% isn't a disaster? Another 5 to 7 years if we do not work on it 62% of India will turn into desert. And you have 144k miles to feed. Food trannins are like they can happen.

[00:26:49] So when you are aware about these things your education has told you. Your education has told you. These are the points which need attention. So why are you waiting for the government to do some miracle? We will have to take charge on our side.

[00:27:07] Everyone will have to contribute. So it won't be useful to apply 10 trees. Because my body is not made to be able to stop the harvest or to apply wheat. So how can my education enhance them? If we put ourselves in it.

[00:27:26] I think in the coming times we will be able to change and create curiosity amongst the kids to no farming. You have to get them back. And we can take them from our home. We cannot happen one fine day some miracle is happening. It's a very sad state.

[00:27:46] I mean if you actually go in an interior of... I just did a show on Durudarshan. My farming gave me a show. And I was surprised that it happened on Durudarshan Kisan. Amazing concept that progressive farmers they meet social media influencers.

[00:28:06] Those social media influencers who do kitchen gardening or rooftop farming. And they come and stay for two days in that farmer's place. And farmers give them tasks of their own farm. To make them feel that it is doable but it is not easy. So before you actually ask,

[00:28:26] Brother, give us the coriander free. You know, 100 grams of coriander, cut it and make a bundle. It will be very difficult for someone to do. If you were to give a message to people watching this and listening in because you're so intimately involved with the earth and soil.

[00:28:44] What would you tell them about, you know, how our situation is right now? See first of all, indulge yourself into knowing what is actually happening around you. Just pay attention to what is happening around you. If you are feeling hot, then just don't talk about global warming.

[00:29:08] You know, don't think your responsibility has been over by forwarding a message. Just see where, you know, you will find places where you can work. Not today, today, many people are here. They are not even across India. So everyone has to come up with some unique idea.

[00:30:01] And I'm again saying that education is the first thing which will tell you how you can contribute in agriculture. There are so many IT and so many engineers who have quit everything and they're back into agriculture, you know, because they can provide AI solution to it.

[00:30:19] They can provide a good tech support to it and create a market. For example, the person with whom I have collaborated, OTP Karka app where my family farmer, the one which I am doing for the natural farmers, there are approximately 7200 farmers I'm working with.

[00:30:37] Those people who are growing vegetables and fruits so much chemical free that when we did lab tests, for example, in our vegetables, if permissible limit of copper, for example, of the government or of late 17 or 12, any permissible 19

[00:30:54] of the hardcore chemicals, all the chemical in my vegetables have come to 0.01. So, you know, anti-soil organic content which I was saying was supposed to be 2% of that 6% or 7% so you don't need any medicines if you are a peña or you eat food.

[00:31:13] So, when you're price conscious then these people lose their track and then they say, we have to increase the volume. So, my people want to say that how can you enhance them from your education? You can catch up with your society, say 50 people a day.

[00:31:32] Let's do something like this. There are people who, farmer is ready to grow anything today. They are saying that we will get good price. If we put chemicals or wheat on the plant of capsicum, they will give capsicum. The plant won't care, the food will care.

[00:31:53] They decide which one of them will eat. So, if you pay good price rather than paying 2 lakhs of bill in hospital give 2000 to the farmer, extra. You will get 2 lakhs. That's very important. But as you said, by looking at the price of organic food

[00:32:11] even the consumer sort of steps back. Another thing, I'm sorry to go into the farming thing a bit because it's quite fascinating. We were older, we used to climb trees. We used to take fruits out of trees.

[00:32:26] Children don't get that. They don't have that connection with the earth. How can we bring that back for the children? You have to identify things which are closer to your city, places, the farms. I started that initiative. Unfortunately my initiative failed because I did not have money.

[00:32:46] I had been acting for a month and I completely went bankrupt doing farming because I had all those debacles that were with someone. The first time I grew up in the field I didn't come to the area for 30 years. I had planted trees in the garden.

[00:33:03] Then I had to wait for the rain to stop. Then I planted 20,000 trees again. Then the corona came. Then I planted 20,000 trees again. Then the water went away. Then the fire went into the field. Then I had made 500 feet boring. There was no water.

[00:33:21] So by then I had lost all my money. By then I did not know what to do with myself and farming and acting was not happening. I had already lost money. So when I started, my family farmer concept came out of that. Then instead of 20 acres,

[00:33:38] now I shifted myself to 5 acres and I started growing vegetables. To see, I have sold vegetables. I have planted vegetables outside my son's school. You know just to educate children that son this is not a bad thing. I have a family of farmers. It can be very good.

[00:33:58] So there I had done that there was this family. I used to tell some people on Saturday Sunday that you came with your family, with your children, with your family. That Saturday Sunday, they started coming every Saturday Sunday. And for 2-3 months when we were doing

[00:34:17] I realized that that guy, he used to come in Mercedes earlier. He sold his Mercedes. He bought Innova because it was under him. So to come to the farm with the kids and his children would come and on Saturday Sunday

[00:34:31] I used to wait for them to send them to my labor leave. That you will not work today. These children will work. And then I used to make all the vegetables and identify all the leaves and make them into a seed. Everything was harvested. Everything was harvested.

[00:34:52] So that happened in close proximity to a city like Mumbai. So it is very important to identify such places. There is lot we can do. Ideas just flows in my head so much but conversion needs some kind of backing, fund backing because everything is required.

[00:35:15] But I think over the period if everyone does something, sit back, think what they can do, they will find place. There is nothing like that. You need to hold your finger and take someone away. And you made a start. You started creating an awareness.

[00:35:31] I think that is a must at the beginning. Beyond that it takes a life of its own. Many people ask me why are you acting and farming? I said if I was a donkey then I would have come to work picking up clothes.

[00:35:45] But if you are born as a human then you can multitask. I tell my lady that 10 hands are enough. That does not mean a man is born with 10 hands. It is that when you come in this form of human, this is the place where you can multitask.

[00:36:03] You can fly a plane or cycle. But you are a horse to talk. Any other creature, they cannot do. This is the freedom we have. Unfortunately we suffer that freedom. The moment they say, what will we do? Who else will do it?

[00:36:21] The responsibility is on us and we are ruining the planet. And the responsibility means responding to the air. That is why you are alive right now. So you can respond to so many things around you. Because you are able. So take a step forward.

[00:36:35] You are able to do it. You are able to do it. Because you are able. So take up that responsibility. Wonderful. Talking of responding, are you a director's actor? I am absolutely a director's actor. So you need the director to tell you what to do.

[00:36:53] It is not that you go in with. No, no, no, no, no, no, no preconceived notion. You tell me and I do not watch any shot on the monitor after it is taken. I just listen. You trust the director blindly. I trust the director and I only listen.

[00:37:07] If they are checking the shot. I listen to it because for me it is more of a rhythm and meter. It is like music. Even if you say something wrong, if you say something wrong, in the orchestra, you will know that someone has played the wrong note.

[00:37:23] So acting is also that you have to be in that rhythm to what is the scene, what is the attitude, what is the mood. There are many things. That is very necessary to blend everything. One thing should be above, it always tells you a good film

[00:37:43] or bad film or good performance, bad performance. I also think the co-actors the energy they give out. It is an action. My character will be only made see giving a very absurd example of Rosesh for example. Rosesh happened only because the other four actors were responding to Rosesh

[00:38:05] in a certain way. The reactions made Rosesh. Rosesh did not make his voice and actions. But how did Ratna react, Satish reacted, how did Rupali see his brother, how Sahil sees his brother. Their reactions made Rosesh. So that is where I think it is only reaction action.

[00:38:35] For an actor, it is very important to get into the character internally also. Has there been any sort of character that you felt difficult to inhabit because it is so different from you what you are in real life or maybe you are not aligned with

[00:38:51] the principles of the character. Something about the character that you couldn't align yourself to but had to perform. I had a little difficulty with the character. It was also very first time I was doing something negative which I always wanted to do. But I did not think

[00:39:11] that I was seeing myself again and again in the mirror. Now I am not looking, I had to feel that how am I looking that now I look like this or I look heavy and I am sitting and I am out of my stomach so suddenly

[00:39:33] I had to feel that too. That was a difficult portion that I was having a lot of difficulty to bring that pitch which I am seeing like if people have not seen me as Rosesh or maybe someone has seen me for the first time so what exactly

[00:39:55] the image that is being made was a little difficult to bring that image to the table. What can be the image when people are seeing me? So that was a difficult challenging time. In the initial 4-5 days 7 days shoot after that I found that meter, that rhythm.

[00:40:13] Do you have workshops for these things? Yes, we had a lot of readings and all. So when you do reading many meters are understood. Liyakat for example freedom at midnight you have to be Liyakat the first prime minister of Pakistan belonged to a Zamindar family very well educated

[00:40:37] so there are many things that you have to leave you have to bring that maturity you cannot be boy like you have to be a man now. So it is not just the physicality it is just the dialogue delivery it is also

[00:40:55] within you you have to go through you change your own mindset You have to be matured you are a a character of childhood and you are a character of statesman so from the walk to the way you sit to the way you hold the cup

[00:41:13] that tells everything about that person So did you have to watch a lot of videos of the original Liyakat to get that physicality and dialogue coaching that was done a lot many workshops Okay That space is so exciting to inhabit somebody a character who has existed

[00:41:35] in contrast to a fictional character because you have to get it right plus you have to bring your own nuance to it. So any challenges that you can think that you face while doing this character the initial because after that it is all on the roll

[00:41:55] the initial struggle is a lot then you have to a person like me has to depend a lot on the director how he is looking at me and the character in me who has given me whether he is looking at the character or not

[00:42:15] so I do not discuss too much but I generally tend to see the reaction of the director once the thing is done if he says okay then I am okay that is interesting. I have a lot nervous character. Really? Yeah. After all these

[00:42:35] years. After all these years I am very nervous whenever I am doing something new I am like people do not believe me but that is a fact that I have been doing all these years for one and a half year of performance I was nervous throughout

[00:42:51] I was never confident about the character Why do you think so? Because you were performing with stalwarts like Satyuji and Ratnaji and everyone you know that is the place where the moment you are casual and I know it all well in his own way

[00:43:11] for me the moment you are casual you know so I have to be so that is always there because you are lot as an actor, lot dependent on the other person on the other actor how he is respecting this character or you know

[00:43:34] how is he seeing this character is very important he will know from that for example if you are talking to me I just happen to look around and not answer it to you properly so your character is you can take them lightly but if you are

[00:43:54] encroached in some kind of conversation you are paying attention to the other character that is where the character builds so it is very important how a person is seeing you as a so this is a nervous energy throughout me that how the other person is reacting

[00:44:14] is going to build my character not it's very interesting you spoke about not getting the Bihari role yet what kind of a Bihari character would you like to say anything as long as it's Bihari and anything if it's a Dabang then I would love to play that

[00:44:34] I would love to play that a little one thing do you know what the biggest challenge is because of the kind of face I have and I haven't explored my face yet but yes it changes me I mean my face I would say that it's perfect

[00:45:02] it feels like it's made for get ups if you explore with different different get up on my face everything changes in me so in Bihari I feel it's a little Dabang it can be a simple Bihari which is good father or you know that kind of

[00:45:24] why I wanted to do because there are certain nuances which are very common in that region where as an actor I think I can bring a lot on the table which I mean many have seen it people have seen it from the time of Dadar

[00:45:52] I was a little keen on observing and always used to mimic someone or the other so that kind of thing that I don't know what is happening in film industry we get a lot of cliches that's coming we won't do it that's not the actual thing

[00:46:18] and sometimes I feel from inside many non-Bihari actors when they are playing Bihari it gets very restriction then it sounds little fake you know it feels like if someone tells me to do a Tamil script I will be able to speak Tamil but the actual Tamil

[00:46:42] they will feel that it is making a little because there is a lot of pronunciation for example when you speak Marathi also there are particular sounds which we do not make there is one thing which you learn since childhood so the moment if you are

[00:47:02] non-Marathi and speaking that that gets caught that then you better look out for someone who is doing it better so that gets caught from inside but okay everyone needs work and everyone is getting work so Bihari feels that if something is left in negative

[00:47:26] I can bring a lot to it I hope somebody is listening to this apart from the Liyar Taali Khan and Friedman Midnight is a big project what else can we look forward to seeing you and that release which is Binni and Family there is a very different

[00:47:44] character of me there is Bihari but the speciality of that character is that he is educated guy professor settled in London and married to he originally from Bihar but married to a south daily girl so when he speaks to his wife or child there is English

[00:48:08] where Hindi is there is normal Hindi but the moment he speaks to his father his switches and that is the time when you see that glimpse of Bihari in him means he is talking that you sit here and eat here yes father where did he go

[00:48:28] no he is not there I don't know son where are you I didn't do that this is how the switches it's a very subtle switch to me, we why don't you sit and talk it is kept there so then there is another throw to it

[00:48:48] so this kind of things it's a very different character I played so people will like it people love that character looking forward to that thank you so much for your time thank you so much it was very informative I am very fascinated by the farming thing

[00:49:06] I think I am going to do some rating up bye you bye be a good bye thank you so much