The Art of Making People Laugh | Ft. Anu Menon, Vrajesh Hirjee & Varun Thakur

[00:00:37] Welcome to season 2 of Unscripted with Akarsh Khurana and Aadyam podcast. We don't like laughing at ourselves at this point of time in our history. How many of her is it? How many of her is it? So I was playing Sarojli Naidu in a play called Sammy. And then from the audience, Hey Lola, you're a kid! I was like my god! I got introduced to my friend's friend. Okay, and I said hi Varun, he's a comedian. Oh wow, you're a comedian. And then she just stared like that. And then she turned around walking and I could hear he wasn't that funny.

[00:01:08] What's the process of building a set or building a joke? Every single comedian will tell you this. We look at adversity in our life because you know that's a five minute break. I feel comedians are never off duty. My thing is very simple. It's very hard to maintain a skincare routine from prison. This is from your set. I was there last week. Two o'clock in the night, hotel room. And there's three really tall people standing there. And one guy looks at the other and says,

[00:01:38] I've seen a snake. I showed a snake. I backed away. And shut the door. Shut the door. And then I called reception and I said, I said, three people stand there. Yes sir, it's all. Welcome to season two of Unscripted with Akarsh Khurana and Adyam podcast, produced by Eminem Talkings. Yes, quite an update.

[00:02:09] In today's episode, we will be discussing the business of making people laugh. Comedy, as the cliche goes, is serious business and it requires intelligence, insight, practice, skill. Most importantly, it needs the ability to laugh at oneself. Now, if you get it right, nothing can be quite as rewarding. But if you get it wrong, oh boy, it can be pretty humiliating. So today we're going to deep dive into this business of comedy, which seems casual, but is actually quite a deep science.

[00:02:38] So we'll discuss the process of making comedy, performing comedy, and we'll discuss it across mediums like theater, film, stand-up. And without further ado, let's call our guests, all three of whom are extremely talented and supremely funny. Welcome the fabulous Anu Menin, the unstoppable Rajesh Hirji, and relatable comedy-ka sardar Varun Thakur.

[00:03:10] Anu, Rajesh, Varun, thank you so much for coming on this first episode of this second season. We are going to speak about comedy and the first question that I'm going to ask, which is open to all three of you, is the most serious question of the entire episode. Which is what is the state of comedy in our nation today, particularly in comparison to the rest of the world? So that we only don't talk about where we are stuck, but vis-a-vis what we are now exposed to and aware of. Where are we at right now?

[00:03:39] So honestly, in the last 14 years since I've been doing comedy, there has been a massive shift. In terms of the audience, understanding, coming out, supporting live comedy, probably at par with anywhere else outside. Right, right. People get all the jokes, they understand it, they are willing to accept newer formats of comedy, not just stand-up. But there is a bit of self-censoring that has automatically gotten ingrained in,

[00:04:09] I speak for myself at least. You find yourself doing that? Yes, yes. Because you know, there are times when you want to say stuff, but you've seen somebody else do it and then the backlash that follows. So little bit of self-censoring, I think every comedian is doing it. But other than that, I feel... And that's not how they started off? No. I think if I had to rewind back to say between like the early years of me doing comedy, we were doing a lot of so to speak risque stuff, edgy stuff,

[00:04:39] stuff that I would not touch with a 10-foot pole today. So that is what I would say at least from a comedy perspective. Not to say that comedy is any... They say people are still killing it on stage, people are loving watching comedians, but a bit of self-censorship every comedian. When you look at like, when you look at perhaps this self-censorship not existing say abroad, maybe perhaps. Do you miss it? Do you feel bad about it? 100%. 100%. Yeah, like because as comedians, every time you're watching comedians from outside and seeing the kind of material they're doing and you're like,

[00:05:09] I wish I could and then no, no, no. So we remove our kujli when we go abroad to tour, we'll go and do a sport. Oh, you change it? Do you change it? Oh yes, because I know I can say five more things that I can't say here. But with social media... Not can't but don't want to. But it will be seen in social media. No, I'm hoping nobody records. Don't put it out. Don't put it out. Yeah, yeah, yeah. A lot of things we've not put out, we'll do it in a live show. Right. But not put it out and we hope nobody in the audience is secretly recording. Right.

[00:05:36] But other than that, I think comedy wise, it's great. It's the perfect time to be in comedy if you're thinking of starting out. People have left like high paying corporate jobs and they do five open mics a day and they're killing it. So... I'm just... My thing is very simple. It's very hard to maintain a skincare routine from prison. This is from your set. I was there last week. It is. That is my... That's why I say it up top. Right?

[00:06:05] Because whenever people say, Oh, no one's pushing the envelope. No one's saying XYZ. It's also very difficult. You also don't know what is going to offend people. Right? No... A friend of us, Rahul didn't think that the DJ community would come after him. Because he cracked a joke about DJs. What I'm saying is... There is a DJ community. Yes, there is a DJ community. In the morning they were sleeping but at night they regrouped. I'm very curious to know what he said about DJs. What could offend a DJ? Oh, you'll be surprised. You'll be surprised. Wow. Okay.

[00:06:34] So the thing is these days that it's our national pastime obviously to get offended. But it's come to a point where I'm essentially a story comedian. Right? So I talk about stuff that's happened to me. That's why I like Varun's comedy as well. It's very story centric. So you're going along for the ride. Either it's something you've not experienced as an audience member or you're there for the ride. Because you have experienced it and you empathize. Right? That's why people are with you. But the heart of any joke is the truth. And I just think that it's come to a... You don't want to take a risk. You'd rather people be happy.

[00:07:03] But I still have people coming up to me and say that you shouldn't make fun of your husband or your son. And I'm like if I have to pay for my son's material needs in this material world, I can use him as material. Right? Correct. Like what is left Akash is my question. Yeah. Apart from pastel shades. Pastel shades. What is left? You know the amount of possible trauma this could cause your son going forward. But at least it'll pay for his education. Yes. Yes.

[00:07:33] I saw her set recently. I'm surprised her family talks to her. Unless they're completely unaware. They were all there. How dare you? They're there. Okay. I get written affidavits from him. Of course the legal team. But do you see... Have you had to kind of consciously change stuff or have you always been comfortable with... I've never been a political comedian. But we do make certain political comments at the beach. But even that now, I'm like... It's an aside. Yeah. It's a game.

[00:08:02] Because sometimes I tried it and then there's an audible... Oh. No, now you do state wise. Yeah. Yeah. Yeah. Sir, coming to you. Yes. And I'm sure you have a take on this. I'm looking forward to it. So I'm saying that... You know it's not just about crossing political lines or things. Yes. See we're very funny. We're extremely funny. As a people also. Okay. Okay. But we don't like laughing at ourselves at this point of time in our history.

[00:08:31] We are very touchy about ourselves. We are very funny. We are very funny. But... How did you say it? I didn't say it. I didn't say it. I'm saying it's not just on a personal level. So I'll give you an example. I'm saying it's generally on a societal level. It's on a corporate level. I uploaded a reel recently where I said do not take so and so medication without Pandy. Because I committed that error going against my doctor's orders. And this is what happened to my stomach. And it was a funny reel.

[00:08:59] But that pharma major went after me saying take it down. You take it down. How are you? I'm slandering. You're defiant. No, I'm not slandering. I'm in fact saying that it's great medication but don't take it. No, but no. But people are laughing. No, we are not. So they're basically behaving like my granddad. I'm saying all of us are behaving like my grandfather. There is no... Nothing is funny. Unless it's about other people. In a collective we really laugh. In fact, we're almost hyenas. So I'm saying that there is comedy.

[00:09:28] But when it comes to other people. So considering that what you do, I mean they all do. But what you do is also very interactive, right? It's audience dependent. There's a lot that you are engaging. Or stand up in general. Yes, not that much in my stand up. Maybe when I do the live version of our podcast. That time it's a lot more interactive with the audience. But when I'm doing stand up... But how cognizant do you have to be about offending someone in the audience? Like can you now make fun of someone in the audience as easily as you used to? Oh, that you can. I don't think that has changed.

[00:09:58] That's not a... No, no. I don't think that's a problem. In fact, you'll be surprised the amount of people who come, sit in the front row and say, This is fun. My fun is fun. Like they like to get picked on. You know, jokes about them because they know that this might make it to YouTube. I'll tell you that type. So that's not a problem. But just taking forward that point when you said about stuff that sort of offends people. I was doing a joke on Andheri. Andheri.

[00:10:28] And that to Marol. Okay. The joke is Marol is the Andheri East of Andheri East. Correct. Now anybody living in Andheri will be like, Yeah, we get it. Oh, it's traffic. Oh, this, that. In the middle of my show, a lady has gotten up. You can't say that. I said, say Andheri or Marol? She's like, no, how can you make fun of your own country? Oh, she lived in Marol. Nice.

[00:10:58] Sure. Right? After I did a joke on Sakhin, she's laughing. So, I didn't know this pin code. That there's a right rivalry also. Yeah, pin code. No, no, no. You don't say 0-5-3. You don't say it. You don't say it. So, you never know what offends people, what they might get angry at. And the thing is the rest of the crowd actually then turned on her. Because they're like, come on. Why are you all running Marol? It's fine. Like that's how we progress as a country.

[00:11:26] Like, oh, this thing is really affecting everybody. Let's all come together and laugh about it. Even if it is. We progress as a country by making fun of Marol. No, no, no. Not progress. That country coming together. We come together to support Marol. Progress is the wrong word. Like it's just you come together, laugh about an issue that's plaguing everybody. And then that's how you deal with it because nothing else is happening. So, you do that and you just laugh and move forward. Like you don't have to get so caught up. Especially about Marol.

[00:11:55] I mean, just before we move on to lighter things. Then Marol. Coming to the West. So, but speaking of self-censorship that we were talking about, which he says that perhaps it has to be done at some level in the... Do you feel that stuff like theatre is also getting affected? Because theatre used to always be under the radar. Because no one watched. Right? So, it was kind of like, you know, film may you have to, you know, do things that because it's populist. But in theatre, like do you feel like that's kind of creeping into theatre as well?

[00:12:28] So, I was doing a play called Taj Mahal Ka Udghatan. Right. Which was the sequel to Taj Mahal Ka Tender. Right. Then I am currently, yeah. Then... These are funny players. Yeah. Okay. So, they're satires. Okay. Then I am doing Chinese coffee and I'm on stage with Gads at the Taj. In all three, there are lines that we began with which are really funny but which we've dropped. Okay.

[00:12:58] But Taj Mahal Ka Udghatan has shut down. But, but yeah, there were distinctly there were people in the audience who came to see it who we were slightly wary about beyond a point. Right. Because they weren't laughing. They were just looking. It's scary. So, so we did self-censor. And that's also coming from the audience. It's not like someone is telling you to do it but you're sensing it and kind of sensing it. Sensing it. That there's a... So, because at the end of the day you want people in the audience to enjoy themselves, to laugh or cry or whatever.

[00:13:28] Right. You're not actually getting into this to offend or make people angry. So, at the end of it you want them to leave the theatre saying, we enjoyed it, that was a great experience. So, if that means removing a line or two, so be it. Like, you know. But I suppose this also means that you guys have to really be with it in terms of like what's pissing people off. Because that changes. There's a flavour of the month. You'll be surprised at every show. Oh, this is also the problem. Oh shit, I don't know how I write it down. Item number 1197. Can't talk about.

[00:13:56] So, besides Marol there have been some other weird ones also. Onions on the Kandhi. Somebody had got an answer. Onions like Jains were upset. You went to Kandhi and did this joke? No, but this actually happened with a comedian right now. What? He did a joke in a specific community, got pissed off. Sent him legal notice, showed up at the show saying, Oh you can't do this joke about us. And very non-confrontational community is what you've heard of.

[00:14:25] And now suddenly they're also like, no, take it down. So this is a tough time. Yeah. This is so, you said it's a great time for comedy. It's a tough time. Great time for comedy and comedy. This is a weird dichotomy. It's both at the same time. A couple of like individual questions. So I'll start with Varun. So I know, I mean, that, I mean, you're all funny and you'll make jokes when we're talking and it's great to kind of riff off stuff when we're talking. But when you know that you've got a set to do, that you've got an X amount of time, and I know you can also answer this, that when you've got like an hour long set,

[00:14:53] which I assume is the, when you sit down to kind of make jokes, how do you go about that? What's the process of building a set or building a joke? You know, I think every single comedian will tell you this. We look at adversity in our life because you know, that's a five minute bit. So every monumental occasion in your life, you're just like, you're enjoying it, but also like, okay, keep writing. So I feel comedians are never off duty.

[00:15:21] You always have your phone and your note section ready. So if something happens, you immediately sort of write it down. Yeah, I saw you do 20 minutes about your marriage. Exactly. Adversity. No, baby. So yeah, so I was saying that typically anything that happens around us, you're always sort of writing it down. And as a style of comedy, so to speak, I'm very, like Anu mentioned earlier, I'm very story based. It's anecdotes from my life. Oh, this happened to somebody I know.

[00:15:51] It's always that. So for me, it's just, I'll open the laptop once and I'll just vomit in no specific order. It's how I'm thinking of it. I just keep writing it down. And then I just hit the stage with that material. And every joke is then a process of elimination. Okay, you know, I tried this, this didn't work. Oh, I was here and randomly I improvised the line. So I'll put that in. So there is no like half the time as a comedian. I feel for me writing material is staring at my laptop screen.

[00:16:19] And at the end of the day, just shutting it. Nothing is written. I don't know. But on my way to a show, something has happened and it's a five minute bit. So there's no strict process for me. But my ears are always open. And then once you're trying it out, you're constantly editing. Yes. And adding stuff. Adding stuff. And many a time because I have SAC medium education. Right? The entire set is here. So if people ask me, hey, we need to get a census certificate, send your bit. I'm like, I don't write. That's terrible. I will just die.

[00:16:50] Because I'll tell you why. Because I need to write everything down. Because I need to have it to refer to because sometimes if I don't make a note of it, I'll forget. So as a script? Yes, as a script. Do you have a script? Do you maintain a script? Yeah, ish. Okay. Yeah. No, for me word to word. It's like the first time obviously you're writing everything on the page. Then you have to see whether that set has a future. Right? So that's a different part. But start to finish, full stop to capital letter. It needs to be there for me to refer to later.

[00:17:19] So a lot of people say, no, you know, I just riff on stage. I was like, no, this will not be my song. This riffing whiffing because I need to know what I'm talking about. But when it comes to that's a set thing. But when it comes to a one hour special, usually there is a through line. Right? Yeah, there's a theme. There's a thematic too. So then you have to see of all the things you found funny and all the things you wrote, is there a thematic similarity? Or does this have a future in this one hour?

[00:17:46] Sometimes it's just an arbit throwaway, you know, 10 minute piece that you may just record and put up. But your one hour obviously has a lot more thinking into it in terms of what is my through line? And what am I talking about? Whatever I want to talk about for one hour. You make it sound like science man. Deep science. It is. Really? You've also been doing now some stand-up. So what is your process when you're doing stand-up?

[00:18:16] That's good. The shortest answer we will get from Rajesh Shilshi today. Try and find people and I tell them, I'm going to say a joke. No, I don't think you do that. No, no. So yeah, I mean things that have happened to me essentially, the little bit that I have done has been self-referential. Which is actually about all three of you. I'm assuming a lot of comedy is coming from your own. And a lot of self-deprecation. Because you start laughing at yourself, then you're like, everything else is open game. Because I've played myself in the first 10 minutes.

[00:18:47] So no, and also considering that you all do kind of take out of say adversity, your own experiences. Do you find that your sets have like a lifespan? Yes, like for example, in fact, I was just talking about this right now. So I got married three years back. But I did a show yesterday. Oh, you know, I got married recently. And then I went, it's not recent anymore. Now it's been three years. So if there are times when you're like, okay, you know, I've done this bit for enough time. It's not even near to when I got married. Three years back. So now don't joke about the function, joke about married life.

[00:19:16] Yeah, exactly. You change that up a little bit. And I think that's the constant process of right and put it out. Because invariably, you will have a nice thought or it's actually written in your special, but somebody else is going to go and put it much before you. So that you have to be very careful about that. So it's not finite in the sense that, oh, it's time specific. But you know that like, I'll give you a small example. People are talking about avocados right now. Everybody avocado, avocado. So as a comedian, we're like, hey, wait, avocado is a hot topic.

[00:19:45] You need to have a joke on it. Right? You have. I also have. You also have. You also have. Now it's who puts it, who puts it first. So you will sort of give it a shelf life basis, the kind of topic that you're talking about. But other than that, it can go on forever. You can, I can do a joke from 10 years ago right now, as long as it's not specific to an event that happened 10 years ago. But that's also the advantage of a story comedian. Yes. Right? Because the story is eternal. You search certain references, you'll spruce up and update. Sorry, just for that.

[00:20:14] When you say story comedian, what are the other types? No, no. Meaning like you can be topical or political or, you know, like if it is topical, obviously the shelf life is. If I'm talking about something that happened today, the test match just now, like it's very topical. Right? So, or if a funny news item, but if we're talking about like a generic story, that we can do for a longer period of time. Because it remains like funny every time you tell it. So, and it doesn't have to, it's not time specific. Right. So, but does that also mean that when you're,

[00:20:42] that you'll have to be keep abreast about what other people are doing? Like, do you have to be aware of like, are people making similar jokes? Is this something that's like, do you do that? I'll give you an example. So I do my experiences in auto rickshaws, for example. In rickshaws. I know he does rickshaws. Yeah. Mumbai boy. I don't know if you do rickshaws, but. She's South Bombay. Sorry. Sorry. Sorry. I'm not rickshaws. My experience is in limousines. That's a picture. But. Limousines. I mean, only Honda City.

[00:21:12] I was thinking taxi. South Bombay. Okay. Hills and all they live in here. And Malayali, gold. So, I'm saying that if I'm talking about my experiences in auto rickshaws, it is eternal. I just keep updating it. I took a rickshaw to come here today and I found a very interesting guy. I'm saying that it's eternal. Yes. So, it doesn't really matter if someone else is making rickshaw jokes. As long as you're owning it.

[00:21:41] These rickshaw jokes in mind could be completely different. Yeah. You're owning it and then you can kind of. To answer your question about whether we are keeping a tab or what other people. Yeah. I personally avoid watching too much because I don't want even like the slightest. You know, many a times there's so much content that you're just doing it. And six months later, suddenly you write a joke and then I realized, wait, I've written this joke, but have I heard it somewhere? Is that why I'm writing it? Like it's a part of your subconscious for so long that you forgot it's somebody else's joke.

[00:22:08] So, I try and watch less. But that being said, even if the topic is very common to multiple comedians, it's your point of view that you bring on it. So, I'm like, okay, everybody has a set on airlines, but what will differentiate my set is my experience on it. So, I will think of an anecdote about airlines that happened to me, which is very specific to me. Suddenly tomorrow, no other comedian is going and doing the same bit. So, that's what we try and do that. Okay.

[00:22:37] And I suppose the uniqueness of your personality becomes your brand, right? That becomes the like, that's because the way you play it. That's so there's a lot of personal brand building. I would assume in a stand up because you're selling yourself technically. So, when you're doing a funny play, or you're doing comedy on stage, and you're doing say a stand up piece where it's, what's the difference in your prep? And what is the difference in like the process of it? Like, is there a different approach at all?

[00:23:04] When you're kind of, you know, doing that or is there? So, I don't, I try and stay away from funny characters on stage in a play. Okay. Like they're also, so because I feel I do that in my stand up life anyway. So, it's a difference. So, stand up, I think is the closest version of yourself on stage. Right. It's still not completed because there is some theatrical element to it. But who you are at that point in your life is in your stand up. Whereas obviously in theater, you're playing a character. So, you have a different physicality, maybe tonality,

[00:23:35] movement, voice, blah, blah. So, that way, it's church and state. Like I don't think... But say like both of you have done pieces in say one on one, which you mentioned, which are both solo pieces, which are kind of funny pieces all through, but they're not stand up. Yeah. No, so she, what she said was that, you know, there is a, there is an element of theatricality to stand up. Right. In one on one, speaking to my piece, there is an element of stand up to the theatricality of that piece.

[00:24:04] Except our director, Rajat, he just keeps saying, don't break the fourth wall. They can hear you from the wing. Can we get this done today, please? So, yeah. But I'm saying that, so there is an element of stand up to that theatricality. Now, speaking to her piece, it's a very funny piece, but she's approached it very seriously. She's approached it seriously to an extent where, for example, my wife said,

[00:24:33] see, that's me. Correct. You know what I'm saying. Correct. I play a harried mother of two children in this piece. So it's a day in my life. Yeah. And how, you know, I'm unbear, wearing grey tracks and an old T-shirt, you know, just doing household chores, baby burping. Correct. You know, that sort of, you know, the good stuff. So, so, so I'm saying that it's extremely relatable. I don't know what the process for her is, but for me, I really don't think there is a change in process in terms of approach, whether you're doing something comic or whether you're doing

[00:25:02] something non-comic because on stage you are playing someone else. You are. So you're essentially embodying that character. But to take this forward, so theatre and stand up both have a very strong audience element. Yeah. You know, if your joke is landing because of that. But when you're doing say a film and you're doing take per take, you know, or you're doing even say you host stuff on radio. Yeah. Where you're in isolation. Yeah. There is no audience. You don't know. How do you cope with that? Like, how do you keep it fresh?

[00:25:31] How do you keep it relevant? How do you know it's working? So for example, let's talk about radio, what I do on radio. On radio, I have these three characters. One is my own grandmother who talks only about sport. Okay. And who talks. That's funny already. And she, whenever she talks about cricket, she can't get the names of the players right. So Virat Kohli is Kirat Woli. So Rohit Sharma is Shohitra Arma. And Vrajesh corrects every time she says, I've come to the table.

[00:26:01] Which is my actual, which is my actual grandmother. Right. Who every time, you know, a batsman would hit a ball to a field, would say, this is the worst people who keep our ball in front of our people. So, initially I had no idea whether it was funny or not. But then, you know, people started, you know, writing in and saying it is funny. There's another character. It's a Baba who predicts the future.

[00:26:26] So I'm saying that what they say is something I keep fresh because it's every morning. The next question is actually for you, Varun. So there's this gentleman called Vicky Malotra. How did Vicky Malotra come to you? We are in Aramnagar, which is where the strugglers came from here. Came from here only. Yeah. And yeah. So what's that story? When did that happen? How did it happen? So basically, that guy. Yeah. Wow. So this is, this actually came from, again, personal experience.

[00:26:56] Because apart from doing comedy, I've always also tried my hand-died acting. Which meant I spent a better part of my mid-twenties walking around from one Aramnagar, this to another saying, sir, do I fit? Do I fit? Do I fit? Do I fit? And I would sit there and I would meet a whole bunch of what would be future Vicky's. Right. They would come, they would have a way, a specific way of talking. They would always in front of you say, hi myself, Ranjit. I'm like, I'm not confused whether it's you or somebody else. Right? So, Likliya.

[00:27:26] Likliya, exactly. And in 2016, I think it was where I actually sort of stagnated in my comedy, so to speak, where it came to a point, I'm like, it's nothing fresh is happening. It's the same stuff. I've done it too often and no bright ideas were coming into my head. My then manager said, listen, you should try Snapchat because that's the new thing that kids are doing nowadays. I was also a kid at that point, kid. So I said, okay, I'll try it out. So I opened that app and I went through different filters that they have. So they had this face swap filter.

[00:27:56] So I said, okay, let's see if I become a character. What sort of character do I do? Okay. I've met struggling actors throughout my struggling acting days. I have certain personality traits that they have written down, you know, personal experiences with them that are in my head. So I just went to Google. I typed Punjabi male model and 100 pictures I saved and one by one on that face app, I kept trying. This guy was number 32. This is me with makeup. That's an evolution of the character. But on Snapchat, this number 32 fit. I had no idea who he is.

[00:28:26] But it just somehow fit my face. And I just started talking. Because Vicky is again a very quintessential, you know, like Bollywood actor sort of name. So I just did one but I put it out insane response on that first video. I'm like, oh, I thought it was some time past stuff. But no, it was and the people liking the most were women. Because on a daily basis, they have met a whole bunch of Vicky. You know, so struggling actors, one one part of him.

[00:28:55] But you know, being that brash, boisterous, borderline, not borderline. He was actually very sexist by even Vicky Malhotra is evolved now in today's climate. But it was a satire on that sort of a person. And it just suddenly resonated with a whole bunch of people and gave me that sudden push. Like my stand-up career got a separate push. Casting directors started watching this and calling me. But to play Vicky type characters.

[00:29:22] I don't want to play that character. But I think it's one character that stayed with me almost eight years now. I mean, you're still doing Vicky? I do a lot lesser of Vicky now. Now only if the idea is really funny or my take on it is really funny, only then I'll put it out. Earlier it was like wake up, shoot a Vicky video, put it out. But after doing it for so long, you sort of also run out of ideas. So either your character evolves and become something or you retain. But just I personally like to do it lesser.

[00:29:51] So that it still continues because there were times when a lot of other comics at that same point also had a whole bunch of characters. 2016, 17 was just characters. People playing characters. Yeah. Like it took off and a lot of people were doing really well. But a lot of those characters have now tapered off. But if I still do a Vicky, it might not have the responses earlier. But people aren't bored of it somehow. But you basically knew from your first video that this was a… Oh, I didn't know. Like I just put it out. I'm not seeing what happened. From the first response you knew that this was going to happen.

[00:30:19] Yeah, I said something is happening because a cross section of people are liking it. And then it just like 2017, 18 and 19, it just took off. I'm getting calls saying, hey bro, Ranveer Singh is doing Vicky. I'm like, what? What do you mean? He was promoting a movie and in that promotion he's talking about Vicky the character. Really? Wow. Yeah, I'm watching a lot of Warun Thakur video nowadays. You know like Vicky the star, everybody's an fantastic character. And he's doing it. I was like, wow bro, okay. He's doing it for a promotion of this film. Means where he's going.

[00:30:46] So yeah, that's the story of Vicky. And this was a part of my Amazon special where I wanted to do Vicky. But Vicky is a very Snapchat character. So how do I bring him on stage? How do I do stand up around a fictitious character? So I think this is probably the most fun I've had because we spent almost a month trying to get the lenses right. There's a mustache. If you look closer on the mustache, it's actually an M. All these things I do for myself.

[00:31:15] I spent almost a month and a half trying to find out that specific Ed Hardy jacket. No, you can't see it in this one. It's the other one. Let's zoom out. Before talking about the right image, Cheetan. See, right there, that's theatricality in stand-up. In stand-up, yes, absolutely. In terms of taking on a character, which is where the lines blur, right? Like what you're always saying is, in the theatre we are playing a different person. He's also doing that in a stand-up routine. Yeah, so that's a nice...

[00:31:44] But also the style thing as well, right? So I will always be more theatrical in my stand-up. Right. So maybe the performance of the joke may be better than the written joke itself. Correct. And a lot of stand-ups. That's a good point. Yeah, a lot of stand-ups. The joke is far better than the way they've performed it. Oh, that's a good distinction. Wow. And there's so much to say about the performance of it, right? Yeah. Yours is not the only photo we'll be showing. We'll also embarrass them.

[00:32:11] So can we have Vrajesh's photos, please, that we had. There it is. I think it was called Govind or Ganesh. Govind or Ganesh. So there was this and we also had an image from a play that Adyam did called Guards at the Taj. So the question to both of you is that since you are broadly and more popularly known as funny people, how difficult is it to kind of do and get serious work?

[00:32:40] And how difficult is it? And this is a question for all three of you, which we'll keep talking about. How difficult is it to be taken seriously? So because I played Lola Kuti for so long, I think about eight years. So I think most of the chunk of the work that I, I always say that it comes in the way of my item number career. Like being this Lola. Like the number of like South Indian roles that have come my way. Because of Lola Kuti. Absolutely. Or they see you as that person.

[00:33:06] So now when they see me as is, they're almost a bit disappointed because the image in their head was very different. So breaking away from that has been tough? Yeah, I would say so. In terms of getting the kind of work on screen. Right. That I mean now of course things are different. Different, yeah. But at that time for sure, for sure. So I was playing. Where is this from? So I was playing Sir Roshni Naidu in a Lilla Dubai director play called Sami. Right.

[00:33:33] And so again talking about you know, she has this big conversation with Nehru and then with Gandhi Ji, we talk about freedom or midnight or the sacrifices and then from the audience. Hey Lola Kuti, you know. I was like my God, you know. And not in a subtle way. Like it's rather loud. And then you have to continue, you know, unabashed over the Janda and freedom. And I was telling them earlier actually, I was playing Sir Roshni in London. There are a lot of Ghoras in the audience.

[00:34:02] And for some reason, the emotional speech, etc. And this light guy has gone to sleep. And so now, not just the lights are not changing for blackout but also... Now the Ghoras in the audience are extremely confused. Because they don't know whether they don't want to seem racist and say, you know, something seems off. Or is the lights on going off? Or is someone snoring? No, there's a sound effect. Oh, is it?

[00:34:30] Like they can hear all this in the audience. At the stroke of the midnight hour when the light man sleeps. So you had a tough run as Sir Roshni, we want to say. You know, best time but also just... That's the beauty about live performance, right? Like anything can happen and you have to be prepared for it and just go on, go along with it. What about Rajesh? The show you did with the... That was a serious kind of content. So that was a star bestseller called Govind or Ganesh. Now in terms of the getting of non-comic work. Right.

[00:35:00] Oh God, it's a slog, man. I can imagine. It is a slog attempting to convince people. I am a actor, I am a actor. And now this role, Raghu B is supposed to play. Okay. He had to go off to Turkey to shoot a film or some such thing. And in fact, the first time I heard it was right here at Yari Road. And pre my casting, through my casting, post my casting, up until the first day of shooting ended, there was a great deal of discussion about whether this is the right person for this role or not. If Panbhai was actually the one who tried to keep convincing people,

[00:35:30] no, no, no, he's good. He'll do it. He'll do it. Post the first day of shoot, then everyone was at ease. But for me, the first day of shoot, I was on tenterhook. So the getting of non-comic work on screen has been an absolute slog. It still is. And then when one finally gets that non-comic work, one is so nervous and so excited and so much crying tears out of gratitude. See, people think I'm an actor. I can do this. That one forgets that one has to go and prepare also for work.

[00:35:56] But you know, it's not been as much of a slog as it has been on screen. You know, Rajesh and I were having this conversation, I think a few months ago. When you're up for auditions, like so much is not in your hands. Right. You're too thin, not thin enough. Too fat, not fat enough. Hair too curly, not curly enough. Too fat, too, you know, not fair enough. Whatever it is. And in spite of the fact that you may give your best audition or you think that, you know, you've peaked in this and this is it. It's not in your control.

[00:36:26] So I think for me, I find solace in the fact or I'm happy about the fact that I have this stand-up life where I am more in control of what is happening. I'm in control of the script because I'm writing the script. I get to perform more because, you know, it's in the stand-up genre. So I feel like... And I wasn't great at the hustle.

[00:36:50] The hustle that was required of me when it came to sell yourself more, or meet people, go to parties. And in the early days, I was told, oh, you should go to parties, wear low-neck dresses, never give the impression that you're married, always give the impression that you're available no matter what. I was told things like when I met a film director once who said, you're too fat if I would never cast you in a film. And even if I did cast you in the film, I'd never let you eat because I never let my heroines eat on set.

[00:37:19] So the things that you're interested in, Anu, you're interested in voices and stage and accents and stuff, you'll never earn any money. So I just suggest you find a rich guy and then you do what you want after marrying him. So I'm saying that you were... But the thing, if I look back now, I said because I wasn't focused on film, it didn't break my heart. Right. Right. Because I always knew that I wanted a day job that supported my theatre habit. That was always a dream. I'll be part of a play that tours the world.

[00:37:47] But if I was fixated on film, like all these things would have crushed me. But so there were no serious aspirations about screen work for you? Yeah, I said if it happened, great. But it's not something I actively pursued. But what about you? Like taking what she said forward, I've always wanted to act. That's what, so you have screen aspirations. Yeah. You've done stuff. I watched Kauna Pyaar Hai came out and I said I want to be an actor. Literally true story. Not even making this up. Shaitan Havali happened. Because he saw me. In Kauna Pyaar Hai. Yeah, of course. L.A. Jinna Sir.

[00:38:18] So... I never forget. Still cracks me up. Anyway, so I've always wanted to act. Stand-up sort of happened by chance. Because like say in the mid 2000s, there was no stand-up culture in India. You had the Johnny Lever, the Rajoshri Vastavs. And they were in their own league. Their own sort of, you know, not echo chamber. But their own niche. We could only dream to do something even close to what they were doing. So stand-up was never really an option per se.

[00:38:47] And then suddenly comedy store opened up. You had people like Veerdas who are actually doing it. Giving other new, never before seen. They were not even comedians then. Just a chance to go up on stage and perform. So it was always acting first. Comedy happened later. But there was this one specific audition I'll never forget. It was for a coffee brand. And it starred Shait Kapoor and Priyanka Chopra. That's how it was pitched. Shait Kapoor and Priyanka Chopra are the ad. It will come to the time of the eye pill. Everyone will see.

[00:39:15] Massive one kilometer line outside one of the Aramnagar studios. Okay, I reached at 11 o'clock. You know what time I actually went and auditioned inside? 7.30 pm. I've taken a lunch break, gone home, eaten, come back. I was number 56 on the line. That sheet has been torn. Now there is a new sheet. I'm number 142 on it. Then, okay, now I auditioned for children. So when I eventually did that audition, I would not cast me because from 11 to 7.30, I'm a shadow of what I was. I have no energy.

[00:39:45] But you know that sunk cost fallacy where they were like, okay, I've waited so long, may as well. It's a big ad. And true filmy style I went, I looked back at this. I said, never again. I'm not doing this. I need to do something that I'm completely in control of. I do it so well that they will call me, are you free between 4.30 and 5.30 to come and audition? Then we will, then I will go. It was, I'm not trying to act smart or anything.

[00:40:12] It was more for my mental piece that I, yes, I want to be on screen, but I'm not willing to let my entire day go just waiting at the beck and call of somebody else. So I focus more on stand up, you know, getting my, my stand up comedy to a level where casting directors are seeing me and calling. So that started happening. But then it became calling me, but for comedic rules. They never even imagined me being. But do you want to do serious stuff?

[00:40:40] I'm dying to do to a point where there was a show that got made on one of the OTT platforms, which was about comedians in which I played a businessman. You were, you were, you were in it. I was a businessman. Not in the business of comedy. Not in the business of comedy. I was a businessman because I'm like, I want to do something different. This is that. So they didn't take me as a comedian. I'm a businessman. I said, good. So I became a businessman. It's like when Lola, I'm so sorry. When Lola first, when I had this idea for the character,

[00:41:08] it came out of the fact that I wasn't cut out to be a cool VJ on a cool music television channel. Right. So I wasn't cut out to say, yo, check it out, coming up next. So where did Lola come from? Yeah. So I just had this idea and I, and my mother always makes fun of me saying, you went to London to drama school. You've come back and now you're playing a Malu character on screen. Like the flip is going on. So I told my boss, like, this is the idea. How about you have this character that like, who's the antithesis of cool someone you wouldn't expect to see on a music channel. Right.

[00:41:37] Um, and he was like, but we're associated with all things cool. And she said, she will comment on music videos that are going on. So, um, but I was told you have to look funny in order to be funny. Because at that time, that was the need. Like you just can't look like yourself. You need to look, um, uh, funny. So that was, uh, so it always stayed with me because now, of course, you know, things have evolved so much and everything has changed. Before we go to, so the, uh, the first season, we started something which was supposed to be like a rapid fire,

[00:42:06] but I'm not a very rapid person. So it kind of became a slow burn section. Oh, we're not being ranked the three Khans according to the order. Uh, I, I don't speak that fast. You're going to answer fast, I suppose. I have no hamper. Uh, uh, I'm hampered by my own pace. Uh, but before we, so last question, and this is something because we were talking about it and, and I think that we should just kind of, uh, speak a little bit before we go into the slow burn section is, uh,

[00:42:34] the genre of comedy, uh, known as roasting. This is something that, uh, I just wanted to talk about because it is something that is prevalent. Uh, it also led to the downfall of one of the big, uh, comedy, uh, conglomerates that we had in India. Uh, once they did a roast and then they had to kind of... Actually, it was a reason for that. Yeah. Upspike. And also... No, no. That wasn't the roast though. So people got involved from the side saying, don't say this, don't say that.

[00:43:02] But it really put them up on the map because for a comedy collective, to get two of... Okay, maybe not the biggest stars, but they're still stars. Yeah, big stars. You get Ranveer, you get Arjun, then you got Karan Johar coming, Rajiv Masan, Raghu, this, that. So it was a motley crew of some really big people who you would never expect would voluntarily come and sit there and do a format like the roast. Right. Uh, so in like that should have been in fact like the starting off,

[00:43:32] listen, we're India, everything works here, no holds barred, let's go and do it. As opposed to what eventually the outcome became. Right. But so given that it didn't become the pioneer in that event, is roasting a genre that can work in this country? Ah, you know, I'll be honest, it's my favorite genre in comedy. I love... A good roast. Yeah, I love a good roast. Honestly, like there is nothing more fun than a bunch of people voluntarily sitting

[00:44:00] and completely going at each other with no holds barred, no restrictions, and then coming out of the show still high five and be like, yeah, that was fun. I think it's the most challenging to do, to be okay with it, because you know, everybody has their own hangups, own insecurities, so you don't want a lot of things out. But I feel as a genre, it's my favorite in comedy. I don't get to be a part of too many. But I think it's still working in pockets.

[00:44:27] Like there's one comedian right now, Ashish Solanki, who's doing his version of a roast show. Right. That's been doing great. It's getting millions and millions of views. People are blowing up from an episode of that roast. You know, their careers were little on the down low and now spiked because of being a part of it. So I feel there is a market. But again, it's a very that roast is working because it's again jokes on each other, you know, as opposed to a broader. And he has a very affable, friendly personality. Very personality.

[00:44:57] That also helps. It doesn't feel like a bit too. It's not that. It's called a pretty good roast. And it's done well because of the camaraderie that the entire people who are a part of it have with each other. And also, it's not that level of a roast. Not that savage. Not that savage. I'm saying at this... Sorry, sorry. At this point in our country, I'm saying in terms of the people roasting, of course, the roaster will be fine with it. The roastie may be absolutely okay with it.

[00:45:26] But you never know who will take Amraj on behalf of the roastie. You never know who will take the roastie. It's okay with me. It's not my problem. So... Begani Shadi. Yeah, exactly. Correct. You mentioned Ashish Solangi. What do you feel about this new phenomenon of Samay Rehna? Superb. Is that kind of what are the learnings from that at this point? You know, like literally everywhere we've gone, one time there's a conversation. What do you think about?

[00:45:56] Because it's a kind of show that's managed to cut across age groups. You know, your South Bombay person is also watching it. Your suburb person... No, I'm actually coming from a completely blank space because I've not watched it. Even I haven't watched it. It's a name I've heard a lot of late and some talent latent show. It's a lot of fun. It's also giving a platform to a whole bunch of people who would never make it... Not never make it. Never make it this fast. Right?

[00:46:23] So they're a whole bunch of talented people who they want an outlet. They want to be able to put their video on YouTube or Instagram and it becomes viral. And then they can do an All India tour. They wouldn't have gotten that opportunity so fast if it wasn't for the show. Also, I feel in terms of... I think Samay... He is so unbashedly him. Right? There's no pretense. He doesn't try and behave like a specific comedian or I'm this type of... No, he is who he is.

[00:46:52] And I think that brand of humor resonates so much with his fan base. And they are rabid fans. They love everything he does. And he's done like a whole bunch of things from comedy to... He is one of the main reasons why chess suddenly got that bush... Bush... Push... Chess. Chess. Chess. During the pandemic. During the pandemic, he used to do this thing called Comedians On Board where... He's also himself a chess player. He has done a lot for chess in general.

[00:47:18] Right from getting the grandmasters from India to come do streams, different comedians too... There's a renewed interest and it just becomes cool. Yeah. You know, to bring it back to your point which you were making earlier... So in terms of the evolution of comedy, India's got latent. It's a simple show. Yeah. It's a simple thought. It's presented very, very simply, but it's blown up because it's a brilliant show. So I'm saying the evolution has been in terms of an idea. Yeah. What is the idea?

[00:47:48] Let's go back. Yeah. Go back to basics. To a talent show. Yeah. Yeah. The basics. A talent show which has a sense of humour. So yeah. Because ultimately there are only so many ideas. Exactly. It's how you reimagine and revision and repackage that idea. Yeah. Which is the uniqueness. Also, he's such a very interesting pointing system if you watch the show. So every performer before he or she comes on stage rates themselves out of 10 of what they think their performance is going to be. Right? So I say I write an 8.

[00:48:17] I've written 8. I've gone. I've performed. I've performed. Then the judges give their score and if the average of the judges score matches yours, that's how you win it. So it's like if roadies were nice people. Yeah. But also do little Ungli at the same time. Okay. Okay. Okay. They got him on the show. Yeah, they got him on the show. They got Ragu Anir. He's my friend. What are you doing with me? We're coming to the last segment of today's episode which is a rapid fire.

[00:48:46] Which because of my personality is called slow burn. So there will be some individual questions. There are some which all of you will have to answer. I'm going to start with you Rajesh. A role you regret rejecting. Uh, Delhi Belly. The role that Parish Ganatra played. Which one was that? What is the Parish Ganatra part? He's the guy who gets run over by BST bus. And you said no because? Because I was going to get run over by BST bus. But later you were like,

[00:49:16] Kash. Because I mean it's really close to real life. Anu since you always dreamt of winning a Tony, your dream role on stage that you haven't done yet. Actually I really don't have a dream role. I just want to be at the West End once in my life. Okay, clear. And do that. Go to work every day. Whatever you're doing there. Okay. Okay. Yes. Lovely. Varun, a joke you'll never tell on stage. I'll now tell it here also then.

[00:49:47] We'll tell you or we'll edit it if it's very bad. No, no. Honestly, you know the thing is, I really don't have jokes. I will not. See, because my writing in itself is just now, I know these bits I will do and whether they work or not, that's separate but I will do it without any tension. So there's no joke. Now you're sanitized. Now it's done. I don't know. What do you think? Great. What censorship? Okay, when it comes to comedy quickly, all three of you, inspirations.

[00:50:18] People whose work you love. Joan Rivers. I think she's the ultimate. She wore a gown and high heels till she was about 85 doing stand-up. And so I think she went out like that and I think that's fab. Joan Rivers. Pankaj Kapoor. Nice. Phenomenal at comedy man. Absurd. And also I did office office with him and so I got to see him from close quarters. Wow. Amazing. Insane. Superb. For me, George Carlin.

[00:50:47] Yes, of course. Bill Burr. And closer home, Johnny Lever. I think I can just watch Johnny Lever do nothing all day. You've worked with Johnny Lever. Oh, he's incredible. Insane. With his daughter Jamie. It's freaking phenomenal. She's also fantastic. Yeah, she's... No, and you know what? The thing with Johnny Lever is that we also know him as a stand-up etc. But his creation of a character and the way he performs is... I mean, people might say that, you know, his tonality or he's pitching everything at the same. No, it's not.

[00:51:16] You see him in Jalwa and you see him in this Golmaal where he plays that absent-minded guy. It's absurd. It's chalk and cheese and he's incredibly funny. And also takes care of his curls. Is he funny generally? Like in life? He's actually a very grave man. I mean, he can be really funny when he wants to be but he's very serious. That was actually a question which is not from the slow burn. That do you all feel compelled to be funny at gatherings? No, I just hate the question. Tell me a joke. I swear. You get it.

[00:51:44] I do because I don't have a joke at the top of my head. You know, do you remember a joke? Do you remember like... No. Not your own but I'm thinking you can tell. Are you asked to tell jokes? All the time. All the time. From the time I started till like last year. So this used to happen to me in college. I used to host whatever talent parades and college days and whatever. And people would say, I don't want to say a joke. And my comeback is to be public phone. What? You won't give a joke. But you're not giving a joke too.

[00:52:14] I started using the Joker line from Dark Knight. When you're good at something, never do it for free. Nice. So that's why I tell you. Give me your ticket. I had a friend of mine who came with me to a comedian party. And she told me at the end of the night, This is the most boring shitty thing I've ever been to in my life. And these are supposed to be top comedians. Jesus Christ you're all boring. No, I got introduced to my friend's friend. Okay. And I said, Hi Varun, he's a comedian. Oh wow, you're a comedian. And then she just stared like that. Waiting. Yeah. And then,

[00:52:44] Hi Bula. And then she turned around walking and I could hear, He wasn't that funny. But I said, I said hi. How do you want me to say hi? I don't know what you want me to do. He wasn't that funny. Wow. Okay. Moving on for all of you. Your strangest or most memorable fan interaction. I got invited after one of my shows to perform at what this person said is a party in Lonabla. So I've shown up. I'm like,

[00:53:14] I'll go anywhere. Right? As I go up on this makeshift stage, there's dudes. Only dudes in the crowd. So I was like, Okay. What sort of party is this? Then they pointed at one guy saying it's his bachelor party. And I'm like, You called me? Do I have to dance? While I do the joke. Like, So that was strange. Because I'm like, Why would you waste your bachelor party time on me telling you jokes? How good is Marol?

[00:53:43] And you did a set there. I did. And it went very well. Amazing. There was a pole in the center. Just keep going around it. So nice. But I mean, I perform anyway. Anywhere. There's a guy who was a big fan apparently and was making a movie. So he came and said that, had a meeting to say that he would love me to play this character who's an alcoholic, nymphomaniac,

[00:54:13] drug junkie. And he just thought of me for this role. He would be perfect because I'm Lola. Alcoholic, Nymphomaniac, drug junkie. And my image as Lola Kuti is the one that made him think, Ah, she's perfect. There's depth you hadn't even realized. Yeah. Over there. Yeah. Wow. What inspired casting. Look at Rajesh's expression. What's your strangest? I don't know. Do they come up to you and do this? Oh, so that though. Oh, that is.

[00:54:42] I'll tell you, but I've told this story before. This was Delhi. I was on a movie shoot. Two o'clock in the night. Hotel room. And I'm like, okay, what? So I opened the door. I'm in my boxers. And there's three really tall people standing there. And one guy looks at the other and says, I've been eating. Eating. Eating. Eating. At 2.13 in the morning,

[00:55:12] he wants me to eat. And it's Delhi, you have to. You have to. At least rang the bell. No, what? Did you then ring? Yeah. What did you? Yeah, how did you handle it? How did you handle it? I backed away. And shut the door. Shut the door. And then I called reception and I said, I said, three people stand. Yes, it's the best. Best. Okay. Quickly, a funny person, artist that you'd love to collaborate with. No one? Anyone. Anyone.

[00:55:42] There's so many people are funny now. I don't believe in favourites. Save Rajesh. Yeah, you have two people. We hosted a show together once. Yeah. Yeah. It was called Queens versus Kings of Comedy. Yeah. I had to wear a beard. I had a beard. Yeah, I had a dress. I don't know what it is. Wow. I'm kidding. Either of you want to say? Anyone that you're really eager to work with? Yeah. Eager to work with? Yeah. Johnny Lever, man. I'm coming back to him because that's been one like unfulfilled dream.

[00:56:11] Because I think I remember his sets from when I was seven, eight years old and he would perform at all the Bollywood award shows. So if I get a chance to collaborate with him in any way, shape or form, I'm down. You've worked with everyone. Yeah. Yeah, I mean. But he refused to perform for everyone. Yeah, that's true. Like at 2.30 at night. Sanjay Mishra is brilliant. But thank you so much for being on this first episode. This was absolutely wonderful. Pleasure. Thank you. Thank you. Akash.