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We have bigger houses and smaller families, more conveniences, but less time. We spend more, but have less, we buy more, but enjoy less. As an actor and director I want to be challenged.The paradox of our time in history is that we have taller buildings but shorter tempers, wider Freeways, but narrower viewpoints. It offers me different visuals and challenges me. Even the film I am writing dates back to ancient India.
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Wherever there were French colonies, Portugese colonies, etc their culture sponged off on Indian culture. There’s Indus Valley, Harappa, the Gupta period, the different yugas, the various Inquisitions - they have had a huge impact on Indian civilisation. Ancient India is so beautiful, so different from today’s India that it always attracted me. My mother was a professor of literature in Wilson College and we had a huge library at home which I got in virasat. The fascination goes back to my childhood.
Jodhaa akbar apne tv serial#
Today, I have the satisfaction of giving something to my audience beyond my serial 20 years ago. The script was completely revamped and people loved it. I told him we could talk about modern concepts arising out of the same story. What are the challenges of bringing up a child for a single mother -how would it have been 1000 years ago when a woman was completely dependent on man. Today it is a common phenomenon - either it is by choice or it’s thrust upon you. I told him look at Kunti and Uttara - they are the first known single mothers. But his style was very good and poetic like Andha Yug, Rashmi Rathi - which I had not done. When the director came to me with the play it was the typical Chakravyuh story of Abhimanyu and did not have much to offer to Krishna. Why did you choose to play Krishna again, after all these years, in the play Chakravyuh? That’s where my theatre background helps me - to experiment with various characters and to feel them. Nobody can take away that image, but he thought I had the ability to get away from my own image. I give him credit for this bold thinking because he did not worry about my image as Krishna. He found that in Mohenjo Daro - it’s a tricky role and he didn’t want conventional casting - that of 65-year old man playing the role, because though Durjan is a farmer, he is elegant and cultured. He said ‘I want to work with you’, but he had a problem deciding which role he should cast me. As for Ashu he called me when he was doing Jodhaa Akbar too. I met him there for the first time and cast him in my serial Gita Rahasya. Every other evening we used to meet at Ravi Baswani’s house – it was a common adda for many people including Irrfan (Khan). We used to hang out together when we were nobodies. When we interacted he also realised that I am into several things - I gave him my book, showed him the pictures I had clicked and he said the name chameleon holds true in my real life too! He was shocked - he had met me in my normal look - he said I had transformed completely, like a chameleon. He said, ‘The actor is very good, who is he?’ and Ashu told him it was me. The next day when he arrived, Ashu showed him the scene and he was impressed. I went to Bhuj two days in advance and the first scene I shot was for the climax scene which probably appears in the last one minute of the film! That day Hrithik was not shooting. After trying seven-eight type of moustaches, one clicked with both of us. We tried various types of moustaches to go with the character of Durjan, who is a sensitive, emotional man, but a little mysterious. We decided I will sport a natural stubble, wear moustache and completely change the colour tone of my face and body. It works if you have to show transformation from young to old or some kind of a syndrome like in Paa. We did not want to use prosthetics, because not only is it time-consuming, but it also looks artificial. Not only was the role challenging, even the look is completely different.Īs Hrithik’s uncle I am supposed to be 20 years older to him, but I think in real life we must only be eight-ten years apart. And that has a huge impact on the entire story. The only similarity is Krishna was a mysterious man and so is Durjan. Durjan is a mere mortal firstly and secondly unlike Krishna he is an emotional man. Whereas Mohenjo Daro’s Durjan Kaka is completely different from what people have seen me as Krishna. In terms of cinema nothing challenging and different was coming my way. What prompted your comeback to films with Mohenjo Daro?