Did reconnecting with Rajkumar Hirani in Dunki feel like a homecoming?

He and I have very similar senses of humour. People believe that all forms of improvisation occur spontaneously. Yes, it can happen on the spur of the moment, but only if you are well prepared. If you are not prepared and something unexpected occurs, it may not be appropriate for the film or scene. We began our careers together in the film industry, and the conversations I had with him prior to any film were invaluable. Whether it’s 3 Idiots, Lage Raho, or even the character of an old man in Sanju, it’s pretty priceless in his eyes, and writing a script takes a long time. I like how he puts his entire being into the film.

You’re so loved in Hirani’s Munnabhai series. Looking back, do you recall how people reacted to it initially?

I did not expect the overwhelming response; I don’t watch my stuff. I find it awkward to watch, but when I went to the theatre for the first time to watch Munnabhai, I thought, “What the hell is happening here?” People were going crazy and couldn’t stop laughing. When I performed it, I didn’t find it funny. And then I tell myself that’s why people are finding it funny. Because while doing it, you didn’t find it funny; you didn’t expect it. And so you’re not trying to make people laugh. You’re just being truthful to the scene. Nobody is laughing on the set. You may watch the take on the monitor later on, and it might be funny later, but while doing it, you should not find it funny. For example, in 3 Idiots; there wasn’t any scene that I found funny.

That’s surprising…

Not really. You see, my character was an angry and unhappy man. So he isn’t going to find anything funny, even the best gags and one-liners. Like that scene where Sharman Joshi makes that sound when he’s asked how the induction motor starts, you’re not supposed to find it funny while in character. It’s supposed to make you angry. But later on, when you watch it with the audience, it’s funny and ridiculous.

When you won Best Supporting Actor (Male) for 3 Idiots, you said in your speech that your mother has been the biggest teacher in your life. She used to make you go to watch the same film again and again. Do you still do that?

I still do that, as a matter of fact. Because I think the first viewing is the viewing you do as an excited child, and then there are some parts of the film that move you and some parts of the film that fascinate you. Then you’re not quite paying attention to the background, a certain shot, or how long a certain cut was. You go back, watch, and look around to see why this film is so amazing. When it comes to framing or editing, you have to become a student once more. It does make a difference when you get to see it over and over again. Back in the day, I used to go to the theatre because there was no YouTube or OTT to watch the films. People say you know the story, but I say the movie is not about the story. It’s about how you feel. What was the experience, and how did the cast and crew put this film together? How did every department come together to make this piece touch you in some way? Just go back inside and watch it again.

Can you imagine 3 Idiots being made from a fresh perspective 14 years later? Would you like to know what the three protagonists are doing now?

(Laughs) I don’t think so; they made me so miserable; I don’t care.

Which film do you consider to be your best work yet?

Maybe Khosla Ka Ghosla. People said I was miscast in the film and maybe I was. I was surprised to know that a guy like me was asked to play Khurana. So when an actor is asked to push the envelope, one takes it as a challenge. One has to work much harder to be convincing. How do you make it look smooth? You have to know your lines, the clothes that you wear, and your thought processes. You get to imbibe that character’s belief systems, and then the moment you get past that, everything becomes okay.

How did you convince yourself that you could play Mahatma Gandhi in Mahatma vs. Gandhi? You don’t think you were miscast, then?

I surely wasn’t the obvious choice for Feroze Khan’s play. I wouldn’t have cast myself in it because there’s a physicality that you need to go beyond to do justice to the role. You have to make sure that the audience is not looking at you on a physical level. But how does that happen? I worked hard and lost 30 kgs. You could see my ribs when I played the role on stage. I was tall so I started looking a little stunted. The speech, the broken teeth, the voice texture, the accent—that’s part of the imitation process. I did it because I enjoyed it. I think it was a good thing that I was miscast because I had to work that much harder.

You’ve worked with Shah Rukh Khan before, so when you worked with him in Dunki, did you perceive any changes?

His energy has always been fantastic, and it has increased even more with the passing years, if it’s possible. When he lands on the set, everybody is happy. He’ll crack a joke, and we’ll laugh, then I’ll say something, and it goes on. Shah Rukh comes to the set to have a good day. He  wants to have a good day with friends and people he loves. He shows his affection and his fondness for people while on the sets. And that’s all that matters, and all that goodwill  is distributed amongst his friends and co-workers. Shah Rukh Khan has that ability. Because he’s made the decision that he loves being on the sets.

Uunchai’s theme of friendship resonated across generations. We’ve heard it was a special film for you.

I lost a very dear friend in the pandemic; he was like a brother. Someone whom I loved dearly and who underwent a long bout with illness but finally we lost him. His passing away  took me to a dark place. I did Uunchai in his honour. The character Bhupen, played by Danny Denzongpa, whom we lose, and then the journey we undertake to fulfil his last wish. Being part of it was a cleansing process for me. It was heartbreaking. But it also freed me from despair. From the survivor’s guilt, so to speak. Sooraj ji used to come to me before every take and talked to me, taking me through my character’s journey.

When in the mountains, when we reached our destination. That was Bhupen’s heaven, right? Tears came rolling down every single time I did the scene. And then afterwards, as well, when I watched it on screen.  I kept thinking of my friend, and that would bring more tears to my eyes. But somehow, I also sensed that my friend was at peace. My whole life changed by doing the film. It was an extremely moving experience on a personal note for me.

Tell us about your directorial debut, The Mehta Boys.

The good thing about The Mehta Boys is that the audience would easily identify with the characters. Anyone who has a heart, or even a pulse, can identify with the characters on screen. This film is about a father and a son. But I’m not saying for a moment that it cannot be about a father and a daughter, or, for that matter, a mother and a daughter, or a mother and a son, or a husband and a wife, because of the bad relationships that people can’t quite understand. You watch the film, and you’ll identify. I think it’s a good film. I believe it’s saying something that will resonate with everyone. I do believe that the acting is good in the film. Great performances by Avinash Tiwary, Shreya Choudhary, and Puja Sarup—all of them. It’s taken me a long time to write it because I wanted to make sure that I wrote a film that doesn’t come across as scenes from what they call a slice of life. I don’t even know what that’s supposed to mean. But I do genuinely believe it’s a warm film, and it’s going to touch hearts.