Boys grow up to be men. Actors grow on to be stars. Coming of age in the film industry is all about changing. And Sidharth Malhotra has had quite the transformation. I vividly remember first meeting him in the September of 2012 when Student Of The Year hadn’t released. The Delhi-based novice was gauche, gawky and spoke in measured words. Cut to 2016 and there’s been a 360 degree turn in his fortunes as well as his disposition. What we now have is a confident and a self-assured star.
And most importantly, someone who has decided to challenge and bend the rules of showbiz. The reticent Sidharth has chosen to become a people’s person. He’s taken charge of things, he’s learnt to call the shots. He even has a strategy all figured out. It’s his unapologetic code of survival in a dynamic, ever-changing scenario. Yet his core remains the same. He aims big but he recognises the merits of staying grounded. The resounding success of Ek Villain and Kapoor & Sons has catapulted him into the big league. And he’s now poised for a stint at the top.
Four years and five films later... are you now comfortable in a demanding industry?
I’m definitely more mature. I now understand what kind of films are accepted and what are rejected, what the audience likes and what it doesn’t. I’ve learnt much by interacting with senior actors. I can say I’m now well-equipped for the profession.
What have you learnt from senior actors?
One of the most important things I’ve learnt from them is how to conduct yourself off the camera and acquire people skills. On camera we are told what to do. No one tells you what to do once the camera is switched off. Akshay (Kumar) sir was fantastic on the sets of Brothers. He actually took charge of the entire unit. All senior actors do that. I realised how heroes can set the tone of the set. If the actor is angry or in a foul mood, the atmosphere on the set goes for a toss. Everyone turns quiet and feels intimidated. Similarly, if the lead actors are chilled out and in a happy mood, the unit also gets into a lighter mood. That’s what happened on the sets of Kapoor & Sons as well. I too tried my best to keep everything peppy. It was the best shooting experience for me.
Alia Bhatt and you were a delight to watch in Kapoor & Sons. Would you ever get competitive with her as a co-star?
I don’t think so. See, we all want to do well but I’d never want to outdo someone or emerge as the better performer. If one thinks in this manner, then you’re lowering your stature. And I’ve been thrown in such situations many times. In every film I had actors to compete with. But I’m cool with it.
What makes you so confident about doing two hero or ensemble films?
I’m not insecure. Also, the whole idea of a solo hero film is waning off. It’s time to do new things. I’d rather do a small part in a good film than play a big part in an average film. I want to have a good library. Years later, when I talk about Brothers I can say that I transformed my body for the film. People would also notice it. Above all, I am the lucky one to be selected amongst lakhs of boys trying to make it here. Not only did I enter the movies but I have sustained as an actor as well.
You assisted during My Name Is Khan (MNIK) in Los Angeles. What did you observe about the industry there?
The way the West functions is so organised. Their planning is precise. I witnessed the facilities Screen Actors Guild (SAG) gives to its actors. Since, we shot MNIK in LA, a lot of SAG actors were cast in the film. They are extremely particular about their breaks. Every actor is insured medically. There’s always an ambulance on the set to deal with an emergency. If you work extra hours, you’re paid for it. Their royalty system is excellent. Even if you’re a character actor in a film and if your contract says you’re entitled to royalty, you will keep getting it for years. You can maintain your lifestyle. Mr Anupam Kher, who’s done few Hollywood films, told me he still keeps receiving cheques. Even Shah Rukh sir and Kajol ma’am get it because they are SAG actors due to MNIK. Smaller actors aren’t insecure either. In India, there’s no financial guarantee.
What are the changes our industry needs vis a vis Hollywood in terms of filmmaking?
Our planning methods should change. Their prep is detailed with great thought at work behind it. There is no concept of narration there. The biggest of the actors read the scripts. Directors don’t just direct their own scripts. They get scripts from writers. Here, we have the concept of ‘written and directed by’. Most well-known directors here, barring a few, write their own films. I have taken scripts from writers to directors but they appeared apprehensive to direct those stories. They said they had their own material. This attitude should change. It will only bring in good writers. There’s a serious dearth of them right now.
What’s your take on the pay disparity here between male and female actors?
It’s changing. I can say for myself. I’ve cut down my fees for some films. For example, Kapoor & Sons required less number of days, it was an ensemble and they had a particular budget. Secondly, I loved the script. They couldn’t cast the film for the longest time because they were not able to fix the cast. The costs just kept going higher. But I was willing to bring down my fee. Of course there are films, which require bulk dates, including the prep time. So I equate money with time.
However, I’ve never refused or done a film only for money. We all are hungry for work. The remuneration in India is driven by who is doing the film instead of what the film is about. Earlier, heroes used to just play themselves. Today we are playing characters. I’m sure soon there will be a cap on what we charge. I believe your fee should be box-office based. You should be paid on the basis of your previous film’s performance. It should depend on how much you’re capable of getting back. Recently, many women-oriented films did well. Piku, Queen, Tanu Weds Manu Returns... Kangana Ranaut is a prime example of a female star opening a film and making it work at the box-office.
What are the things that you want to change about yourself?
I want to tell myself that there’s no harm in asking for roles. Earlier, I’d think people know me, they have seen my work and if they believe I’m fit for the role, they will come to me. Now, I’ll go and initiate a conversation if I want to work with certain filmmakers. And I’ve also conditioned myself not to have any regrets. I’ve learnt to deal with both - success and failure.