‘Bachchan saab, Dilip Kumar and even Marlon Brando got typecast: Vinay Pathak

You once said it’s always a real struggle to find that one story that you want to tell. Have you found it with Gour Hari Dastan (GHD)?
I really can’t remember the context when I said that, but GHD is very much the kind of story I’d want to be associated with. Even if it meant not being chosen to play the titular part, I would’ve loved to be part of it as the story has a lot of resonance to our times. It’s a simple straightforward story about some very complex things in life. You seldom see this in films these days. It’s a reason why the script worked for me.

But it’s a debut script?
You know, I am a great fan of CP Surendran’s writing. His work, both fiction and non-fiction, is enriched by his journalism. And then there’s his poetry, both powerful and moving. According to me, he is one of the finest among contemporary writers. He’s been able to bring together all that beautifully in the GHD script. This may be his debutant script but he brings the same brilliance of his body of work to the script as well.

What was it like being directed by Anant Mahadevan?
Anant’s a dear friend. He’s made some amazing films which have got him much deserved critical acclaim. When he first approached me I was unsure. But when we met Mr Das on whose life, the story is based I was convinced I wanted to be part of GHD. You know none of us in the cast is a method actor but Anant’s a method director and he ensured that all of us got everything right exactly like he’d envisioned. He put us through the paces with workshops before we began the shoot. Most of our takeaways came from spending time with Mr Das.

Asif Iqbal (Khosla ka Ghosla), Pinu Patel (Straight), Bharat Bhushan (Bheja Fry), Amar Kaul (Dasvidaniya) and now GHD. Do you intentionally go looking for ‘hatke’ roles?
No it’s not like that. It’s finally the story which moves and drives me because if it can’t do that for me, how will I ensure I do that for the audience? If the story doesn’t work, even if I am offered the title role with three songs and five action sequences, I won’t do it.

Did your character’s journey in GHD from 35-70 years daunt or excite you? Give us a sense of how you prepared to step into the shoes of a living person.
You know it’s actually a mix of both. Like you said, this is a living character. One needs to only meet Mr Das to know he’s far too large compared to what a film can portray. And when I say large I mean it in a very everyday-layman-citizen-of India kind of manner. He is a simple man without even the ‘c’ of cynicism in him despite his experiences and he’s a freedom fighter.
On the periphery, as is true about most biopics, most audiences get into how much an actor matches the person s/he is portraying. That’s only physically challenging. And these days one has access to so much state-of-the-art technology, make-up, etc. to help. While it’s not important to look the part, it was more important to imbibe him and understand why he thinks the way he does. That’s what works for GHD. It’ll give audiences a chance to shun cynicism and see that a man like Gour Hari Das exists in 2014, despite everything else around us.

What was it like working with Konkona after Aaja Nachle?
Koko, Ranvir and me and have been friends for a long time. In fact, we’re now neighbours too. Even before Aaja Nachle (2007), we did Mixed Doubles (2006) together. So the shoot would always happen in a relaxed familial atmosphere. You know Ranvir too plays a very pivotal role in the film.

Were there any awkward moments given all the talk about Konkona having separated with Ranvir Shorey who you are also close to?
The three of us — Koko, Ranvir and me — have been around in films far too long to know how seriously we must take gossip being peddled in tabloids. I don’t think it affects us at all.

It’s already being said GHD has a good shot at the National Awards.
This is again purely speculative gossip. None of us associated with GHD worked on it with any award in mind. We’re convinced with the story and its relevance and want the audience to watch and appreciate it purely based on that. If awards have to happen, they will. As of now we’re happy it’ll premiere at IFFI in Goa. We want audiences to know about Gour Hari Das and his struggle.

Are biopics the new flavour of the season?
You’re asking this to the wrong person. I see myself feeling wholly inadequate to take a question like that. If you see all my work, it’s never been in keeping with the ‘flavour of the season’. The story drives me, biopic or not. As for a biopic trend, you’ll have to ask filmmakers.

When Sadashiv Amrapurkar passed away recently, many lamented his being typecast and not getting his due. Do you agree that character artistes like you run that risk?
Without getting into the right or wrong of it, this happens in practically every single industry. You do one bit of work, a role or anything, it clicks and you’re swamped with similar work. Maybe some can crib and criticise and refuse to do it. But many like me just don’t have that luxury yet.
And who hasn’t got typecast? Bachchansaab, Dilip Kumar, even Marlon Brando couldn’t shake off getting typecast. When it comes to the commerce of cinema, which is easily one of the most expensive art forms, people don’t want risks and want to go with what works.
This can happen to a writer like Paulo Coelho too. Every time he picks up his pen to write he is expected to write The Alchemist all over again.

Despite them bringing the acting chops to most projects, does it bother you that the film industry still doesn’t pay character artistes as much as stars?
Why should it? We’re such a large country. Look at our market and how deeply cinema is part of our lives. So Bachchansaab or a Shah Rukh Khan are getting only what they are entitled and deserve.
Why should I look down upon people making money? I get my worth like they get theirs. I need to accept that. Just because I’m doing a four-crore film, how can I get bitter about a 40-crore one just because I'm not a part of it? If I do cinema close to reality then I need to be realistic about life too. There’s something called mainstream cinema and it’s undeniably huge. However, what’s nice is how over the last decade-and-a-half, all kinds of cinema is coming up in coexistence.

Everybody from corporate houses and even those who’ve never had anything to do with cinema are now making movies. Isn’t quality being sacrificed?
I think it is great so many are coming forward to make films and cinema’s thriving. Today, the medium is going through an overhaul of sorts. If new filmmakers, producers and corporates are coming in, then they’ve also brought along a new pool of talent with new actors, writers, directors and cinematographers of the likes we couldn’t have thought of 30 years ago.

Personally do you like mainstream films which have seen you shake a leg with Madhuri Dixit or serious real art-house cinema?
I think we’ve moved away from labels. Now you have good cinema with great stories or poor cinema with no story.

And the latter too gets people into the 100-crore plus club?
(laughs) If it’s working for some people, let it. That’s great. Who am I to sit in judgement? I’ve been a VJ, done ads, TV and theatre and acted, directed and even produced a film. I’ve enjoyed all of it till I was telling a story. You know I’m doing Har Ghar Kuch Kehta Hai on TV where I essentially tell others’ stories.

The show took you to Mary Kom’s home...
Yes. We went to Mary’s home in Imphal where she spent her childhood. It was an eye-opener for the entire crew and me. Apart from Mary’s childhood, we learnt so much about life in Manipur and the northeast and why they feel so cut-off from the rest of the country.

You were pursuing business administration at the State University of New York at Stony Brook. Ever wonder what would have happened if you persevered?
I don’t know what to say. Perhaps I’d be leading a boring staid life with sack-loads of money. Who knows? (laughs)

How has your next, Badlapur shaped up? Tell us about your character...
It’s still to shape up completely. Some bits are still to be shot. Though I tore my calf muscle and broke my shoulder during the shoot, I had a lot of fun. It’s always exciting to see Sriram (Raghavan) at work. He’s such a complete filmmaker. Despite his achievements he’s not lost his vulnerability and the sincerity to be honest about it. I’ve never seen him cocksure about anything. Even when he’s canned a shot, you can see him thinking, what else can I do? As for my character, it’s all grey like most things Sriram. In fact Badlapur is one of his greyest films to date and will break a lot of stereotypes on how cinema is made.

Any other projects we can look forward to?
I’ve completed a brilliant film by Ruchika Oberoi called Island City, and then there’s a children’s film that I begin work on in a month.