Express News Service
‘OTT has Freedom of Expression’
Khufiya is based on Anand Bhushan’s Escape To Nowhere, which has a male protagonist. What made you go for a female lead (Tabu)? I was facing issues with the casting, as no big star wanted to play the lead—something I needed to secure the finances. It was a classic Catch-22 situation. By the time Netflix came onboard, I had decided to go with a woman. And, the streamer was supportive of my vision.
This was your first time collaborating with Ali Fazal. What was it like? I found an earnest actor in Ali. He brought several layers to the script and contributed extensively. For instance, the bit where his character justifies being a traitor, was something he suggested. He is an actor who surrenders to the director’s vision, but also retains his artistic individuality.
Vishal BhardwajDo you have a favourite character in Khufiya?Wamiqa Gabbi’s Charu. I was aware how Bollywood heroines, especially younger ones, are conditioned to believe that if they played a mother once on screen, they would be perceived in similar roles for the rest of their careers. I knew casting for the part would be an issue, and it was. While writing Charu, I thought of various ways I could remove the child from the narrative, but how could she evolve without him? When I offered Wamiqa the role, she didn’t even flinch once.
Tabu has been your muse for decades. Tell us about this synergy that has given audiences films such as Maqbool and Haider.
The process of filmmaking requires the actor and director to emotionally bare themselves, and that can only happen when you trust each other. Tabu and I understand each other as creators. When I asked her to read the Khufiya script, she said, ‘I don’t need to. I am fine with what you decide.’ I also felt that trust towards Ali and Wamiqa.
OTT seems to have changed the grammar of cinema by bringing fresh stories and talent to the fore. What is your take on it?The good thing with OTT is that you have the freedom to think out of the box, unlike with big screens where the censor board suppresses the voice. It cannot be the gatekeeper of culture and morality. Art only imitates life, and OTT helps give filmmakers freedom of expression.
‘Was Like a Child on Set’
Your post thanking Vishal Bhardwaj for the film said working with him was one thing off your bucket list. Tell us more about the experience.
I was like a child on Vishal sir’s set. When he gave me the screenplay, I was taken in; this was an opportunity I had been waiting for. I felt like a student all over again, and would get after him (Bhardwaj) because I needed to justify everything my character was doing. He held my hand through the entire journey; it is encouraging to have someone like him in your corner.
Ali fazal How did you perceive Ravi Mohan (his part in Khufiya), who is a son, father and a mole?I don’t judge characters the way I would judge myself and my life. I don’t intellectualise them or the process of acting.
Your filmography—from Guddu of Mirzapur to Kahil Nasir of Kandahar, and now Ravi in Khufiya—has been diverse with complex parts that often have dark shades. Are you drawn to such roles?It has nothing to do with shades of grey. If I can build the film in my head after reading the script, if I can imagine it, I don’t enjoy it. What draws me is when I can visualise only to a certain extent, and need a director, a costume department and the rest of the crew to put the pieces together. Khufiya changed so much from the first time I read it.
You had two Hollywood releases—Kandahar (2023) and Death on the Nile (2022)—before Khufiya. What is it like shuttling between the two industries?It’s hard, in terms of time. I find myself struggling with that, but the work is amazing. I just need to find a way to streamline it. After Victoria and Abdul (2017), the ship started to sail; there were more opportunities. Even one film in the basket can help give agents a base to offer you with a direction. But at the end of the day, a lot depends on luck and being at the right place at the right time.
What can you tell the audience about your role in Mirazpur 3? The third season is scary. I don’t know what viewers will think of me after that. The story introduces a big leap for my character, Guddu. That’s all I can say, but it will be worth the wait. Follow channel on WhatsApp
‘OTT has Freedom of Expression’
Khufiya is based on Anand Bhushan’s Escape To Nowhere, which has a male protagonist. What made you go for a female lead (Tabu)?
I was facing issues with the casting, as no big star wanted to play the lead—something I needed to secure the finances. It was a classic Catch-22 situation. By the time Netflix came onboard, I had decided to go with a woman. And, the streamer was supportive of my vision.
This was your first time collaborating with Ali Fazal. What was it like?
I found an earnest actor in Ali. He brought several layers to the script and contributed extensively. For instance, the bit where his character justifies being a traitor, was something he suggested. He is an actor who surrenders to the director’s vision, but also retains his artistic individuality.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });
Vishal BhardwajDo you have a favourite character in Khufiya?
Wamiqa Gabbi’s Charu. I was aware how Bollywood heroines, especially younger ones, are conditioned to believe that if they played a mother once on screen, they would be perceived in similar roles for the rest of their careers. I knew casting for the part would be an issue, and it was. While writing Charu, I thought of various ways I could remove the child from the narrative, but how could she evolve without him? When I offered Wamiqa the role, she didn’t even flinch once.
Tabu has been your muse for decades. Tell us about this synergy that has given audiences films such as Maqbool and Haider.
The process of filmmaking requires the actor and director to emotionally bare themselves, and that can only happen when you trust each other. Tabu and I understand each other as creators. When I asked her to read the Khufiya script, she said, ‘I don’t need to. I am fine with what you decide.’ I also felt that trust towards Ali and Wamiqa.
OTT seems to have changed the grammar of cinema by bringing fresh stories and talent to the fore. What is your take on it?
The good thing with OTT is that you have the freedom to think out of the box, unlike with big screens where the censor board suppresses the voice. It cannot be the gatekeeper of culture and morality. Art only imitates life, and OTT helps give filmmakers freedom of expression.
‘Was Like a Child on Set’
Your post thanking Vishal Bhardwaj for the film said working with him was one thing off your bucket list. Tell us more about the experience.
I was like a child on Vishal sir’s set. When he gave me the screenplay, I was taken in; this was an opportunity I had been waiting for. I felt like a student all over again, and would get after him (Bhardwaj) because I needed to justify everything my character was doing. He held my hand through the entire journey; it is encouraging to have someone like him in your corner.
Ali fazal How did you perceive Ravi Mohan (his part in Khufiya), who is a son, father and a mole?
I don’t judge characters the way
I would judge myself and my life.
I don’t intellectualise them or the process of acting.
Your filmography—from Guddu of Mirzapur to Kahil Nasir of Kandahar, and now Ravi in Khufiya—has been diverse with complex parts that often have dark shades. Are you drawn to such roles?
It has nothing to do with shades of grey. If I can build the film in my head after reading the script, if I can imagine it, I don’t enjoy it. What draws me is when I can visualise only to a certain extent, and need a director, a costume department and the rest of the crew to put the pieces together. Khufiya changed so much from the first time I read it.
You had two Hollywood releases—Kandahar (2023) and Death on the Nile (2022)—before Khufiya. What is it like shuttling between the two industries?
It’s hard, in terms of time. I find myself struggling with that, but the work is amazing. I just need to find a way to streamline it. After Victoria and Abdul (2017), the ship started to sail; there were more opportunities. Even one film in the basket can help give agents a base to offer you with a direction. But at the end of the day, a lot depends on luck and being at the right place at the right time.
What can you tell the audience about your role in Mirazpur 3?
The third season is scary. I don’t know what viewers will think of me after that. The story introduces a big leap for my character, Guddu.
That’s all I can say, but it will be worth the wait. Follow channel on WhatsApp
