Nana Patekar’s body of work is beyond impressive. From playing a juvenile gambler turned social reformer in the 1994 film Krantiveer to playing an encounter specialist in the 2004 action thriller Ab Tak Chappan, Patekar has consistently left his viewers spellbound with his performances.
Now, living the life of a common man away from the city, the 74-year-old actor prefers waking up to the sound of birds. It is only when a script strongly appeals to him, he goes back to his old love—acting onscreen. Here he talks about his latest film Vanvaas and what keeps him going.
You have worked with Anil Sharma for this project, who is known for action films.
A film depends on a single genre, but the backdrop decides whether it will have action or not. The backdrop of Gadar was a little violent. It was about two countries, and action is a part of a film like that. However, it was a family movie too. Vanvaas also has a bit of action. The film has two parallel situations, one where it will make you laugh and the other which makes you think. It is like Hrishikesh Mukherjee’s film Anand. It made you laugh and cry at the same time.
What is Vanvaas about and does it talk about dementia?
It is about parents. They keep doing things for us and expect nothing in return. The film captures that emotion. There’s no mention of dementia. As we grow older, we tend to forget a lot of things. I am 75 now and forget some things. It’s a part and parcel of our lives.
We’ve heard that you give your own creative inputs to the director.
Yes, I interfere a lot. The director is the navigator and executes his vision well. I’m involved in the film right from the scripting stage so that I get to know the story thoroughly and the actors well. I don’t differentiate between a seasoned actor and a newcomer. They are all the same to me. When I feel that things need to be improved in a scene, I do give my inputs.
You are working with a youngster like Utkarsh Sharma. What was the experience like?
Utkarsh Sharma may be a newcomer and younger than me, but he has performed excellently. He is young, so I put no pressure on him. He plays a vagabond guide, but he changes with time and has used the Banarasi dialect so well. We take time picking up a new dialect, but he has done it brilliantly.
You have shifted to the outskirts of the city now. Don’t you miss the glamour of the city?
I used to miss my childhood days, so I have shifted out of the city. We are fortunate to hear the birds chirping in the mornings. If people like to watch me on screen, they will go to the cinemas to watch my films.
You have become selective with roles; what do you look for in scripts now?
I am not selective, but I don’t like most of the scripts. If they give me a good film, I will certainly accept it. I am a common man, and I listen to the narration. If the story appeals to me and I feel that the common man will love to watch the film, I go ahead with the film. I don’t believe in the concept of making films for the niche or the intellectual audience. Films are meant for everybody, like my last film, Welcome.
Will we see you doing the next Welcome series?
I have refused, and so has Anil Kapoor. You should have the guts to say no to a bad script. What will I lose by saying no? Just money. I have already earned a lot. How much more will I accumulate now?
Is this role in any way similar to your character in the Marathi film Natasamrat?
No, it’s very different. The only similarity is that I have played a father’s role in both the films. The genres are completely different.
Do you take time to come out of a character?
I am a switch-on and-off kind of actor. When I am on the sets, I immerse myself in a role completely, but when the shooting is over, I leave my character then and there. With Vanvaas, it was a little difficult. I took time because it was an emotional character. But I can’t take the character home.
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