Forty years, diverse mediums and countless films as an actor later, veteran talent Paresh Rawal is gearing up for the release of Bhooth Bangla, a horror comedy that reunites him with frequent collaborators Akshay Kumar and director Priyadarshan. A t2 chat with Rawal on the film, that releases in cinemas on April 17, and what propels him as an actor.
The team, the setup and the genre are ones you are deeply familiar with. What else made you want to be a part of Bhooth Bangla?
The first is Priyan (director Priyadarshan)... he constitutes my top three reasons for doing this film. I have done quite a few films in this genre, including very recently Thamma (2025), with Aditya Sarpotdar, who is a mind-blowing director. Bhooth Bangla gave me a chance to work in the horror-comedy genre once more, this time with Priyan. Also, Ektaji (Ekta Kapoor) is someone I have always admired and respected as a producer, and Bhooth Bangla gave me an opportunity to work with her. And, of course, to reunite with Akshay (Kumar), Rajpal (Yadav), Asraniji is always a joyride... it is a happy and healthy experience for all of us. Aisi company mera haemoglobin badhati hain (laughs)!
Is there anything about Priyadarshan as a filmmaker that is unique to his set and style of working?
No offense to the new directors, but most of them have a tendency to take all kinds of shots from all angles. Priyan doesn’t do that. There are very few filmmakers now who shoot only as much as necessary... they don’t make an artiste tired. These are the kind of films that are made by the director on set, and not by the editor on the editing table. Directors like Priyadarshan, Rajkumar Santoshi, Ram Gopal Varma and Mahesh Bhatt are very clear about what they want, their vision is unwavering and they make sure they make the film they set out to do. See, no one is averse to doing hard work — I have been doing it my whole life — but inke set pe faltu ka mehnat bach jaata hain. At the end of the day, you feel fresh as an actor, not tired.
With generations of new filmmakers, have you had to change any aspect of yourself as an actor or the way you approach your craft?
I haven’t had to change my method or technique, but there are some directors who — and rightfully so — make actors these days do certain things which may strenuous, but they are of great benefit. To be honest, as actors, we think too much of ourselves... we sometimes even think we are God. There are many directors now who challenge that and, as an actor, aap ke dimaag aur sharir se rust nikaal dete hain. I like working with filmmakers who are well informed and have a clear vision, as opposed to those who hardly have anything on paper but keep saying: “Paresh bhai, kuch kar lenge, kuch kar lenge.” If there is nothing on paper, how much can one do as an actor?! When such a thing happens, I don’t need to change my technique, but a shift is needed in mindset. When I get a chance to work with makers who challenge me at every step but don’t make things chaotic or complicated... usmein bahut mazaa aata hain.
Is doing comedy one of the most freeing experiences for an actor?
One really can’t say: “Maine chaar comedy picture ki hain toh mujhe comedy bahut achhe tarah se aati hain.” If a comedy is written and mounted well, toh woh koi bhi actor pe bhaari par sakta hain. Hindi film comedy is still dominated by situational comedy... we have very little of attitude-backed comedy in our cinema. Comedy can be very tough, but it also depends on the material and the kind of director you have. One can’t take things for granted.
Forty years of being an actor across mediums later, how are you picking and choosing your roles?
Fortunately, this is a time of new writers, new directors and new ideas. There has been a welcome change in work ethics. At present, a variety of roles are being offered, with newer directors coming in with a unique vision of their own. Earlier, formula would work... agar ek type ki role hit ho jaaye toh uski hi copy nikalti thi. Abhi aap variety dekhiye... now even OTT has come in and has so much to offer.
Isn’t the practice of following a hit formula still prevalent in Bollywood?
It may be... but the audience rejects such films outright! During the lockdown, we saw an evolution in the viewing taste of the Indian audience. Logon ko pata chal gaya hain ki jo woh itne saal dekhte aaye thhe woh kitna substandard tha. They became aware of global content and haven’t looked back since. As a result, Indian makers have also had to evolve. We now have some very good filmmakers who make films with a lot of honesty. Like Dhurandar... I really liked both the parts.
What does the Indian ticket-paying primarily demand from filmmakers now?
Your story should have something different. In terms of an actor’s performance, the audience shouldn’t feel that you are taking them for granted. If one thinks that main star hoon ya main jaana-maana actor hoon toh main kuchi bhi karunga, aur woh chalega... that is not going to happen anymore. One has to play a character, not be a star. This is something that Aamir Khan saab does very well... he always plays a character, he is never a star on screen. I also see many of the young actors of today, be it Ayushmann Khurrana, Rajkummar Rao, Vicky Kaushal, Ranveer Singh and Ranbir Kapoor, playing characters. They excel in doing it. Otherwise, if you only bring star power to screen, you will have a balance sheet, not a legacy.
Your performances have fans across the board. Which roles of yours have the biggest recall among your Gen-Z fans?
Fortunately or unfortunately, it is films like Hera Pheri and Andaz Apna Apna. Don’t get me wrong, it is great that they love these classic films, but I wish kabhi kabhi koi bole ki Mumbai Meri Jaan bhi kya film thi, or someone praises The Storyteller or a film like Oye Lucky! Lucky Oye! The frequency of them recalling such films is very less. I want the audience of today to also watch these performances. Phir bhi, logon ka jo pyaar hain woh sar aankhon pe. I can’t demand much (smiles).
What kind of films do you like watching? Anything recent that made an impact?
I try and watch as much content as time permits because that, along with observation and experience, functions as my school as an actor. Though it is not very recent, I liked Conclave (2024). The ideas that we find in films globally, I feel, can be adapted seamlessly here. Like Conclave can be very beautifully translated here as the story of the election of the head of a religious institution... the idea is ripe with possibilities, but one needs a writer with vision and the ability to adapt well.
We do have good writers, but we still don’t have cult writers like Salim-Javed. Uss type writers aur aaye hi nahin. Now, we do have a few with impact and talent, but we need a lot more in terms of numbers.
What daily activities count as prep for you as an actor even now?
Observing and learning is now part of my default mode as an actor. If I see something that catches my attention, I ruminate on it, I think of all possible perspectives.... Everything that I observe on a daily basis goes into my memory bank as an actor, and I tap into it, consciously or subsconsciously, whenever I am on set and inject it into my performance.
My favourite Paresh Rawal role is... Tell t2@abp.in