Adivi Sesh has established himself as a versatile talent in the film industry, excelling as an actor, director, writer, and producer. His persistence and unwavering dedication to cinema have earned him the recognition many aspire to achieve. With his latest success in Dacoit, he continues to strengthen his reputation as a performer worthy of praise. In a recent interaction with TNIE for Hyderabad Dialogues, he opened up about his journey, life, and evolving career.
Excerpts
Tell us about your journey.
It was all to service my acting career. I was born in Hyderabad, and the first 10 years of my life were quite adventurous — from Chennai to Vizag, North Africa to London. When I finally settled in California, the dream was always cinema. But when you grow up there, you don’t really see an Indian version of Tom Cruise, Brad Pitt, or Will Smith. For us, those figures were Shah Rukh Khan and Mahesh Babu garu. So our idols were always here, and that became one of the main reasons for coming back. We used to watch Telugu and English cinema equally. Culturally, it was like we spoke in English with Americans, Hindi with friends, and Telugu with our parents. It took me a long time to process that I would be doing cinema in Telugu because all the short films and rehearsals we did with so much interest in school were in Hindi. Subconsciously, it felt like creativity was in Hindi, and Telugu was something we used for traditions, like a pooja.
When did you first get the idea of getting into films?
My dad wanted to be an actor, but the situation at home was such that he had to become a doctor first and then pursue what he wanted. So, he became a paediatrician and even got his MD from Vienna, Austria, which is quite extraordinary. Later, he tried to make films, but it didn’t work out for him. My sister ended up becoming a doctor, and I became an actor — so in a way, both of us are living out his passions. His love for both professions rubbed off on us.
Was there any pressure on you to be a doctor?
I wouldn’t call it pressure, but yes, my mom wanted me to become a doctor for the longest time because, in her mind, acting is extremely unstable and the arts don’t offer much security. It was never a situation where we had to strongly convince her — there was always that fear — but my dad believed in giving us the freedom to choose, and things evolved naturally from there.
What were your initial struggles?
Oftentimes, when newcomers enter the industry, they think breaking in is the hardest part — but it isn’t. The real challenge is getting the audience to care about you. When an actor’s son or daughter enters films, there’s already a kind of brand value attached — like a known name people trust, similar to how a familiar brand works anywhere. Audiences expect to find a bit of that same magic in the next generation. But when you’re starting out with no background, there’s no such connection — it’s like being a startup. You’re introducing something completely new, and getting people to even notice, let alone care, is extremely difficult. That initial apathy from the audience is the biggest challenge. For a newcomer, it can feel like the industry is indifferent or that no one has time for you. In reality, the struggle is to build that connection. So, when people today say that my name or my cinema has become a brand, I know how hard that journey really is.
What was your first step into the film industry? Can you recall an experience?
Yes, it was a film called Karma. At that time, I was very American in my cultural exposure. I knew Telugu mostly from books, but I wasn’t familiar with modern, spoken Telugu culture. When I first came up with the title Karma, I could only think of it in a very literal or even slightly mispronounced way. (laughs) I wasn’t aware that ‘Karma Siddhatam’ is an expression used in certain emotional contexts. That moment made me realise I was like a square peg in a round hole. From the day I landed to the point of announcing my first film, everything felt new and unfamiliar. But over time, I understood that this very difference — my exposure to other cultures — is what eventually shaped my ideas and made them stand out here.
You produced and directed Karma. How was that phase of your life?
I would go from one media house to another, introducing the film and handing over CDs. The most interesting experience, though, happened on the release day. All my childhood friends came to Hyderabad and watched the film at Prasad IMAX. They walked in expecting a fun, entertaining experience, something to celebrate and enjoy, but instead they found themselves watching a serious, philosophical discussion about God. They were completely taken aback. Even the audience didn’t quite know how to respond. It was my first experience of that kind of reaction—people were unsure how to process the film. I remember one website even said they didn’t know how to rate it and marked it as ‘N/A’.
What motivated you to base your debut film on this concept?
It was that phase of college — when you’re exposed to a wide range of intellectual ideas. You’re reading a lot, questioning everything, and forming your own opinions, whether they’re right or wrong. At that time, I was deeply exploring Indian spirituality. I had read multiple versions of the Mahabharata, in both English and Telugu — around seven different interpretations — just trying to understand its depth and perspectives. I was in that headspace, and interestingly, I think audiences are more open to such themes today. Back then, I felt that if we were making a film, it had to be important. I didn’t realise that this came from the creative ego and immaturity of a college student — the belief that if I liked something, others would too. That’s the mindset with which I made Karma.
When did you get your big break?
I think Panja was my big break, and as a hero, it was Kshanam. By around 15 films in, I felt I was in the wilderness. I was on the verge of being typecast in NRI villain or North Indian villain roles. I was quite lost at that time, though there were a few bright moments — my friendship with Sujeeth on the sets of Run Raja Run, and the twist in the film which became a highlight, entirely thanks to Sujeeth’s writing. I don’t think I gave a great performance there, but Panja was where I truly feel I gave my best. The strength of the twist was so impactful that the entire film became associated with my role, which was a beautiful experience. My character also served as a strong supporting arc to Sharwanand’s character — the film was ultimately his, but I was trying to find small moments of recognition within it. Otherwise, I felt quite lost in that phase. Then Shobu Yarlagadda garu called me for a small role in Baahubali. I wondered if anyone would even remember me, and he confidently said, ‘They will not forget you’. The Baahubali experience, even though my role wasn’t very large, became a huge learning curve in understanding cinema and how to approach it. In many ways, it turned into my film school.
What was the most challenging phase in your career?
It is never just one phase. At each stage, something different feels challenging. Today, my challenge is living up to expectations. By God’s grace, Dacoit has done `50 crore and still has a couple of weeks of theatrical run left. All invested parties have made a profit. At the same time, I was slightly concerned that if I continued narrating thrillers, the audience might feel, ‘enough is enough’. I was already reading the room based on the kind of scripts I was being offered. I kept getting roles of cops, spies, army officers with guns — I was getting typecast, and it was largely because of the scripts I was choosing. That made me wonder whether the public even wanted to see me in anything else. That is why I consider Dacoit such a breakaway film for me. People like seeing me as a cop, so I thought, why not surprise them and show myself as a thief. (laughs) I had to play against time, and for the first time, instead of playing mind games, we played an emotional, hard-hitting game rather than something overly twisted. We focused on surprises and went so far away from what I had done before that if I hadn’t taken that turn, I think my next few films would have faced serious problems.
How do you choose your roles?
Two things happened. The three-year gap around Dacoit really helped because people had time to reflect on my filmography and acknowledge the work I had done. Evaru completely changed how I was being perceived. But I didn’t choose roles based on Evaru’s response; I was more influenced by how people saw me after Goodachari. The point is, you often react to the market and to how people want to see you, and you try to do your best within that space because there is a lot of money involved. But with Dacoit, I feel I am now in a space where people see me as someone who is trying different, interesting things. I am no longer going to pick roles purely as a reaction to expectations.
What has been the most memorable moment while filming Dacoit?
I think it was the Mumbai premiere. The first half had just been screened, and right before the second half, someone came and told us the hard disk containing the second half wasn’t working. I was standing there with around 200 celebrities in the audience. I was completely shaken and didn’t know what to do for 15 minutes. I was just greeting people, doing hi and hello, not knowing how long I could stretch it, while in my head I was trying to fix the hard drive. I felt it was entirely my fault because I kept trying to make the film better until the very last minute — that’s always my tendency. I had also asked a few trusted friends from the Telugu industry to watch the film before release — Vennela Kishore, Rahul Ravindran, Sujith, and Nani. I didn’t even have a proper print to show Nani. He watched it at Annapurna Studios in the mixing room, while I was in Mumbai dealing with a non-working disk. Then suddenly I got a call saying the film was superb — one of the best I had done, and for him, the film of the summer. That gave me immense energy instantly. In the middle of all this, the PVR team finally said the hard disk was working. So, those 20 minutes of uncertainty, and the five minutes that followed, are very representative of the entire Dacoit experience.
Is it difficult to get out of character?
It was very difficult with Major, and with Dacoit not as much. With Major, I was just lost. He was such a cinematic person that if I showed his life exactly as it was, people would say, “Whose life is this filmy?” He would casually call a Pakistani radio station from the border and say, “Arree, hamare Hindi gaane bajao na,” requesting them to play Hindi songs. If I had put that in the film, people wouldn’t believe it. His life itself was so cinematic. I don’t think I have fully gotten out of that character yet.
Whose idea was it to make Major?
It was entirely my idea. I am a fan of his. Right after he passed away, his Orkut page was filled with tributes, and I was one of the kids who kept visiting it every day and leaving tributes. After seeing his photo during 26/11, many of us became fans, and we started learning about his life in reverse. Over time, we became such big admirers of him that every anniversary, we would collect clippings or pictures and preserve them as memories. Then I happened to become an actor, and I got the opportunity to tell his story.
How was it meeting the parents of Major Sandeep Unnikrishnan?
I spent countless hours with them. They were initially very hesitant about the film industry because many Bollywood and Malayalam filmmakers had approached them before, but they had always said no. Then came this one person—not from Kerala, not from Bollywood, but a Telugu filmmaker — who wanted to tell the story in both Telugu and Hindi. That’s how it started. This was truly my dream project.
What was the response from the military?
I was received with a lot of love and respect. I have developed many relationships with colonels and majors. Even in the CISF and CRPF, they are very warm and close to me. After Major, if I request entry into any army base, they are usually very accommodating. I’ve also had the opportunity to meet people ranging from the President of India to Chief Ministers of various states.
From the beginning, did you want to get into screenplay, story writing, and directing?
I feel I am a decent actor, a good writer, and a bad director (laughs). So writing and directing have always been extensions of my career — tools that support my main passion, which is acting. They are assets that help me fulfill my childhood love for being an actor. Is there anything that stayed with you while playing Major Sandeep Unnikrishnan? Yes, deeply so. My love for animals grew a lot. I also realized that animals, children, and elderly people are the most vulnerable in our society. It made me question things — like how I could have ignored an injured animal before. That experience really changed my awareness and sensitivity.
Is there any dream role that you wanted to play?
Karnudu. But I feel like when I imagine a beautiful version of Prabhas garu as Karnudu, the problem becomes one of comparison. For the audience, it will no longer remain my interpretation of Karna — it will be compared, and that is something I don’t want to happen.
What is the best compliment you received?
There is never one single satisfying compliment; rather, at different stages, you experience different moments that stay with you. For instance, the way Amma hugged me after we watched Major together in Bangalore will always remain close to my heart. The call I received from around 20 celebrities and the love I got during that time is also unforgettable. With Dacoit, there was a little boy who ran up to me right after the film ended and hugged me tightly, refusing to let go because of what happened in the climax. These are all compliments in their own way.
What are your upcoming projects?
Goodachari 2 and a few others. I have a commitment with People Media, one of the producers of Goodachari, and I also have announced commitments with Rahul Ravindran.