In an industry that often confuses distance with stature, Pankaj Tripathi remains disarmingly present. Between outdoor shoots, promotional commitments and a calendar that refuses to breathe, he still finds time to speak about Mirzapur, both the film and its upcoming fourth season; about watching his daughter step into the world of acting; and why he takes comfort in the fact that today’s audience can no longer be seduced by marketing spectacle alone.
The talk of the town is obviously Mirzapur, the film. From this film, what is something new that you want to say that hasn’t been said in the previous three seasons?
This film is not a summary of the three seasons. There are still parts of this world and this character that the audience does not know about. That is exactly why we are making the film. There are stories left to tell.
Your character has become iconic over time. Has there been further emotional growth in the film?
Emotionally, I feel he is still where he was. His emotional core has not shifted dramatically. But there is a dimension of him that hasn’t been explored yet in the series. That part will be visible in the film. The power equations evolve. The world may look familiar, but the conflicts and complexities will be different.
You recently returned to the theatre after 12 years with La-ilaaj, and you worked alongside your daughter for the first time. Was it easy to work with your daughter?
It felt good. Although I don’t actually have scenes with my daughter. I have a cameo, not a full-length role. But watching her on stage—rehearsing, worrying about her performance, conserving her energy—that gives me joy. I went through this process 20 years ago. It is beautiful to witness as a father.
Do you actively train her?
No. I tell her to find answers to her questions herself. If she cannot find them, then she can come to me. I guide her based on my experience.
People may compare you and your daughter in terms of range or skill. How do you deal with that possibility?
We haven’t discussed it yet. I am a 50-year-old actor with decades of experience. She is just beginning. There is no point in comparing. She will learn from success and failure.
Recently, we saw you in Metro… In Dino, playing a morally grey husband. We will see you as a don again. And on stage, you are part of a musical love ballad. When you jump from one character to another, what do you learn from that back-and-forth?
For me, the script is everything. The written material is the foundation. I build the character based on that, and in conversation with the writer and director. But I am careful about one thing—realism should not become meaningless or dull. There is a risk that in trying to be realistic, you lose engagement. So I look for the core sense of the character, and then I add something slightly unpredictable… a human quirk, maybe.
You’ve also ventured into presenting and production with Perfect Family, an eight-part YouTube series. How did you get involved?
Ajay Rai approached me with the concept and asked if I would present the series on YouTube. I liked the story immediately. I did not invest money. I invested my credibility. The central theme of this series is mental health, which is still misunderstood in India. People who have not experienced it dismiss it. But awareness is the most important thing. Compassion and sensitivity are essential. That is why I wanted my name associated with this story.
Big budgets and marketing blitzes no longer guarantee success. It is often said that “the script is the hero.” Do you feel we have returned to that era?
The story has always been the most important thing. Marketing gimmicks and scale can attract attention for 30 seconds. But after that, the audience looks for engagement. How long can you admire a beautiful frame? 10 seconds? After that, you need good characters, emotions, and a story. The story must come first. Everything else is secondary.