For over three decades, Manoj Bajpayee has resisted being confined to a particular image, moving effortlessly between mainstream cinema and independent films, and between characters that challenge and unsettle audiences. In this conversation, the actor discusses his long-standing creative association with filmmaker Neeraj Pandey, his role in Gajab Raat, and the challenges of navigating a constantly evolving entertainment industry.
You and Neeraj Pandey have formed one of Hindi cinema’s most resilient actor-director partnerships. From Special 26 to Gajab Raat, what is the unspoken creative language between you both?
I think I have a liking for the kind of thrillers he keeps coming up with. His characters are all out of the box. It’s never just about a CBI officer or a police officer, but goes beyond their professions or circumstances to explore a person’s inner conflicts and what makes them who they are.
I somehow also relate to his journey and his cultural background. I think that’s why we’re both comfortable talking to each other and exchanging ideas. For Gajab Raat, which is a collaboration between Neeraj and Ritesh Shah, who has directed it, they bring their own sensibilities. Neeraj comes up with unconventional thrillers, to which Ritesh adds his own brand of dark humour. To crack these aspects is challenging as an actor, but when you are faced with such an opportunity, it’s always fun. You end up exploring certain aspects of your craft.
In Gajab Raat, you are playing a cop who is also notorious for the way he works. How do you immerse yourself in a kind of character you have played before?
As an actor, I am always tweaking and improvising. Each one of us has different approaches that we use to enhance our performance. I may have to write a book to discuss my process over the years. But talking about this film, the premise is that it’s a thriller on the move, and it all happens over one night where he goes through the experience of a lifetime. The churning and roller coaster was engaging for me. It demanded me to lend an urgency to my performance and how to translate that; it was something I had to work hard on achieving.
You have always been someone who has acted in films and shows on streaming platforms. What is your biggest takeaway as the space evolves?
I believe the more the mediums grow, the better it is for the actors as well as the creators. I have never given much of a serious thought to the demarcation between streaming and theater. Most of my films this year were released in theatres and then went on to OTT, where they did extremely well. This actually helps gauge audiences’ choices. But for me, irrespective of medium or format, it is the fact that I am being part of something new—whether it is a story presenting itself in a new way, or showcasing a character who has never been spoken about. It is never and will never be of any concern to me where they release the project.
You have also been a strong advocate for independent cinema and writers. Do you feel the industry is finally rewarding independent creators?
Independent cinema has always had a tough time showcasing in theatres, and it’s not something new that we are witnessing. It was difficult for independent cinema during the time of Satyajit Ray, Shyam Benegal, Govind Nihalani, and even now for the subsequent generation of filmmakers. The struggle has always been the same, and independent cinema somewhere will have to find new venues to showcase itself because all the cinema chains in our country are more interested in putting what you call mainstream films on screens. In that scheme of things, independent cinema always finds it difficult to emphasise itself and register its presence.
Actors are no longer being judged on their performances, but on the money they bring in. What do you think about it?
I have always voiced it, but nobody cared about it. I’ve been saying this for the past 30 years: the box office being the measure of success is going to kill the cinema culture in this country. There is just too much emphasis on the box office as well as on the names that can get the audience easily into theaters. But it is a very unpredictable business. I know some mythological films worked, but many of them did not work; they were disappointing. So how to find a formula there? Because there is no formula, and there is no system of equality when it comes to being a storyteller.
What is the one thing you want changed in the film industry?
I have always stressed the fact that equal respect be given to all the filmmakers, and to stop judging a film by the box office numbers. Most of the box office successes don’t even stand the test of time. Also, the box office wins are only being pocketed by the producer, so how is that of any importance to the audience? What should matter is whether the film is good or not, but we lose sight of that when we only discuss the numbers.
