For Sagar Surya, acting was never the dream — it was something that unfolded, piece by piece. From the long-running sitcom Thatteem Mutteem, in which audiences first took notice of him, to films that tested his limits, his journey has been a mix of chance and quiet persistence.
Though his first film role was in Upacharapoorvam Gunda Jayan (2022), the Prithviraj Sukumaran-starrer Kuruthi (2021) — which premiered on OTT— ended up reaching audiences first.
Though the latter was widely discussed, it was Joju George’s directorial debut Pani that gave Sagar the big break. The film truly demanded everything he had, as the remorseless antagonist that left a mark on both the audience and him.
Despite the sudden rise to fame, Sagar remains down to earth. Whenever time allows, he still helps his father run the Thrissur-based family’s small stationery shop — a place that keeps him grounded amid the unpredictability of the industry. But there’s a void that no success can fill, he says. His mother, the one person he longed to make proud, never got to see him on the big screen.
In this freewheeling chat, Sagar talks about his early struggles, creative process, the challenges of stepping into darker roles, working alongside his “rolemodels” Prithviraj and Joju George, how Pani changed the course of his career and more.
Excerpts:
Could you recall the beginning of your journey as an actor?
Back in school, I was not the most active or outgoing person. I worked really hard, thinking it would pay off with good marks, but I was still a below-average student. I wasn’t into big plays or stage performances either. I did a few plays in school, but it wasn’t something I was passionate about.
After finishing my PG, I was pretty lost and depressed because I didn’t get a good job, even after six years of hard work and ended up feeling really low. To clear my head, I joined a three-day acting workshop and, surprisingly, I felt like I could do something with it after the instructor told me that I had talent.
That pushed me to sign up for a two-month acting camp, and from there, I started doing short films. At that time, my family wasn’t well-off. After everything I had studied, my father still gave me money to learn acting. If my father had insisted that I get a job back then, I wouldn’t be sitting here today. He supported me. At one point, I even got a visa to Australia and was planning to go. That’s when the Thatteem Mutteem casting call happened. I gave it a shot, got selected, and that became my first real acting experience – my first proper acting kalari.
How would you sum up the experience with Thatteem Mutteem?
It was a huge platform for me. I got to perform alongside legendary actors like KPAC Lalitha, Manju Pillai, Jayakumar Parameshwaran Pillai, and Naseer Sankranthy.
Working on a sitcom was way tougher than doing a film. There’s no fixed script, one just delivers dialogues on the spot. Skilled actors can pull it off effortlessly, but for me, it was really challenging.
I got scolded a lot during the shoot. I took way too much time with my scenes. Despite that, the team supported me a lot. In fact, there was pressure on the director to drop me from the show, yet he backed me. Luckily, one episode really clicked, and my character found its space.
The set was like a home. I learned a lot, especially improvisation, which isn’t always possible in cinema. That freedom helped me grow as an actor. My first film opportunity (Upacharapoorvam Gunda Jayan) came from there. Looking back now, it’s crazy to think they were, at one point, planning to replace me, and today, my old episodes are being re-released. It makes me elated.
Did you ever feel back then like you wouldn’t be able to make it?
Oh, absolutely. I have heard it a lot, even back in college. I had 35 backlogs in my third year. Teachers even suggested I drop out. But I kept pushing through. Eventually, I cleared all my papers. When people say I can’t do something, it just makes me want to prove them wrong. That’s how it was in acting, too.
Did you have to go through an audition for your first film, Kuruthi?
Technically, Kuruthi was my first released film, but the first one I acted in was Upacharapoorvam Gunda Jayan, directed by Arun Vaiga and produced by Dulquer Salmaan. But just when the shooting was almost done, the pandemic hit, and the film got stuck in a pending stage. During that time, Prithviraj’s manager recommended me for Kuruthi. I auditioned for it, and Raju chettan (Prithviraj Sukumaran) selected me.
How was the experience of Kuruthi, working with the likes of Prithviraj, Murali Gopy and Mamukkoya?
When Kuruthi happened, I felt like I had made it. Being part of Prithviraj Productions, sharing the screen with such great actors like Raju chettan, Roshan Mathew, Srinda, Murali Gopy and Mamukkoya — it was surreal. I had good screen space, too. Raju chettan was involved in everything, and he knew exactly what he wanted from every scene.
He didn’t waste a single moment. It’s that kind of dedication and passion that makes these people such big stars. I learned a lot from just observing each of them.
Mamukkoya sir had this amazing energy, even at his age. He would sit outside and share old stories, crack jokes, and talk about cinema. What impressed me the most was how sharp he still was at reading scripts and delivering dialogues in one go. It was inspiring.
How were the interactions on the set? Did Prithviraj give you any tips?
Yes, definitely. Raju chettan is very professional and gives clear instructions on how to deliver dialogues and get into character. He provides the right kind of input on where to start and how to finish a scene. His guidance gave me a lot of clarity. We mostly had professional discussions on set.
When I worked with Raju chettan, I realised that only by being completely focused on our work at an extraordinary level can we truly make a difference. I had the same feeling when I worked with Joju chettan as well. So, I’ve taken that lesson to heart. I believe that it’s only by working like this that we can move forward in life.
How did you and Junaiz get selected for Pani?
After Kuruthi, I didn’t get many good film offers. Even though I performed under a big banner, opportunities were limited. I had to take up smaller roles and reality shows to look after my family and to survive.
I knew that participating in a reality show like that could affect my film career, but I still went ahead. I usually avoid conflicts. I am the kind who would not retaliate even if someone hits me for no reason; rather, I would try to pacify that person. But in reality shows, one has to be tough and speak up.
It was a risk, but I took it. It was a blessing in disguise as Joju chettan was a fan of the show. When he saw our activities on the show, he liked us. Our chemistry in the show is what caught his attention. When I lost the show, I thought I had lost everything in life, and that there was no going back. My life came to a standstill. But at that moment, I received a call from Joju chettan after I got eliminated. He appeared like an angel in my life, saying he wanted to meet me. I met him, and he briefed me about the story. I was ready to take up any offer, give my best, and move forward. Although I had acted in some films before Pani, Joju chettan saw me as a fresh face, a newcomer.
A lot of people knew you as the fun, lighthearted guy from Thatteem Mutteem. How was the transition into negative-shaded roles in films?
I have done over 500 episodes of Thatteem Mutteem, and it was all about humour. So, I was used to that vibe. But when it came to Pani, it wasn’t just a typical negative role. It’s a fluctuating character, and the audience ended up liking the villainous aspects. I have portrayed a variety of shades across different films, so I didn’t feel pressured to break any particular image.
Usually, in some films, there can be flaws; sometimes, the director might have limitations in conveying what they want. But with Pani, the entire team was brilliant. The cameraman, music, script, direction, art everything was on point. Joju chettan had such clarity about how to present the film. Plus, we had a three-month acting camp before the shoot.
After class every day, Joju chettan would take us around Thrissur, make us sit at the [Swaraj] Round and make us practice the dialogues repeatedly. We don’t usually get that kind of time and space in every film. But with the amount of pre-production and preparation we had, it became something great.
Joju chettan put in so much effort, and that made a difference. Most of the time, one gets a script and the shoot begins in 10 days without really learning it. But this film had a lot of groundwork, which helped us get into character.
Was there a lot of pressure working with Joju?
Yes, there was a lot of pressure, but Joju chettan had taken on more than the rest of us. He was directing a film for the first time, so naturally, he had a lot to handle. It was a film shot over 170 days with a relatively huge budget. As actors, we were often in situations where the pressure was overwhelming, especially since we were shooting in public spaces. With such an experienced team, there were times we were rebuked. But after the shoot, Joju chettan would call us and say, “This is my situation… I have invested crores in this. Don’t worry about it too much, stay focused.” That was his way of handling the pressure.
Also, he didn’t write more scenes for himself in the script, even though he was directing. He stuck to the story and didn’t try to make it about him, which I’m not sure many people would do in a film like this. When it came to promotions, Joju chettan took everyone along – not just the actors, but also the ADs, the chief associate, and the makeup artists. In most films, only the actors go for promotions, but here, everyone who worked on the project was included.
After Pani’s release, there was some controversy surrounding a reviewer who criticised the film… Did the situation rattle you?
Ultimately, we were confident in the product we had created. I don’t think those kinds of criticisms affected the film much. Of course, Joju chettan may have been upset, as anyone would be. Everyone has the right to share their opinion about a film, and that’s fair. However, sometimes comments are taken personally. Some people felt some scenes weren’t depicted properly. Many others, though, questioned what was wrong with them. Without that scene, how would the story move forward?
That content was a key hook point, and it made people feel deeply when they saw it. People wanted to thrash us (the characters). If the scene doesn’t have an impact, they won’t engage with the film. That’s why the scene was shot that way. When the film was released on OTT, again there were a lot of discussions, but in the end, the film achieved what it set out to do.
Violence in real life is increasing, especially among the younger generation. Do you think films influence this?
If you take a film like Marco, for example, it is clearly stated as a violent movie right from the beginning. It doesn’t make sense watching it and complaining about violence. We should not judge or scrutinise cinema so much, or we won’t be able to create good work. Moreover, I believe it is upbringing, parents, teachers that influence one the most.
Much like your character, Junaiz’s role in Pani also garnered attention. What was it like working with him?
We spent almost three months together in an acting workshop, and I had known him even before that. It’s always more enjoyable working with people you already know. When we were on location for Pani, we were not really allowed to interact much with others. Joju chettan told us not to speak too much with the other actors, as it could affect our characters.
Are you saying you stayed in character throughout the shoot, even after the takes?
Yes, that’s the truth. We had to. It wasn’t just about having fun; we were working with a lot of senior professionals, like Venu sir, who is a legendary technician. When you work with someone like him, you have to be on your toes. There were times he didn’t like what we did, and we struggled a lot. The chase scenes and the climax shots were indeed difficult. Also, the first scene from the top of the building was particularly challenging for me. I must have called out to God countless times because I was so scared of heights. Even during dubbing, it was tough. But thankfully, everything turned out well in the end.
What were the briefings during the three months of the acting workshop?
Nijil (Das) sir was the one who really prepared us for acting. Everyone has their own blocks as a performer. We need to identify those blocks and do exercises to break them. By understanding these blocks, we can improvise the scenes more effectively. Often, we learn a lot without even realising it.
The key is to understand how to act in a way that allows us to truly become the character in the film. Sometimes, you can’t just laugh, cry, or express emotions naturally. That’s when we need to do a lot of exercises, like rhythm exercises and voice modulation.
Did you have any reference before taking up this character?
Joju chettan told us, “We might think that there are no such characters in society, but they do exist. I have seen people like that.” He didn’t ask us to refer to any particular character or movie from the past. Instead, he took us to the local market and the slums to help us learn the slang. We had plenty of time to immerse ourselves in the character.
Were there any opportunities for improvisation?
No way! Even if I suggested, Joju chettan would jokingly say that I could do that when I make a film myself. He is a perfectionist, and had a grip on every minute aspect of the film. He even taught me the modulation of Don calling Giri ettan in a unique style. I had to attempt it countless times, both on location and while dubbing.
Do you fear being typecast into negative roles?
After the film, many people around me warned me that I would start receiving only villain roles. But in my case, it was the opposite. The films I have committed to and the roles I have been offered are humorous, family-oriented, and romantic.
What was the reaction of those around you after Pani, especially since the character was so repulsive?
The acceptance and the way people reacted to my role — it’s honestly a dream come true. My mother never got to see me on the big screen. I had only one goal: to lead a good life and take care of my family. I went through a phase where I would take up media offers that paid me as little as Rs 500. My family never opposed my decisions, even the decision to pursue a career in fims despite having completed my MTech.
They watched my journey through Thatteem Mutteem, Upacharapoorvam Gunda Jayan, Kuruthi, Kappa, Kasaragold, Jana Gana Mana, Jo and Jo — but even then, I wasn’t really going anywhere. However, with the release of Pani when my family watched the film, I could see from their faces that they were now satisfied, knowing their son had reached a decent place.
My father runs a stationery shop right opposite to a college, so students would come there and compliment him for the role I played. That’s all I ever dreamed of. What makes me happy is seeing my father’s happiness.
We have heard you were very close to your mother?
Yes. I believe all my success is because of her. Losing her has been my greatest sorrow. If she were still with us, she would have been the first person I would share my achievements with — telling her about the films I signed, the appreciation I received from Raju chettan (Prithviraj), and even the money I earned. Now, my father is with me, but I know he would have expressed his emotions even more if my mother were here. She passed away at the age of 45 due to an illness that had no cure. Talking about her always makes me feel deeply sad.
How has the reaction been from the cinema world?
After Pani was released, I had to go to Dubai for the film’s promotion. During that time, Empuraan was being shot there. I went to see Raju chettan, and he was really happy. He said he had heard a lot of positive feedback about Pani. Whenever I get a good opportunity, I make sure to message Raju chettan because he gave me such a big turning point in my life.
Since Joju chettan has worked in the Tamil industry, before the film was released, it was watched by Mani Ratnam sir, Suriya sir, Kamal Haasan sir, and Karthik Subbaraj sir. I believe I managed to touch the hearts of many. Pani is a great part of my profile. Aju (Varghese) chettan said that no matter how many years pass by, this character will never be forgotten.
Have you ever tried using your inter-state friendships to get opportunities in Tamil cinema?
Before Thatteem Mutteem, I had received a visa to Australia. At the time, I had thought of using my leisure hours to polish my acting skills in Australian theatre while working there. I even dreamed of appearing in Hollywood films back then! Now, when I look back, I find it amusing how ambitious my thoughts were (laughs).
After Pani, I hoped to receive more opportunities in Tamil cinema since such roles (like Don’s) are highly celebrated in Tamil Nadu, Andhra Pradesh, and Telangana. Some discussions have taken place, but nothing has been finalised yet. I am praying for them to happen. The roles I am being considered for in Tamil, however, are mostly romantic and fun characters.
What kind of roles do you personally prefer?
Humour and emotionally engaging roles. I also enjoy taking on roles that require me to learn new skills. Right now, I am in the process of learning and improving my acting.
Which are your upcoming projects?
I have recently completed Dheeram with Indrettan (Indrajith Sukumaran). Another film with Shine Tom Chacko and Vinayakan titled Perunnal. And another film Prakambanam with Ganapathi. And discussions of some major projects are also happening side by side
Team TNIE
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