So, very conveniently, I’m called alternative, niche and different.” They aren’t formula films.” He quips: “There’s this perception that I do films that no one comes to watch and that don’t make money.
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Taking a bite of a chocolate cookie, he points out: “Journalists always ask me, ‘ aap commercial film nahi karte. They weren’t convinced so it was to prove them wrong that I wanted to do the film,” he says.īy now, Deol’s ditched the couch, preferring to stretch out comfortably on the marble flooring of his room. “We live in an industry where actors in their 40s are still trying to pass off as guys who are in their 20s,” he smiles, adding, “When I did Manorama Six Feet Under, I played a 40-plus character.” But why did he essay the role of Satyaveer so early in his career? “Navdeep (Singh, the director of the film) and Devika Bhagat (the writer) have been my friends for a long time.
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It’s a reason why he decided to tread carefully. “I belong to a family of films so I know how an image can be thrust on an actor,” he says. Why does he say that? “Our films,” he sighs, “work, by and large, on melodrama and escapism.”īut why does he do only “niche” cinema? Shouldn’t there be hardcore commercial Hindi films in his kitty? Where is he in the number game of “heroes”? None of the queries perturb him but he admits that “getting slotted into a mould (sic) does bug”. But does subtlety work in Bollywood? “Subtlety works better abroad,” he says. It’s simple, not very long and most importantly, it’s a subtle film.
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“It’s a film that appeals to the universal audience. What’s primarily on Deol’s mind, though, is how audiences will react to his latest film, Road, Movie. He’s fixing up a massage appointment for himself at Taj Palace, Delhi, where he’s staying wrapping up another photo shoot (I sense that he tends to get a little self-conscious) figuring out next day’s appointments. Later, when I meet Deol, the quintessential pin-up poster boy of Film Festival cinema, he’s in the middle of quite a few things.