Is this the best phase of your career?

Last year, I felt I was in the best phase. This year too, I’m feeling the same. When I read the script of Dream Girl, I could sense it would be a blockbuster. At the same time, people had never seen me in a slapstick comedy. I’ve always done subtle roles. But this time round, I was loud and OTT. Of course, masses love these kinds of films. Each time I attempt something different, I’m apprehensive. Where Bala was concerned, I was confident. It had a solid script. It’s middle-of-the road cinema, which is entertaining.

Were you nervous doing Article 15?

Yes. I was nervous during Article 15, AndhaDhun and Dream Girl. Article 15 was not a commercial movie, it’s a dark film. I feared paise kamayegi ki nahin. While AndhaDhun was experimental.

Was Bala de-stressing after doing intense films like AndhDhun and  Article 15?

Doing every film is the same. Of course, if you’re doing a dark film like Article 15, it takes a toll on you. Whilst researching, I read about the underprivileged. That left me disturbed. But playing every character entails the same amount of hard work. It’s equally stressful and fun.

What excited you about Bala?

In the past, my films have explored different topics, even far-fetched ones like sperm donation and erectile dysfunction. Bala is based on a relatable subject, like baldness, though something not yet explored on screen. Almost, 50 per cent of males, above the age of 30 struggle with a receding hairline. The film’s about self-discovery, conquering your complexes and emerging like a phoenix. Bala has got heart and soul. It also called for a physical transformation.

You look lean in the film…

I had begun losing weight for Dream Girl as I had to wear a lehenga and saree. It continued for Bala as in this film, my character’s journey is shown from the age of 20 to 30. To look a 20-year-old, I had to lean down.

Didn’t  you consider going bald for the film instead of opting for excruciating prosthetics?

I did think of going bald. But my character goes through different stages in the film. So that didn’t seem practical. The prosthetics would take two-and-a-half hours to be in place. We shot in 45 degrees in Kanpur and Lucknow. Wearing three layers of prosthetics on your head and that too under the sun, was extremely taxing. Bala is the toughest film of my life so far.

How difficult or easy is it to do comedy?

Comedy is always difficult. But it has to be novel. I believe in situational comedy rather than verbal comedy. Most of my comedies from Vicky Donor to Bala have been situational. Sometimes, it’s a mix of satire and irony.

Given your penchant for quirky subjects, how difficult are they to 

come by?

Our society is full of taboos. Of course, people living in metros like Mumbai tend to be progressive. But 70 per cent of Indians, living in small-towns, remain conservative. So there isn’t a dearth of such topics. But you can’t be doing quirky films all the time. Like Article 15 was not quirky. AndhaDhun was a dark comedy. However, my films do make the audiences receptive to taboo topics, not considered as drawing room conversation. It’s a two-way process. Sometimes you bring about change through cinema. Or you bring a change in cinema in keeping with the change in society.

You’ve set a benchmark where meaningful cinema is concerned…

That’s a huge thing to say. Frankly, I’ve received support from my scriptwriters and directors. I cannot take the entire credit. It’s a collaboration. We have to marry content with entertainment. Without entertainment, it won’t work. At the same time, it cannot be just about entertainment or just about art. It has to hold some value. It should invite discussion. 

Has winning a National Award (AndhaDhun) increased the pressure to excel each time?

It’s a happy pressure. It makes me braver in my choices. It gives me the power to be more radical.

Would you love to do masala films?

Yes. Dream Girl is the most commercial film I’ve attempted. It was slapstick. It was for frontbenchers. Given a chance, I’d love to do masala and action-oriented films. But a film has to be unique. It can’t be generic.

How do you deal with creative fatigue?

I switch on and switch off easily. I like moving from one character to another. For example, I was shooting for AndhaDhun and Badhaai Ho simultaneously. They were two different characters altogether. I don’t carry my characters home. When the camera is off, I’m just myself.

What does success mean to you?

Success is a fine balance between contentment and ambition. You can’t be overambitious or over-contented. It has to be somewhere in the middle.

How has success changed your life?

With success people start seeing you in a different light. But the idea is not to change with the changing scenario. Rather continue being your simple self because that’s what has worked for me. My films too are rooted in reality.

Have you signed a film just for money?

Never. You can attend an event for money. You can perform at a marriage for money. But you can’t do a film for money. I’ve never done a film for the sake of friendship or money. I do them for personal satisfaction.

Whom do you view as competition?

Competition is not with a person, it’s with your own self. How do you surprise yourself? How do you surprise people around you? The idea is to be consistent and surprise people each time. That’s the toughest nut to crack.

Rajkummar Rao and Vicky Kaushal, like you, are avant garde actors. Your take on them…

They’re tremendous actors. It’s a period, where artistes are thriving on sheer talent. The opportunities are ample for all of us. I’m truly glad to have been born in this era of cinema.

Do you read comments written about you online?

I hardly get the time to read comments. I just do my job. Karm karo phal ki ichchha mat karo.

Do you keep pace with international cinema?

I don’t watch films. I read books. I listen to music. I give priority to life over films. If you’re doing films and also watching them all the time, when will you live? I take inspiration from real-life situations, from real people. The uniqueness comes from authentic situations.

Who’s your biggest critic?

My wife, Tahira’s (Kashyap) my biggest critic. She says it bluntly – what’s right, what’s not. Even my father (P. Khurana) and brother Apar (Aparshakti Khurana) say it the way it is.

Having reached so far, what’s something you miss?

I haven’t been able to strike a balance between my professional and personal life. Right now, my career is peaking. So I have to work doubly hard. I miss spending time with my family.

What’s the best part of being an actor?

That acting’s not a 9-5 job. There’s something new happening in your life every single day. Every day is different. Every film is different. You get to play different parts. That makes it interesting.