Back in 1993, I was studying in Delhi, and I had a girlfriend. I had never touched a girl before that in my entire life. One day, I decided to go out with her to a garden. We were sitting beside each other, and I just glanced around to see if anyone was looking at us, and I put my hand over hers. I thought love started in this way.
Most people go to ashrams or retreats to destress and rejuvenate themselves. But I come back to my roots, the place where I spent half my life. And when I return, I spend time in the farms, eating a stalk of sugarcane, driving a tractor, and chilling with childhood friends.
For me, as an actor, there is no commercial or independent or art cinema. For me, it's a character that is given by the director. And it is a task for me that I have to fulfill it to the best of my ability regardless of the kind of film that it is.
I prefer if friends come over to my office and we talk our heart out over a cup of coffee. I feel that no one talks freely at industry bashes. Everyone has to behave in a certain way, and I think no one is real there. We can't have heart-to-heart conversations, and I start feeling uncomfortable at such dos.
'Freaky Ali' is not a heavy film. It's a simple but inspiring film. It will inspire those who want to go from zero to hundred. People who have made an effort to achieve success from nothing will be able to connect to the character.
I grew fond of acting rather late. And that was because I was not getting any job. I had a few friends in Delhi who were associated with theater. They took me to see some plays in Delhi and Baroda. That led me to believe the I could also act. And it was after that I joined National School of Drama in 1993.
I always thought golf was a game reserved for the rich and the elite... But it's a misconception. It's a highly technical game, and it's a game that you can play and master alone. You require sharp skills for it, and you can play the game alone.
I don't want my work to be heavy. The challenge is to make it interesting and engaging, keeping in mind the need for method acting. This is what I have learnt from Bharat Muni's 'Natya Shastra' and from the Russian theatre legend Stanislavsky.
Background scores allow me an absolute flight of the imagination, and I travel in my mind's eye. I do not like the scores to have vocal notes, because they act as a limitation to these flights of fancy.