Hrithik Roshan’s RARE interview on untold stories of Kaho Naa…

EXCLUSIVE INTERVIEW! Adinath Kothare: Consistency In Delivering Quality Is What Makes You A Star
‘When
Someone
Appreciates
My
Work,
That’s
An
Adrenaline
Rush
For
Me’
Q.
Congratulations
Adinath
for
your
amazing
performance
in
City
Of
Dreams
2.
One
of
my
favourite
scenes
is
the
one
where
Poornima
Gaikwad
(Priya
Bapat)
pays
a
visit
to
your
character
Mahesh
Aravale
at
his
house
post
the
debate.
It
is
a
moment
where
your
character
gets
a
reality
check
but
at
the
same
time,
he
also
finds
hope.
What
was
your
mind
space
like
when
you
shot
that
scene?
A.
It
was
definitely
a
difficult
scene
to
shoot.
I
think
it
was
in
the
first
two
days
of
my
shooting
schedule.
Nagesh
Sir
(Nagesh
Kukunoor)
put
me
right
into
it
which
I
think
was
the
best
strategy
that
worked
for
the
character.
I
shot
my
most
difficult
scene
of
the
entire
season
on
the
first
day
of
shoot.
It
was
that
debate
scene
with
Poornima
Gaikwad
on
the
stage.
Because
of
this,
I
really
jumped
into
the
character
and
was
able
to
find
its
‘sur’
quickly.
When
you
are
dealing
with
complex
emotions,
you
are
answering
a
lot
of
questions
that
are
coming
in
your
head
at
that
moment,
which
in
turn
helps
you
in
finding
the
character
faster.
That
really
worked
for
me.
It
was
all
Nagesh
Sir’s
magic
and
the
way
he
communicated
the
scenes
to
me.
He
gives
you
amazing
brief
about
the
character
and
the
scenes.
At
the
same
time,
he
gives
you
complete
freedom
to
explore
it.
That’s
the
beauty
of
working
with
a
director
like
him.
He
understands
the
language
of
an
actor.
Mahesh
Aravale
was
a
very
difficult
character
to
play
especially
in
that
scene
that
you
pointed
out.
He
is
not
an
alcoholic.
He’s
headstrong
and
a
genuine
aspiring
politician.
So
that
scene
had
to
reflect
his
character.
He
is
unhealed
because
of
the
disturbing
past
that
he
has
been
through.
There
is
a
dialogue
where
he
asks
Poornima,
“Agar
Gaikwad
nahin
bhejta
toh
nahi
aati
kya?” So,
he
is
looking
for
any
signs
of
closure
in
that
scene
and
he
finds
it.
He
is
feeling
cheated
and
betrayed
and
wants
to
come
out
of
it,
and
Poornima
gives
him
a
hand
and
pulls
him
out
of
that
pit.
I
think
every
person
finds
his
closure
on
his
own
and
not
because
of
anyone.
It
was
a
critical
scene
for
that
season.
Q.
Not
many
people
know
that
you
are
a
graduate
in
biotechnology
and
hold
a
MBA
degree
in
finance.
In
fact,
you
never
planned
to
be
an
actor.
But
once
you
jumped
into
this
creative
field,
you
dabbled
with
different
aspects
of
every
medium
(TV,
films
and
web).
What
is
that
one
thing
about
this
field
which
gives
an
adrenaline
rush
and
makes
you
want
to
hit
to
work
daily?
A.
When
someone
appreciates
my
work,
that’s
an
adrenaline
rush
for
me
and
that’s
what
I
live
for.
You
work
really
hard
and
put
your
sweat
and
blood
into
something
as
a
producer,
director
or
an
actor.
After
seeing
your
work
when
people
actually
take
out
the
effort
to
reach
out
to
you
and
say,
‘Boss,
I
love
what
you
did,”
it
adds
fuel
to
that
fire.

‘Actors
Who
Can
Create
Magic
Every
Time
On
Screen
Become
Legends’
Q.
When
an
actor
begins
his
journey,
initially
the
audience
relates
more
to
his
character
on
screen
than
him.
For
example
when
you
made
your
debut
as
a
male
lead
with
the
Marathi
film
Ved
Lavi
Jeeva,
people
were
not
aware
about
you
as
an
actor
because
they
had
never
seen
you
on
screen.
But
as
you
keep
on
doing
films
after
films,
the
challenge
becomes
tougher
because
now,
they
know
you
as
Adinath
Kothare.
They
know
your
strength
and
weaknesses
as
an
actor.
How
challenging
does
it
get
for
you
to
come
up
with
something
new
every
time?
How
do
you
prepare
yourself
for
this?
A.
The
journey
has
to
be
inside
out
and
not
the
other
way
round.
You
need
to
do
what
inspires,
challenges
and
excites
you.
You
need
to
think
of
something
that
would
make
you
want
to
get
out
of
the
bed
and
really
head
out
there
and
make
things
happen.
You
need
to
search
for
that
fire
and
keep
it
burning.
You
shouldn’t
worry
about
how
you
want
others
to
think
of
you
and
then
according
to
that,
decide
what
to
do.
It
should
be
an
internal
process.
I
have
learnt
this
from
my
father
(actor
Mahesh
Kothare).
Even
at
this
age,
he
is
as
passionate
as
he
was
at
the
prime
of
his
career.
That’s
something
what
he
gave
to
me.
That’s
what
matters
at
the
end
of
the
day;
your
passions,
your
dreams
and
what
you
do
to
achieve
them.
That’s
what
keeps
you
going.
I
think
those
efforts
do
get
noticed
one
day
by
the
audience.
That’s
an
old
saying
which
is
true,
‘Karm
kar
phal
ki
asha
mat
kar.’ You
need
to
keep
working
hard
and
one
day,
you
never
know
when
that
door
will
open.
You
need
to
be
ready
for
that
moment
and
for
that,
you
need
to
keep
working
with
the
same
passion
and
intensity
every
day
and
every
time.
Q.
I
have
come
across
a
lot
of
actors
who
don’t
shy
away
from
calling
themselves
insecure.
Acting
is
an
emotionally
draining
process.
You
may
be
having
a
bad
day
at
home
but
once
the
camera
rolls
on
the
set,
you
have
to
be
emotionally
present
there.
How
do
you
keep
yourself
focused?
Every
actor
wants
validation
for
his
work.
Does
that
make
you
insecure
at
any
instance?
Also,
when
you
give
your
shot,
do
you
ponder
whether
it’s
okay
or
not,
or
are
you
pretty
confident
about
it?
A.
There
is
insecurity
in
every
profession.
But
yes,
you
need
to
be
a
little
insecure
and
jealous.
You
look
for
appreciation
from
all
the
people
on
the
set.
You
give
a
shot
and
when
the
director
or
the
DOP
praises
you,
it
makes
you
feel
nice.
But
then
over
a
period
of
time
with
all
the
experience,
you
too
realize
whether
you
have
done
a
good
job
or
not.
Since
you
want
to
give
your
best
shot,
you
ask
the
director,
‘Can
I
do
one
more?’
Sometimes
you
get
that
one
chance.
Acting
is
a
meditative
process.
That’s
my
take
on
it.
For
every
art
form,
there’s
a
meditative
process.
When
an
actor
goes
on
the
set,
he
has
the
script,
the
character
sketch,
dialogues
and
he
has
to
be
in
that
moment.
Sometimes
you
watch
a
movie
and
you
are
like
‘uff,
that’s
magic.’
Well,
this
magic
doesn’t
happen
every
time.
Actors
who
can
create
that
magic
every
time
become
legends
(laughs).
That’s
why
we
have
actors
like
Amitabh
Bachchan,
Naseeruddin
Shah,
Tom
Hanks,
Dilip
Kumar.
So
what’s
that
magic?
Basically
as
an
actor,
you
have
to
remember
the
lines,
the
character
sketch,
the
emotions
in
that
scene
and
the
one
prior
to
that,
the
backstory
of
the
character.
When
the
director
says
action
and
the
camera
rolls,
you
need
to
forget
everything
and
be
in
that
moment
and
let
all
those
lines
and
emotions
come
to
you
subconsciously.
You
cannot
pretend
in
front
of
the
camera.
It
shows.
You
have
to
feel
and
emote
that
moment.
Subconsciously
when
you
do
that
scene
and
when
those
lines
come
naturally
to
you
with
those
embedded
emotions
flowing
out
the
right
way,
that’s
when
magic
happens.
That’s
what
every
artist
is
striving
for
in
life.
Achieving
that
moment
and
symphony
is
also
an
adrenaline
rush.

‘Stars
Like
Salman
Khan
Depend
On
Good
Script
Now;
Even
He
Needs
A
Bajrangi
Bhaijaan
And
A
Sultan’
Q.
Gashmeer
Mahajani
in
a
recent
interview
spoke
about
how
Marathi
films
have
still
not
managed
to
break
the
regional
barrier
as
compared
to
south
films.
Citing
the
reason
behind
the
same,
he
said
that
while
Marathi
cinema
has
some
great
content,
it
has
to
be
mixed
with
right
doses
of
entertainment.
He
also
mentioned
that
Marathi
cinema
needs
to
create
heroes
and
this
need
not
be
gender
specific.
His
definition
of
a
hero
was,
‘Someone
who
is
created
by
an
intelligent
director,
scriptwriter
or
producer
and
has
a
certain
following
on
the
basis
of
which
people
will
go
and
watch
a
film
in
theatres.’
Do
you
echo
a
similar
sentiment?
A.
I
think
the
language
of
cinema
has
changed
now.
Honestly,
the
audience
doesn’t
look
out
for
heroes.
I
think
the
real
hero
in
today’s
era
is
the
writer.
The
beauty
of
Marathi
cinema
is
that
it
is
very
content-driven.
It
is
not
star-driven.
The
factor
responsible
for
this
is
not
the
makers
but
the
audience.
That’s
what
they
want.
They
want
to
listen
to
genuine
stories.
By
creating
consistently
great
stories
and
content,
Marathi
cinema
will
be
increasing
its
credibility
which
it
is
doing
slowly.
When
this
credibility
increases
with
people
all
over
the
nation
watching
it,
then
they
start
looking
out
for
heroes
in
that
industry.
They
start
looking
out
for
a
face
that
they
might
recognize
the
industry
with.
Marathi
industry
had
heroes
when
my
father
was
working
as
an
actor
in
the
90s.
Until
then,
the
industry
was
star
and
content
driven.
But
then
after
that,
the
quality
of
content
started
deteriorating
because
of
which
the
star
value
decreased.
The
star
system
vanished.
Because
of
that,
the
industry
had
to
bounce
back
again.
When
it
bounced
back,
it
happened
in
a
very
different
way
with
films
like
Fandry,
Sairat
and
Natrang.
These
were
extremely
content-driven
films.
I
think
it’s
an
era
that
we
are
going
through.
Marathi
cinema
is
evolving.
The
industry
is
again
rising
and
is
at
its
best
right
now.
After
90s,
it’s
coming
again
to
its
best
form
but
it’s
going
to
take
time.
With
consistent
great
content,
one
day,
there
will
be
great
heroes.
And
this
applies
for
every
industry.
Even
stars
like
Salman
Khan
depend
on
good
script
now.
Even
he
needs
a
Bajrangi
Bhaijaan
and
a
Sultan.
He
just
can’t
shake
his
belt
nowadays
and
he
is
smart
enough
to
have
understood
that.
He
has
probably
realized
this
and
that’s
why
you
see
some
Salman
Khan
films
with
good
content
and
message.
The
audience
has
matured
now.
Basically
what
has
happened
over
a
period
of
years
is
that
the
mystery
of
cinema
is
no
longer
there.
With
the
advent
of
social
media,
the
public
has
become
very
much
aware
and
they
know
what
their
actors
do.
They
know
how
films
are
made.
Earlier,
there
was
a
mysterious
aura
which
is
not
there
now.
In
today’s
times,
they
look
at
the
actors
as
their
friends
and
next-door
neighbours.
Hence,
what’s
more
important
in
today’s
era
is
the
content.
The
real
heroes
of
today’s
times
are
the
writer
and
filmmaker.
That’s
what
is
happening.
That’s
my
take
on
it.
Q.
I
think
the
advantage
that
a
hero
may
have
is
that
he
might
get
more
number
of
chances.
For
example
if
an
actor
has
a
certain
number
of
fan
base
and
if
his
one
film
doesn’t
do
well,
the
audience
might
still
give
him
a
second
chance
which
might
not
be
the
case
for
a
not
so
famous
actor…
A.
Yes
but
that
happens
when
a
particular
actor
gives
successful
films
consistently.
My
father
gave
seven-eight
silver
jubilee
films
back
to
back
and
that’s
how
he
became
a
star.
Amitabh
Bachchan
gave
back-to-back
hit
films.
Even
Aamir
Khan.
I
think
consistency
in
delivering
quality
is
what
makes
you
a
star.
He
may
be
an
actor,
writer
or
a
director.
It’s
not
about
creating
a
star;
it’s
about
creating
good
films
which
in
turn,
will
create
stars.
Q.
Who
is
your
harshest
critic?
Your
father
or
your
wife
(actress
Urmila
Kothare)
since
both
of
them
are
a
part
of
showbiz.
A.
Both
are
equally
harsh.
To
be
honest,
we
are
all
harsh
critics
of
each
other.

‘We
Are
Waiting
For
The
Day
When
The
Audience
Will
Appreciate
Paani;
That
Would
Be
The
Real
Award’
Q.
You
recently
turned
director
with Paani
which
was
bankrolled
by
Priyanka
Chopra.
Do
you
believe
a
subject
like
this
gets
a
better
reach
and
becomes
more
commercially
viable
when
you
have
a
name
like
her
attached
to
it?
A.
Absolutely.
Priyanka
has
achieved
a
great
big
deal
and
reached
the
place
where
she
is.
That’s
really
commendable.
She
is
an
extremely
inspiring
personality
and
to
have
her
as
an
international
producer
is
a
great
boon
for
Indian
content.
Q.
The
film
bagged
a
National
Award
and
you
too
won
the
Best
Actor
award
at
New
York
Indian
Film
Festival.
It’s
a
dream
come
true
for
anyone
especially
for
a
first
time
director.
What
was
the
feeling
like?
A.
It’s
surreal
and
amazing.
Like
I
said
before,
appreciation
is
what
we
live
for
and
that
really
burns
the
fire
in
you.
Now,
we
are
waiting
for
the
film
to
release
soon.
I
hope
that
theatres
would
open
up
now.
Things
are
slowly
reopening
so
we
are
waiting
for
that
day
when
the
audience
will
appreciate
it.
That
would
be
the
real
award.

‘Ranveer
Singh
Brings
So
Much
Positivity
And
Warmth
On
The
Sets’
Q.
You
will
be
soon
stepping
in
the
Hindi
film
industry
with
Kabir
Khan’s
sports
drama
’83
which
has
an
interesting
ensemble
star
cast
from
different
film
industries.
There’s
Ammy
Virk
and
Harrdy
Sandhu
from
north,
Jeeva
from
South,
you
and
Chirag
Patil
from
Marathi
cinema
and
so
on.
Every
industry
has
its
own
cultural
fabric
in
terms
of
story-telling.
What
was
your
biggest
takeway
when
you
interacted
with
them?
A.
It
was
a
surreal
yet
humbling
experience.
All
these
people
are
such
big
personalities
in
their
fields
and
they
are
all
so
humble.
It
was
amazing
to
work
with
Ranveer
Singh,
Kabir
Khan.
They
are
such
great
and
grounded
people.
When
we
were
working
on
sets,
we
all
got
along
so
well.
They
all
were
extremely
easy
to
work
with
and
talk
to.
Sometimes,
there
would
be
moments
when
I
would
just
step
back,
take
in
the
moment
and
realize
that
‘wow,
I
am
in
such
a
great
company
with
amazing
personalities.’
They
are
great
achievers.
We
are
all
friends
now.
Q.
Ranveer
Singh
is
known
to
be
a
bundle
of
energy.
How
was
it
sharing
screen
space
with
him?
A.
I
think
the
energy
that
you
see
on
screen
is
the
same
off
screen
as
well.
That’s
commendable.
He
is
one
of
the
most
genuine
people
I
have
met.
He
brings
so
much
positivity
and
warmth
on
the
sets.
Q.
You
are
essaying
the
role
of
Dilip
Vengsarkar
in
’83.
You
know
playing
real
life
characters
come
with
a
great
responsibility.
When
you
were
enacting
that
role,
besides
the
research
material
and
Kabir
Khan’s
vision,
did
you
also
step
in
to
share
your
creative
inputs?
I
am
sure
you
must
have
done
your
set
of
research
as
well..
A.
Kabir
Khan
was
extremely
easy
to
work
with.
He
was
very
open
to
discussions
and
all.
He
was
very
welcoming
when
we
went
up
to
him,
asked
and
discussed
things.
But
you
know
he
had
a
very
clear
vision,
and
that’s
the
best
thing
that
an
actor
can
get
from
a
director.
He
knew
what
he
wanted
and
that
really
helps
you
as
an
actor
to
deliver.
After
all,
the
director
is
like
the
captain,
right?
It
was
a
treat
to
be
guided
by
Kabir
Sir.
I
got
to
learn
a
lot
from
him.
Q.
When
you
do
an
ensemble
film,
every
actor
wants
to
give
his
best
shot
to
make
sure
that
it
leaves
a
lasting
impression
on
the
audience
especially
when
you
have
a
film
like
’83
where
every
actor
is
a
good
performer.
At
the
same
time,
you
also
need
to
collectively
lift
the
film.
What
is
tougher
for
you;
doing
an
ensemble
film
like
this
or
a
solo
movie
where
the
focus
is
only
on
you?
A.
I
think
ensemble
films
are
tough
to
do
(pauses)…I
think
both
have
their
challenges.
In
an
ensemble
cast,
the
entire
weight
of
the
film
is
not
on
your
shoulders;
it’s
shared.
In
a
way,
it’s
a
shared
responsibility.
When
you
have
a
great
camaraderie
and
great
team
work
happening,
it’s
a
beautiful
experience.
It’s
a
cakewalk.
When
it’s
a
solo
film,
the
whole
weight
comes
on
your
shoulder
as
an
actor.
You
have
a
big
responsibility.
Hence,
the
risk
is
higher
in
a
solo
film
as
compared
to
an
ensemble
cast.
But
I
think
when
it
comes
to
performances,
in
an
ensemble
setup
we
all
have
our
moments
in
the
film
and
when
that
moment
arrives
we
have
to
make
the
best
of
it.
An
actor
will
always
have
that
fire
in
him
and
when
every
actor
thinks
like
that,
that’s
when
the
fire
becomes
great.
That
spirit
or
fight
is
what
makes
the
entire
film
a
package.
But
I
think
that’s
challenging
as
well
because
you
have
to
work
as
a
team
and
a
unit.
At
the
same
time,
you
have
to
do
your
homework
well.
For
me,
I
was
working
with
such
big
actors
like
Ranveer
and
all
and
doing
a
scene
with
them,
there’s
a
bit
of
responsibility.
You
get
butterflies
in
your
stomach.
Though
these
guys
were
amazing,
before
I
came
on
the
sets,
there
was
some
nervous
energy
in
me
as
I
was
working
with
these
biggies.
When
you
work
with
them,
you
don’t
want
to
make
a
mistake
because
you
are
representing
yourself,
experience
and
a
lot
of
things
over
there.
So,
it’s
like
the
Olympics
where
everyone
is
watching
you
(laughs).
But,
everyone
in
my
’83
team
made
things
so
comfortable
and
easy.
It
was
a
treat
to
work
on
the
sets
of
’83.
From
day
one
when
we
faced
the
camera,
we
never
felt
even
the
slightest
bit
of
stress.
Ranveer
and
all
these
guys
made
each
one
so
comfortable.

‘As
Long
As
There’s
Air
In
My
Lungs
And
Fire
In
My
Belly,
I
Just
Want
To
Keep
Enjoying
This
Journey’
Q.
Post
Baahubali,
pan
India
films
have
become
a
new
trend.
As
an
actor
and
a
storyteller,
how
do
you
view
this
blurring
of
lines?
A.
It’s
a
great
time
to
be
working
as
an
actor
and
a
filmmaker
in
the
industry.
The
audience
base
has
increased
and
the
borders
of
language
have
disappeared.
The
audience
is
hunting
for
good
content
irrespective
of
the
language.
It’s
a
great
time
to
be
an
artist
right
now.
Q.
You
have
clocked
a
decade
in
the
film
industry.
When
you
look
back,
how
do
you
measure
your
journey;
in
terms
of
success
and
failure
or
in
terms
of
experience?
A.
For
me,
the
journey
is
more
important.
Every
day,
you
should
surprise
and
challenge
yourself.
As
long
as
that
hunger,
greed,
desire
and
fire
to
grow,
explore
yourself
and
rediscover
yourself
again
and
again
exists,
that’s
what
matters
to
me.
I
always
look
forward
to
that.
As
long
as
there
is
air
in
my
lungs
and
fire
in
my
belly,
I
just
want
to
keep
enjoying
this
journey.
Q.
Lastly,
I
really
enjoy
reading
your
endearing
conversations
with
your
daughter
Jiza
which
you
post
as
‘Jiza
and
Daddy’
on
your
Instagram
handle.
How
did
you
come
up
with
this?
A.
(laughs)
Well,
my
daughter
is
very
inspiring
and
also
during
the
lockdown,
I
got
to
rediscover
a
lot
of
values
like
re-exploring
your
family
and
bonding
with
them.
I
think
this
pandemic
has
taught
us
to
value
people
who
really
matter
to
us.
That
has
helped
me
to
reflect
and
because
of
that,
I
felt
like
writing
and
expressing
something.