Exclusive: Tehran director Arun Gopalan on casting John Abraham, OTT release: “We made the film with honesty, not gimmicks"

Exclusive: Tehran director Arun Gopalan on casting John Abraham, OTT release: “We made the film with honesty, not gimmicks"

Director Arun Gopalan’s latest film Tehran released on OTT during the Independence Day week, and the timing couldn’t have been more symbolic. The filmmaker opened in an exclusive chat with Moneycontrol, about the decision to release on streaming platforms, the casting process, and the painstaking preparation that went into shaping a story inspired by real-life events.

Why OTT and not theatres?

When asked why Tehran skipped a theatrical release, Arun explained:
“Yeah, it’s a multimillion-dollar question. But you know what, the decision was not mine. It was the producer that had to take this call. And also, for the right reason. Because, you know, I think it’s a sensitive subject. It touches upon geopolitical issues involving Iran and Israel—countries with which India has good relations. We didn’t want to unnecessarily… complicate things.”

He further added the language factor also mattered:
“Because it’s got Iran and Israel, we had to use a lot of Farsi, Hebrew, and English. Obviously, if it has to be theatrical, it has to reach the masses. And in the masses, they will have to read subtitles. At the end of the day, OTT reaches far more people, and you can’t beat its reach vis-à-vis theatre. So yes, OTT seemed like the right choice.”

Casting John Abraham and beyond

Speaking about casting, Arun said John Abraham was always in mind for the lead role:
“We knew John would be ideal for it. We started writing the film with him in mind. When I narrated the script to John, the original ending was a typical one—the good guy kills the bad guy. But John asked, ‘Why do I need to do this in the end? Why can’t I do that?’ That one suggestion changed the entire course of the film. The entire soul, the grammar, the language of the film changed.”

On his female leads, he added:

“There was obviously Manushi Chhillar and Neeru Bajwa. Neeru’s acting in the film—there’s so much in her pauses, in her eyes. Even when she’s just sitting silently, she’s telling you a story. She was one of the most no-nonsense, punctual, and beautiful people to work with.”

Shooting in Glasgow

A large part of Tehran was shot in Glasgow. Arun recalled the experience fondly:
“Shoot challenges are not challenges for me. Every shoot has its own struggles, but the bigger battle was to stay true to the core of the story without straying into gimmicks. The experience in Glasgow was beautiful. People from different ethnicities worked together—an Israeli played a Hamas operative, an Iranian also played a Hamas character. And yet, they would all sit together, share lunch, and stories. It was pure and honest, something I’ll never forget.”

Working with Indian and international actors

Arun dismissed the idea of a stark difference between Indian and foreign actors:
“John was restrained—so many times he would say, ‘Arun, I don’t want to say this. Give it to someone else, I can just respond.’ That kind of humility is rare. My international actors, too, brought in suggestions that completely surprised me. I loved those mistakes, those irregularities, because they made the film feel alive. I wanted to create an environment where actors were free to explore, not caged by rigid lines.”

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Preparation rooted in real events

Arun emphasized the hidden world behind political optics:
“Diplomacy looks great on paper—handshakes, meetings, cameras. But what is left unsaid between nations is what truly decides the fate of the people on the ground. Real lives are lost in that process.”

Why audiences should watch Tehran

In a heartfelt closing, Arun urged audiences to watch the film for the unsung heroes:

“You should watch Tehran because a lot of people think it’s always about India and Pakistan. But this film goes beyond that. It’s about the unsung heroes across RAW, the special cell, and ministries—people who work selflessly, without recognition, so that citizens like us can live in peace. There’s a line in the film: When we work, no one cares. But when we don’t work, everyone cares. That line is the soul of Tehran. The message is simple—don’t make India your battleground. Take your wars elsewhere.”

Arun signed off with gratitude:
“We’ve made this film with honesty, not gimmicks. I hope it reaches people, and word of mouth carries it forward.”