Fukrey 3 actor Pankaj Tripathi: ‘Just do that thing that you do, filmmakers expect me to do the same thing’

I forget the characters, to be honest. Then, just before starting the filming, I see some scenes from the earlier season. After revisiting a few scenes, one remembers what one did, how one did it and how one speaks as that character. If it’s the same director for the new season, then I sit with him or her and go through things together. So, I shoot almost 340 days a year, across projects. There was also a pandemic-led backlog which is why seven projects are coming up. From next year I plan to do less work.  It’s not easy to switch from one character to another. To give you an example, I finished Main Atal Hoon one night and the next morning I was on the “Stree 2” set. The first day of the Stree 2 shoot, after three to four takes, director Amar Kaushik whispered to me, ‘Sir, Atal ji is creeping in.’ I didn’t know what to do and when he suggested it, I was more than happy to take a break. I went to the hotel, rested, watched a few scenes of “Stree” and then next day I was on track. This is what you call craft. If we practise an external mannerism for a role, then that mannerism takes a week or more to get out of the body because those things become a part of your muscle memory after you repeat it for 40-50 days. Unconsciously, that mannerism, gesture, posture might become a part of you, because you have been practising and performing it for almost two months. So you need a gap between characters. To switch overnight is tricky.

How has your character of Panditji evolved since the first Fukrey (2013) to the third instalment?

My personal journey in the film industry and Panditji's journey in Fukrey are very similar. In the first film, I had five or six scenes. In Fukrey Returns role expanded and by Fukrey 3 my part has become even larger. Initially Panditji was a college gatekeeper.

Now he has stepped out from being by the gate to being all over the campus. In some ways, Panditji is the fourth fukra in the recent film. He’s a partner in everything — from planning to timepass to entertainment. He’s an integral part who keeps the entertainment and humour intact.

How do you make sure that this kind of comedy does not seem so slapstick and raise the IQ a little?

I do concentrate on that. While reading the script, Fukrey 3 was absurd, but as we performed it, with such sincerity, it appears to the audience like it’s some kind of logic. Towards the end I am even breaking the fourth wall. This device — directly and indirectly — reaffirms to the audience that this is entertainment. But we also managed to push in some social messages regarding the water crisis, etc.

You have repeatedly played comical characters, appeared in satires. Do you want to break out of this niche?

Yes, very much so. In fact Aniruddha Roy Chowdhury’s Tony Kadak Singh, which is almost ready, is a serious and intense film based on a very interesting screenplay. You won’t see even a shade of that USP — that light-hearted, satirical style that has become my forte — in either Kadak Singh or in Ravi Jadhav’s Main Atal Hoon. A lot of filmmakers expect me to do the same thing. They say, just do that thing that you do. In these two films, I have not done what I usually do. I wanted to do something intense. I have a desire to mix things up. Kadak Singh and Atal... have fulfilled that wish and I have enjoyed them both so very much.

Does the future line up include more variety for you?

Between Homi Adajania (Murder Mubarak), Ravi Jadhav, Aniruddha Roy Chowdhury and Amit Rai (OMG2), I am working with for remarkable directors this year. There’s also Gulkanda Tales and Mirzapur 3, Metro In Dino and Stree 2.

During your masterclass at IFFI, last year, you said: “With popularity I feel I need to be more careful about choosing scripts. I now look for roles and projects that are entertaining, but also have some social message or subtext.” Are you succeeding in achieving that balance?

Yes, the forthcoming line-up fit this, such as OMG2 and Metro... In Dino also. I do apply this criteria to everything but I wouldn’t like it if the subtext or message is force-fitted. It should be organic. All of the recent and upcoming projects have some subtext and message coated entertainment.

You have been doing some development work in your hometown. What was that?

The primary school, where I studied in Bihar, has been adopted by my older brother. We contributed to improving the infrastructure of the school. I was in my village, during which time my 99-year-old father passed away. We had already ordered books for the library and went ahead with doing some improvements including enhancing the library, adding solar plants, painting work, lighting etc. I observed a very interesting change. I see that the attendance in the school is largely girl students now. Out of a class of 30, approximately 20 are girls. This is very different to my school days when out of 30 students, only five were girls. I thought at least there has been a positive change with awareness about educating the girl child. My father was a farmer but he emphasised the importance of education and I really believe that.