Getting an opportunity to play Balram’s role in The White Tiger felt unreal because it was a mammoth production and many were competing with me to get the part. Tess Joseph, the casting director, called me for an audition and sent me a couple of scenes: one of Balram as a driver and one of him as a successful businessman. Though she didn’t reveal the film’s name, I had read the book as a teenager and immediately knew it was White Tiger. At the audition, I was determined to give my best. I had five or six rounds of audition with producer Mukul Deora and producer-director Ramin Bharani. Ramin called me from New York and said that he wanted me to play Balram. It all felt surreal—the blankness of shock, then of relief, then the gradual sinking in of the news. I knew it was going to be huge and that I could do most of the opportunity.
I feel very special when people talk about the film and the character of Balram. Being on the BAFTA longlist for Best Actor, it’s really gratifying to see your name next to childhood heroes like Anthony Hopkins and Tom Hanks. As a story-teller, whether a director or an actor, the whole point of getting an award makes you empowered. People start trusting you and your skills. I just hope I get the opportunity to work with the great directors.
My favourite scene in the film is the one where the woman comes to ask for money in the market and I literally roar at her. The script required Balram to merely shoo away the beggar woman. But I had this habit of going up to Ramin and discussing ideas. He would say, “Don’t share it with me; just do it and if I don’t like it, I will let you know.” So, I had this idea that Balram should probably explode, because right before the scene I was made to sign a confession to a crime I had not committed. In the first take of that particular shot, I actually picked up and waved a hot pan lying next to me and it went really close to the face of the person playing the beggar. She was scared and complained to the assistant director, thinking I meant to hit her. This was at a live location, and people on the streets actually thought I was crazy. Ramin and other crewmembers were watching from the small shops of Chandni Chowk. It was only the cameraman who was filming. And others in the crowd didn’t even know a film was being shot. So, when I was shouting at the beggar, they looked at me with sympathy, as if to say, Bhai kya ho gaya bechara ko? (What has happened to the poor guy?). The people on the streets actually wanted to find out what was wrong with me. The scene was completely unplanned and dynamic. The best part about Ramin is that he allows actors to improvise.
After I was selected for the film, I wanted to go to a village in Jharkhand to study their mannerisms. Fortunately, I bumped into an old friend, told him about my plan and asked him if he could take me to his village. He did and I stayed with his family. I requested him to not tell anybody that I was an actor because I wanted to have an undiluted experience, where villagers could trust me with their stories and count me as one of them. And this happened. The incredible twelve days that I spent added to constructing my role through natural layers. Then I went back to Delhi and worked at a food stall, adding that experience to my idea of Balram. I feel fortunate to be at the right place at the right time to get the role. Hard work is not an answer to every opportunity that comes your way; that’s why I use the word ‘fortunate’.
I don’t know if life has changed after themovie has been received so well, but I feel overwhelmed by the response. The experience is incredible for a newcomer like me. When I read congratulatory messages and when others point out particular scenes, I feel thankful for being a part of The White Tiger. I am happy that people are relishing each scene, that they are noticing me for my craft.
