I was not getting work, even after auditioning for films. So I started working in a studio as a photographer; I assisted a cinematographer for two ads. I was thinking that I will get into photography or cinematography or assist someone. But then the 'Dangal' offer came, and I was busy with the auditions.
I first came to Mumbai when I was very young. My mom is from here, and dad always had some work around here, so Mumbai always felt like a second home. I moved here when I was 16 and went to junior college here as well.
Mumbai's infectious. Once you start living in Mumbai, working in Mumbai, I don't think you can live anywhere else.
When I started, I had a really hard time getting work. It was the mid- to late-nineties. There was the WB. My age was perfect for it, but I just never came across as a youngster. I had to grow into my age in order to start working, and by the time I did, it was when things started to get good.
I came to Mumbai for my internship in advertising in an ad agency. Back then, a senior from my college who was working for Balaji asked whether I wanted to act. I agreed, and I didn't even know when it became my passion and my hobby.
One of the biggest inspirations before I started shooting came from my brother, when he texted me and said, 'Hey, fatty, it's called 'The Hunger Games', not 'The Eating Games'. So I started working out a lot more and eating a lot less.
I'd been knocking on record companies' doors for so long, and I had gone on a lot of auditions. It's weird when you go to those auditions through the Village Voice or something. You never know what to expect. You just press Floor 3 on the elevator and pray that it's not... You know, anyone can place an ad, so it's really freaky.
When I came to Mumbai eight years ago, I had a realistic approach. I was sure that nobody will give me work... And I was also very choosy about wheat kind of work I did.
I like auditioning. I like working on material. I just love working. I like the chance to work on material. Sometimes it helps to not be going into a room cold and to know people. I've spent a lot of years getting to know people in the business, and that really helps. It depends. You can have some pretty terrible auditions.
I've had fans do some pretty awesome things... I once had a fan do a mock proposal for me in Mumbai, inside a McDonalds... and I've had fans give me some precious things. I had one fan give me her mother's ring; I've gotten some pretty intense stuff. And I always get drawings and scrapbooks from fans, which is also pretty cool.
When I came to WWE back in the day, I'd been working seven-and-a-half years, and I was very frustrated. I started getting some momentum, and my work was very vicious, and it was very believable.
In 2004, I shifted to Mumbai and started working in theatre, along with working for corporates for 15 years. That helped me a lot in creating a different character for multiple shows.
I had five years in the business in Canada, and then I came down to the States in February of 2010. I had a good pilot season. I started getting guest star work. I started to get bigger stuff.
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.