Satya, Sarfarosh, Swades, Makdee… Makarand Deshpande’s mop and moustache have been a part of his screen characters as much as his personality. While theatre remains his first love, the actor is also enjoying his time in the movies. We chatted with Makarand – or, Mac, as he is fondly called — about Dev Patel’s Monkey Man and his other projects.

You have been part of some interesting films across multiple film industries recently. How do you look at this phase of your career?

Makarand Deshpande: Actually, it was a bit of a misfire. I had a pretty good role in RRR, but slowly it faded away. I couldn’t give dates because of many reasons including the pandemic. But the best part of it was S.S. Rajamouli calling me and giving me the role without any audition. He had liked me in Satya or some other film.

Mani Ratnam sir called me for Ponniyin Selvan: II. Initially, he had given me a lengthy Tamil dialogue which got cut later on, which both of us regret. I asked him why he cast me because there was so much dialogue in Tamil. He said, ‘I wanted the Tamil audiences also to see you. I saw your Malayalam film Amen. If you can work in Malayalam, then why not in Tamil.’ I think he likes performers and so does Rajamouli sir.

Then I did a small role in Jailor too. Although it was just one scene, it took two days to shoot. I got a chance to interact with Rajinikanth sir for three days. It was a great experience working with these masters. Although my roles were brief, I enjoyed the experience.

How was the experience of attending the LA premiere of Dev Patel’s Monkey Man?

Makarand Deshpande: I thought my role wasn’t long enough but I was surprised to know that it clicked with the American audience. They were asking me for selfies after the LA premiere. It was an unbelievable experience.

The premiere was at the Chinese Theatre – one of the most exotic theatres with a great history. So many great films by great filmmakers have been screened there. We were waiting backstage to go inside to a packed audience. The applause after the film ended hit everybody. There was a party afterward where people came to meet us. For a moment, I wondered, ‘Main Bollywood mein toh nahin hoon?’

I met some LA agents too who said, ‘Hollywood needs you!’ It was so overwhelming. I think that’s what America is all about. They value artists. Irrfan (Khan) and Om Puri worked in Hollywood and so did Shashi Kapoor long ago in England. Anupam Kher continues to work there. In fact, I gave an audition there. The managers from LA are in touch with me. If something materialises, I’ll have a management company officially looking after my work. The good thing is that they approached me after seeing my work in Monkey Man. I have worked across India and now I think I should work globally.

You said your look in Monkey Man has been loved. You have sported some very interesting looks throughout your film career. Which are your favourites?

Makarand Deshpande: I think you need to represent a look with an understanding. In Satya, I didn’t play an advocate like a typical advocate. My one question to Ramu (director Ram Gopal Varma) was, ‘Does he spend more time with the mafia?’ Ramu said, ‘Of course.’ I said, ‘So, he’s an advocate only when he puts on a coat while going to the court.’ So, advocate Chandrakant Muley looks like one of the goons. It was a victory for the representation of that character.

I enjoyed my look as Daddy (gangster-turned-politician Arun Gawli) in the Marathi film Daagdi Chaawl (2015). I think that look and performance was impactful. The look of a gang leader that I played in the Kannada film Dandupalya (2012) also became a rage. The film was an equivalent of Satya – no well-known actors but the film became such a huge hit that it became a trilogy.

Recently, I did a Telugu film called Hidimba in which I played a cannibal. My skin is darker in that role. I am sporting a very interesting look in my next Marathi film.

Do you feel sad when you have to cut your trademark long hair for roles that need shorter hair?

Makarand Deshpande: Yes. I do it if the role is that interesting. The role of Nizam in Razakar wasn’t possible with long hair or with a wig, so I cut my hair to suit the character.

How do you approach playing controversial characters such as Arun Gawli (Daddy) or Nizam Mir Osman Ali Khan (Razakar)?

Makarand Deshpande: It was extremely difficult to play Daddy – how it would turn out – because the real person is alive. But to tell you honestly, I don’t overthink it. I don’t let the doubt creep in. Once I agree to do a role, I stay positive. In Razakar, I was a bit nervous about whether it would be perceived as a propaganda film. We are actors and we don’t want to be labelled as actors of propaganda films. We want to be part of ‘films’.

You have acted in a film directed by singer Arijit Singh.

Makarand Deshpande: I can’t tell you much about the film but I’ll tell you this incident. Arijit was shooting a live show in Nagpur and I was there. What started at 2pm went on till the next day. We were shooting in scorching heat and it suddenly started raining. But Arijit continued shooting like a madman. His throat was gone. I wondered how he managed. Then he came back for dubbing after a year or two. He disappears. He is creative. He is in search of life. He is a seeker. I speak in English in the film. It’s quite a role and I am waiting for the film to come out.

Most of your time is devoted to theatre. What draws you to films?

Makarand Deshpande: Money. I have to support my theatre. Lately, I have been enjoying acting in films. Otherwise, I used to run away from films. I would do cameos. I have said yes to another prominent role. By that, I mean many shoot days. Usually, 12-15 shoot days for a film is okay with me. For this new film, I have said yes to 35 shoot days.

I remember in the 1990s, I used to get offers to shoot for 45 days outdoors. I used to say no. But now, I am open to more shoot days, which means I am enjoying acting. And if I am enjoying acting, I should act.

What keeps you doing theatre?

Makarand Deshpande: The love. The satisfaction.

What does theatre need to do to survive?

Makarand Deshpande: There’s an audience for theatre. We need more theatres and we need economics to be in our favour. Maybe subsidies. Why shouldn’t the government help the theatre industry? Build theatres and give them at a lower rate as rent.