“There were times when I really struggled with how big a sycophant Pushkar had become,” says Tanmay Dhanania about his role of a political journalist in Hansal Mehta’s Netflix series Scoop. Basking in the appreciation that has been coming his way since the release of the series, Tanmay chatted with us about how he prepared for the role and the challenges of playing a character with grey shades.

What made you say yes to the role of Pushkar in Scoop?

Tanmay Dhanania: Hansal Mehta! One word answer. (Laughs) Seriously speaking, what was great about it was the way I was approached for the project. I got a call from Mukesh Chhabra’s office saying that Hansal Mehta had confirmed me for the role of Pushkar in Scoop. Bagging a role without an audition does not happen here often. A lot of people know that Hansal Mehta was one of the producers of my film Garbage, by Q. He had seen my work and he knew what he wanted from me.

I requested to read the script. Usually people don’t really agree to give the full script. Hansal gave me the entire 600-page script. He met me a couple of times; he said this is a part that is not based on anyone real. Pushkar is meant to be a certain way, an archetype almost, who takes the story forward, which helps us have a little more empathy for the main character, but has his own arc as well. He kind of requested me to do the film. That was one of the beautiful things. Directors like Hansal Mehta, Aparna Sen approach in a different way for their films. They don’t command. They are very humble about it. They respect me and my craft and my journey so far. Once I read the script and spoke to Hansal, it was a no-brainer to get on board.

What was it about the script that attracted you?

Tanmay Dhanania: In India I don’t feel we have really gone so in-depth in the world of journalism. To get into the story and to understand what has happened was very interesting to me. Also what was interesting is that it was set 10-12 years ago and I feel that Indian journalism was about to turn the corner into what is happening now. What was really beautiful to me was to see the character of Imran Siddiqui, played by Mohammed Zeeshan Ayyub; how he’s fighting, standing up for ethics.

It was very important to get the vibe of the newsroom right. What was Hansal Mehta’s brief for you?

Tanmay Dhanania: Whenever I get a role, I go deep into preparing for it. Hansal also believes in that. We had readings of the entire script long before we started shooting. Each and every actor was a part of the process. We read the script thoroughly and discussed things.

Hansal’s DA (director’s assistant), Ankur Pathak, is a journalist as well. He was an on-set consultant for us. He would explain the vibe of the newsroom, how a journalist gets a story. I latched on to him. I asked him to hang out with me and he was very forthcoming. We met a lot of wonderful journalists in Bombay.

One of my close friends is a senior editor at The Quint. She gave me a lot of insights and connected me to people. A lot of my friends from Kolkata are journalists. It was fascinating to go deep into that world and to understand it from my own context. It is very analogous to an actor’s career in terms of the hunger that I need to get somewhere to get the right thing. I understand where it comes from.

Trailer Link: https://youtu.be/mmnQzRP-NZ4

Pushkar has two contrasting sides. At work, he’s jealous of Jagruti’s talent and tries to belittle her achievements. At home, he’s an understanding and supportive husband to a woman who’s facing the same prejudices as Jagruti at her workplace.

Tanmay Dhanania: I think this is what made it interesting actually. The contradiction is explained by one word — humanity. People who are terrible have the ability to love or be loved and the biggest saints have moments of anger and jealousy. These are very human things.

If you have seen my work, you know that I’ve played quite a lot of twisted dark characters. It is one of the rules of acting that you never judge your character. If you start thinking about the character as a bad person, you’re going to end up caricaturing them.

It is interesting to see that what we consider evil is kind of a combination of factors that needs people to do certain things which are considered evil. It is people who are suffering in their own way. That kind of interplay in the character to me was never a contradiction. The way the story progresses, the interplay really informs it as we can see a change by the end.

Did you have any real-life journalists in mind for reference?

Tanmay Dhanania: Danish Siddiqui. I know that Pushkar and Danish are in no way alike. I looked up to Danish Siddiqui and understood how photojournalists go deep into the world and on the line of duty they lose their lives. I think Pushkar could have gone that way as well. The editor Imran Siddiqui says to Pushkar, ‘I’ve seen you struggle with your love for journalism and your ambition.’ This defines so many of us and so many of our careers.

People like Danish Siddiqui and Ravish Kumar are inspirational journalists to me. Also all the journalists who are working day in and day out, uncovering the truth, making sure people know what’s going on and trying to keep the basics of ethics in journalism in place. Of course Pushkar’s character is not like that. But I want to believe that at least there was a moment in his life when he was younger when he was idealistic. The ambition took over along the way. He kind of changes in the end and promises to go back to working with ethics and questioning the wrong.

What was the most challenging part?

Tanmay Dhanania: There were times when I really struggled with how big a sycophant Pushkar had become. I had to fight for him as the actor playing the part. I worked on the tone of the character to not make him an out-and-out asshole. I spoke to the director a lot. It was tough sometimes to get the tone right. There were a couple of scenes which were challenging. One of the toughest ones was where I speak to my wife and I say certain things which are really on the edge of ‘how can any husband say these to a wife?’ I was really fighting for it to be underplayed to not hurt the wife character.

Actors tend to just focus on their part. I come from theatre where parts are written in a way that they all fit into the whole arc of the story and your job is to take the story forward.

After Garbage, Cat Sticks, Nazarband and Scoop, can we say you are attracted to characters with dark shades?

Tanmay Dhanania: (Laughs) Directors who want a certain kind of complexity in the dark characters they are writing are attracted to me! I am very attracted to it. I’ve played nice guys too. I enjoy the challenge of it for sure. Sometimes these are parts that other actors reject.

I don’t mind playing a nice guy, but it has to be a complex character. As soon as complex comes in, there are shades of grey, non-empathy, sociopathy. As a character, you can explore all these parts, and understand yourself and humanity through it.

How has it been working with Hansal Mehta?

Tanmay Dhanania: Hansal is such a lovely person. He’s an easy-going, relaxed person on set. In between takes, he would start talking about food and share anecdotes. He’ll tell you a Chhola Bhatura recipe in the middle of a take. He has been there for 35-40 years and he’s so passionate about what he does. When I’m in the industry at that kind of age, I want this passion to stay. I don’t want to care about money, awards. I want to be as passionate about what I do. That is what I learnt from him. He is just so humble. He would at times drop me home and tell me amazing places to order from on food apps.

What kind of thought process goes into choosing a project?

Tanmay Dhanania: Money! (Laughs) I think people have an idea that I reject a lot of things. I don’t, actually. Working as an actor is like London buses. When nothing is coming, nothing is coming, and then suddenly three-four people come up at the same time. Around Scoop, I had to reject big projects because it came first. Also, I don’t really feel like doing many projects at the same time because I tend to lose focus and my work suffers.

The first thing I look at is the script. But of course when Aparna Sen and Hansal Mehta approached me, it’s different. I always read the script and make a decision based on it. And of course we live in a commercial world. An actor has to get paid. For an independent film, when I love the script and I’m a part of the making of something, the money chats are different. For a commercial project, there can be things that I am not fully convinced about and the money can bend it in its favour. I’m being open about this. I don’t think we should beat around the bush anymore.

What is next in the pipeline?

Tanmay Dhanania: There are a few releases this year. I worked on this film called Lord Curzon Ki Haveli, directed by Anshuman Jha. It has Rasika Dugal and Arjun Mathur. Arjun is an old friend of mine. Rasika is one of my wishlist people to work with.

There’s an anthology I did with Applause Entertainment. There’s another film in which I worked with Achal Mishra. I am also doing some experimental work, making a play in Goa, and making an experimental documentary. These are projects I do when I am not working on anything.