Sidhant Gupta turns a year older today and he insists that the day for him is about analysing his self growth. “Every year, am I a better version of who I was a year ago? It’s a self reflection thing that I go through,” he says, sharing his birthday ritual with us. “I have a birthday ritual of welcoming my birthday by watching a film. Last year, I watched Sinners, and this year, I might go and see The Drama. My mother is also coming, so I will spend some time with her too.”
Professionally, Sidhant Gupta is excited as he is gearing up for his show Teen Kauwe, and after having done three period projects back-to-back with Jubilee, Freedom At Midnight and Black Warrant, he is glad to be entering this century with the upcoming show. “This has been spectacular for me and when it comes out, I hope the audience tastes that through the screen. I’m attached to everything that I have done so far, but personally, this is my best work yet. With this project set in current times, I get to explore action which is the first time I’m doing in my career,” he says.
With all his three previous characters having been protagonists with soft demeanour, Teen Kauwe sees his take up a more physically aggressive part. Does he feel it has become the need of the hour as well for actors with films like Dhurandhar, Animal, who have violent protagonists, working at the box office? “One quotient that people go for is to make films about business, and this is supposed to be art. I honestly can’t even think on those lines. It’s not that if the audience is liking a cola, you bring out more brands of it. While business is important for the films and stories to be made, it’s the individual’s language that has been missing for a little while. It was all confusing. Even the scripts that I was reading were feeding the business. In that, an individual is losing his own personal language and a story needs to stem from an authentic place for it to work,” he responds.
The actor adds, “Thankfully, all the scripts that found me, had been cooking for years. That is what must set the tone of cinema. Dhurandhar worked because there is immense conviction in the story, it’s not about feeding to what is working. Aditya Dhar is a genius because he is like ‘you love music, I’ll give you great music, you love violence, I’ll give you the greatest violence, but let me tell you my story’. At the end of the day, as an artiste, one needs to get into the story, not thinking what is working. It’s about being interested in the script and that translates that way.”