All language subtitles for Kareena, Ananya _ Kalyani on Power, Risk _ Being Real _ Women In Entertainment _ THR India

Like I mean like I did tell Farah that
listen I can't dance like Hrithik.

Because Hrithik is Hrithik you know. So
please just take my close up but I

promise I'll do it with this.

Everyone keeps saying oh you should do
films like this. You should do films

this. But there should be films.

Yeah. And honestly if you're telling
that to an actor I'm going to give a

disclaimer here. Say oh I hope clips
like this come to you.

In my vanity van, on the mirror, I have
a picture of Lolo. And I have a... It

says, I am your favourite.

Correct. And there's a picture of me,
which I put up on my birthday every

Me, at nine years old, holding a picture
of Kareena. I'm just smiling.

Karina, Kalyani, Ananya, it is so lovely
to have you on The Hollywood Reporter.

India, so lovely to be sitting here at
the presidential suite of the JW

Marriott. Sahar, cannot wait to get this
conversation started.

What a fabulous idea, I think, to have
the three of us. I know.

Exciting. I want to say, like, this is
the perfect too much beauty, too much

talent in one frame moment.

Also, so nice to have the three of you
on the cover of our Women in

Entertainment.

power issue.

You're all powerful.

You're all at such exciting places in
your respective careers.

And of course, you are on the power
list, which is a list of the 50 most

powerful women in entertainment, which
is part of our March issue.

So I have to start by asking all three
of you, how do you personally define

power, Kareena?

For me, I think it's always been about

The presence on screen.

Somehow it's whatever you are on that
big screen, it just holds that powerful

moment. And it's not the different parts
or the success of films. I think it's

just the fact that if you can command
that attention, whether the role is big,

small, however it is. For me, I think
that's the power of an actor.

And that's something that I've always
guarded closely with me. So for me,

it's... Just being even in a big film or
a small film or doing something

different. But just holding whatever
I've got in that moment in front of the

camera, holding that.

And if I can grab the attention of the
audience with that, I think that is

awesome. Nice. Kalyani?

You know, in an interview a while back,
somebody asked me, do I want to be an

actor or a star?

And the first thing I said was, I want
to be a star. Not because... No, and

funny because the woke answer would have
been, I want to be an actor first.

But here, and I'm a very private person.

And I have massive stage fright. I told
you how nervous I was right now.

So it's not the popularity that excites
me, but it's the freedom.

I feel like, at least right now, in our
country, producers are more... willing

to back stars more than they are willing
to back stories.

And I think that that's mainly the
reason I get the freedom to choose the

stories I want to give them the kind of
backing that I'd be able to give them

if I were a star.

And so for me, yes, I think power is the
ability to actually

do that.

Though I have to say your producer, hats
off, Dulkar Salman. I wish more people

were like that. I don't blame people for
being very, you know. Yeah, it's their

money. It's very hard for us to stand
outside and be like, oh, you should be

putting money into this, but it's not
our money.

Yeah, yeah, yeah.

Anand? I think for me, power is making a
difference because I think as actors,

we're able to do that on screen and off
screen. You know, on screen with our

characters, we're able to make an
impact. I directly felt that when I did

Gaye Hum Kahan because so many people
came to me and they were like, we felt

seen, we felt represented. And of
course, like, I've grown up. I don't

make Kareena feel like that. But I
really like some of the characters she

screen. I was like, I felt like.

I'm understood finally, you know, like
something like the way Geet would just

talk non -stop. I was like, oh, you
know, there's someone like us on screen,

know, we're finally being represented.

Someone needs to tell me to be quiet.

So I feel like that gives so much
comfort to people when you feel like

seeing yourself on screen, like movies
give that to people. And I feel off

screen also, like as actors, when we get
the power to say no, especially as

women, we're setting.

precedent to so many girls coming after
us so i think being able to say no and

to make a difference for me that's wow
yeah you know when karina when she was

asked what are the two what are some
roles you wish you had done she did say

and geese i can't do it like her but
like i think obviously like the most i

knows that like i'm upset yeah but now
why look at it i mean all the i think

everyone's choices.

I mean, both of them are just absolutely
spectacular in terms of, you know, just

being brave enough to choose the kind of
work that I think both of them are

doing. Yeah. Yeah. Yeah. Do you, any of
you remember a moment in your careers, a

project, a scene, a moment on set when
you felt that you had the power, when

felt that you could.

give feedback or ask for something or
say no I don't want to do this because

not comfortable it takes a while it like
I feel like

my first few films I didn't know that I
could say no I didn't know that I didn't

know it was possible to like because I
started working when I was 19 I didn't

know that I could like you know say that
i'm not comfortable doing something i

don't want to like even wear something
on set or i'm not okay saying this

dialogue because i think sometimes we
also don't realize that like films are

forever you know like just the smallest
things that you might say people are

going to watch it for years and people
are going to remember it and try to

imitate it or copy it so you have to
really remember that when you're acting

know of course you're an actor you
should be able to do whatever part that

want to play but you have to remember
that it's going to be forever and films

are forever so i didn't feel like in my
first few films i was like oh i don't

know that i can say this i can say that
i actually learned from dipika on gear i

am because i saw how much strength she
had and how she conducted herself if she

wanted something she would ask for it
and it was never like oh she's asking

too much because she did it in such a

graceful way in that sense so if she
wanted silence on set or someone not in

eye line or why is this dialogue a
particular way or I want to understand

better or if she was asking questions I
was scared that if I asked questions

they'd be like she's too much why is she
asking so many questions but when she

did that that taught me a lot that no
you have to do that you should be able

do that and that kind of gave me the
strength now I'm only asking questions

really be checking everything

Kareena, do you remember? Because 25
years ago. No, no, we just did what we

told. We just wore what we wanted to. I
mean, like what we were told to be like,

okay, with everything.

So, I mean, I've seen like a transition
from that, even though I've always been

very vociferous about the way I kind of.

felt about things you know like if I was
like like I mean like I did tell Farah

that listen I can't dance like Hrithik
Roshan because Hrithik is Hrithik you

know so please just take my clothes off
but I promise I'll do it with this so

that I used to always be like I am you
know honest enough to say that and I

that was going to help me only because
I'm like if you're going to put the

camera wide and I'm going to be dancing
with him and I'm going to look I don't

know what cracked don't do that it'll
ruin me so I mean I think if you kind of

know what you want also, I think one
should always put yourself first and

forward in the film. Because I believe
that, you know. I mean, it is, of

an entire team effort, but you have to
look a little bit inwards for yourself

also and speak that.

Because that probably helps the film
ultimately.

I mean, right now, at least, of course,
after so much experience it does.

Earlier also, I mean, I would want to do
things that I was comfortable in. So

that I was very clear about.

Of course, I mean, the director, when
you write dialogues on the set in those

days and say, okay, now we have to say
these lines. And I'll be like, oh, okay,

fine.

I mean, that's the level of good you had
to be, Anu. That's right.

It was the lines. Learn, perform.

And then convince everybody that you're,
you know. So now, I mean, scripts are

given like before everyone's doing like
three months of prep.

Correct. Prep to, I mean, what was prep?
We didn't know. So, I mean, I'm happy

that I've got this, like, time to just
journey, to just learn from, you know,

that to this.

Kalyani, are you able to speak for
yourself?

I mean, I think I've been lucky to work
with directors whose first question is,

are you okay with this?

Nice. I've been very, very lucky that
way.

But I do, I mean, I'm sure if I was...

in any other position, I don't think I
would have spoken up as much.

But no, I've been very, very lucky with
the people that I work with. Their first

question is, would this be okay?

And I think once or twice when it comes
to things like, you know, she's right.

We often give everything for a take.

And we don't like to say no to our
directors.

There are moments when you're incredibly
exhausted or incredibly tired and you

give a shot. And then when you watch the
movie, you realize your eyes are like

that. And nobody else is going to
understand that you were tired or you

working 22 hours. No one's going to
understand any of that.

I've learned to understand when it comes
to, I mean, I give everything for my

shot and I've learned to say, hey, this
is probably better for the film if I

take some.

Like, yeah. Correct. That's what I
meant.

That if you are, in a sense, looking out
for yourself, eventually that looks out

for the future. Yeah, absolutely.

And in fact, the first person I learned
that from is watching Fahad.

Yeah. I literally, there was a moment
where I think we were shooting at maybe

one o 'clock and you know how the light
is at that point and the light's right

in his eye and he's like.

you know what, the light is right in my
eye. It's going to be really bad on the

big screen.

I gave him my shot. I was like, okay,
you want my shot? I'm giving it to you.

But he was like, when it came to his
take, he was like, I need some time

this is going to be a problem.

He went to the caravan. We waited an
hour, broke for lunch, came back in one

take. Everything was great.

So, I mean, I learned to say, oh, this
is probably better for the film.

And then I learned to say, guys can, but
yeah.

How lovely to learn from Fahad.

What a privilege.

You know, I don't know if any of you
have seen this film called Sentimental

Value. It is just the most gorgeous,
moving story of a family in Oslo.

The father is this aging film director,
comes back to make a movie after 15

years, a feature, wants to cast his
daughter, who's an actor, the older

daughter. But, you know, they have a lot
of...

animosity between them she says no and
then um he does this they're all sitting

together the family and he has this he
launches into this monologue about

actresses okay and this is this is what
he says he says it's hard to be an

actress you decide nothing yourself just
wait for people to want you it erodes

your self -confidence and your need for
attention becomes insufferable I could

have never married an actor.

Okay, and I was just, and of course, you
know, he's bitter, he's trying to hurt

her, and he does, you remember this
moment, Ananya, and, but it just, I was

like, oh my God, like, what a way to put
it, right? And it's Dallin Skarsgård,

who's just an incredible actor.

Yeah, he's so good.

And I was just like, does any of this
resonate?

Does, is any of this?

Not true, but are there these moments
also in an actress's life?

Okay, I'm married now. So I mean, I know
that the difference, but

I guess it is difficult because you're
constantly, you know, like

always thinking about maybe yourself,
how to.

It is because it's such a medium of
being, you know, a visual medium and you

so much love and, you know, you get so
much, like people just go crazy about

you. I think that kind of maybe plays on
your mind so much that maybe being in a

relationship, that's how people look at
it. Like it's very difficult with an

actress because somebody who can
probably, you need to love yourself so

But I feel like not all actresses are
like that. And not everyone is like

because there is a human side and I feel
actors who are like amazing actors have

this human side to them which you can
see on the screen and that human side I

mean is what they are and also which
they do bring to their characters so

side I mean you can I mean it's you have
to learn to love someone

And that just happens, you know. Yeah. I
mean, earlier on in my career, I think

everything was about, like, okay, you
know, what I have to do, like,

like, probably, like, you guys are
young, so it's like, you know, I want to

this movie, I want to do this, I want to
do that. And then, you know, it kind

of, like, shifts.

You ride the wave. You ride the wave and
it keeps changing and just, like, our

life kind of, you know, changes with
time, with, you know, age.

You kind of realize and your needs and
wants as a woman, you know, change.

from a girl to like a woman yeah you
know so um i think it's the best thing

like i could have done with being
married so for me it's a different time

think like i'm doing my best work i'm a
better person i feel i'm much more

relaxed everything all because of the
fact that you know there's this human

relationship that i hold very close to
my heart whether it's with my husband or

my children and that's irreplaceable and
that kind of makes me allows me the

freedom to also

be the actor i am on screen yeah yeah
yeah yeah but you've also managed to do

this i mean every phase of i guess Your
life, you've managed to find that

balance. Can I ask her? Of course you
can.

No, but I think it just happens. Like
Anush said, right away.

I really can't imagine.

And I don't think this is just for
actresses. I feel like I've seen this

father. Growing up, he's almost never
around. He was doing what he loved to

And that's kind of why I'm here. Because
I saw him enjoy himself so much on

sets. And I was like, I want to love my
life.

Exactly like this.

But at the same time, you have to
sacrifice something. That's why I kind

wanted to understand how you do this.

This is going to be the Kareena
masterclass.

I came with a list.

This can't be on Hollywood Reporter now.

I think everyone would like to know
this.

But I want to know what you think of
this.

What did you, Alanya, you've seen this
film, so you know the moment. What did

you feel?

No, I mean, I don't think it's limited
to actresses. I think it's everyone in

the film industry, at least because as
Kalyani said, even I've seen it in my

house. Like I've seen it with my dad and
how he's had to adapt to the times. You

know, he was a big star before I was
born. And then after I was born, he kind

had to.

shift and you know do films in another
country and then he came back and then

was doing different character roles he
wasn't how he was when he started off so

i've seen that shift and i've seen that
insecurity and how it kind of plays out

waiting for the phone yeah everyone you
know everyone like because so much of

our like our validation is is based on
just Like on Friday, like it's literally

and it's for the world to see. It's not
like you're getting a promotion at a job

and it's just you and a few people who
see that. The whole world is seeing it.

Everything is so public.

So I don't think it's limited to just
actresses.

But I think personally, like.

You can't let it consume you. That's
something that I've learned because even

when, like it's not been so long since I
started, but I also used to just

completely base my validation on how the
film is going to do. And that's not in

our control. We can't do, like no
matter, you may sign the most picture

script, you know, on a script level,
like, oh, they have the right actor and

director and producers and it's a big
film and we have a great team.

and then the audience doesn't like it,
then nothing is really in your control.

The only thing that you can control is
getting better at your craft and working

with good people and enjoying what
you're doing, you know. And we're so

and privileged to be able to live this
life, you know, to be actors every

day. So we have to enjoy it, you know,
and we can't put so much like pressure

and like, because it's never going to go
the way we want it to. Like the most

amazing things don't turn out that way.
And something you thought.

is never going to work out turns out to
be a huge hit so you can't let it become

everything about you you have to have
other things in your life going for you

like whatever it is that makes you happy
you have to have something else

otherwise you're just gonna like i think
lose it completely because it

After a shot, it's like I look at my
director for validation.

When I'm ready, I'm looking at my hair
and makeup. The film comes out, I'm

looking at the audience.

My parents watch the film, I'm looking
at my parents. Everything is about what

other people think about you. But you
have to build such a strong sense of

to just not let it affect you. That's
what I think.

Yeah, I mean... What did you say?

I mean, it's exactly that. I just feel
like...

But more than that, also, I think we're
all here.

I can't speak for you guys, but I think
we all saw the downs as well as the ups

of our parents.

And we're here because we love cinema.

I don't think any of us would have
gotten into this if it wasn't for that.

all seen the downs. We've all seen
what...

how it can destroy a person when things
aren't going right.

And so we still choose to be here
because of our love for cinema. And so I

that reminder to myself that I'm here
for cinema and not for anything else is

what keeps me somewhere sane.

Does that make sense?

Yeah, of course.

Yeah. Such a grounding, you know, factor
is just being here and the work that

you do. Yeah. I feel, you know, that's
just the feeling that you get. And I

think all of us are here. We're all...
like different kind of actors, but it's,

you know, language, no barrier, you
know, performances. I think we're all

because the three of us, because of the
love for just the craft and just, just

wanting to be there and do it. Yeah.
Yeah, absolutely.

Speaking of the Kareena masterclass.

I love it. Why?

Why? Because I've said this to you
before, but because I think it's worthy

repetition. The fact that.

you have kind of changed notions of
aging and desirability

and what when is a woman sexy I do
believe that I think I think you've

it yeah right I mean I would like to
believe that I mean I know like you say

there's a lot of people that say that so
because I think that I've just like

been there done it seen it all like

what excites me more is like, you know,
going bare in Buckingham Murders. You

know, I mean, what, I don't care what
like, you know, people feel, what they

say, they're okay.

Aging, I mean, this is it.

I'm in 2026, I'm going to be 46. I'm a
mother of two and I believe I look

amazing. You do.

And I've been a size 10 and I want to
own it and I want to be known for the

actor that I am. You know, I mean, of
course, everything like in terms of

fashion or couture or whatever.

I mean, look at it. I mean, like, I'll
do and wear what exactly I feel at that

moment, you know. But I always want to
be known as the fact that, for the

Yeah. You're not as an icon, are you?

No, I'm not an actor. I'm a fashion, I
want that. So, I mean, I'm like, what is

it, ya? It's okay. And how long are you
going to keep running away from me, you

know? You can't. I love you.

I'm having a blast in my 40s, Anu. I'm
loving it.

That's fab.

Yeah. That is fab. That is fab. Look at
it. I'm sitting with Ananya and Kalyani

and we've all done some amazing work. I
mean, like, who would have thought?

But we told you, right? I think...

Neither of us slept because we were so
excited.

In my

vanity van, on the mirror, I have a
picture of Lolo. And

I have a... It says, I am your favorite.

And there's a picture of me which I put
up on my birthday every year. Me at 9

years old holding a picture of Kareena.
I'm just smiling. Because she loves

herself so much.

That makes us love ourselves. You know,
it gives us the confidence of being

like, oh my God, who cares? I love
myself.

That's so amazing. If you can instill
that like in a younger generation,

amazing. I think that's the first way.
If you can love yourself, then you'll

have the ability also to kind of just be
happy and love others. We have to have

the confidence in ourselves.

So, you know, I mean, this ageism in
today's day and age, so I don't believe

that because...

I think today it's all about who's
doing, who can do the part.

Yeah. Yeah. It's about the work.

It's about the work. Absolutely.

It's not about like whether who has, you
know, six packs or who has this, who

has that. I think people are talking
about like the part you're playing.

You know, at the end of the day. Yeah.
Yeah. So, I mean, that's what it is.

I told her, I watched her film and like,
you know, it's amazing.

Look at the kind of work. I mean, today
it's like.

look at it. She's so young and, you
know, brave enough to do, you know, a

like that. And people talk about it. I
said that it's about that because you're

looking at her eyes. You're looking at,
you know, not what like she's wearing or

what's happening or all of that is all
like a, it's a parallel track that

happens. But ultimately it's about
what's in the frame and what you can

That's all.

So let's talk a little bit about what's
in the frame, right?

Because I think Loka was absolutely my
favorite film of 2025, but I think Loka

is an outlier, right?

I think right now we're really in Indian
cinema as a whole is in a hyper

-masculine era, right? The movies that
are really landing are the ones which

have larger than life men who are either
saving the world or saving the nation.

Women are peripheral characters largely.

Violence is... very, very strong as a
selling point.

On ground, when the three of you are
looking at scripts and you're choosing

projects, what are you seeing? Are you
seeing enough material that's, you know,

that's giving you meat?

I mean, I've been thinking about this
for a while now and I don't know if it's

the masculinity aspect, but what I'm
seeing and so I always believe the

dictates where cinema is going. It's not
producers that sit behind a desk.

even casting, it's always the audience
and their interests that get people to

cast the kind of actors that they cast.

And right now, I'm going to say it's a
trend because I believe it's a trend.

It's not going to last.

But the trend has always been about
spectacle.

Sure. And every scene has to be
sensational or shocking.

Yeah. And I think that it just comes,
like it translates that these...

like violence like you can show
spectacle with violence you can show

with like crazy shocking things and I
think that's people are thinking that

that's what's selling cinema I don't
think that that's what's selling cinema

right now but I think that that's where
it's heading right now and we're losing

the small films like you said we're
losing the small moments we're losing a

of the emotional

moments intimate moments and and it
scares me a little yeah it genuinely

me but i believe it's a trend because
it's not cyclical i mean you've been

through enough of these it all goes and
comes back and the rest of it right yeah

but are you seeing scripts that give you
you know characters that you feel like

oh my god there's flesh on this girl i
want to be her

I think if we saw it, then we would be
doing those films.

I think like, as Kalyani said, it's
everything is very, like, you know, when

Sayara also came out, suddenly
everyone's like, let's make Sayara and

make, like everyone wants to make. Or
the horror genre. It becomes like that,

you know, or if you do a part, like when
I did Khogai and Control, then suddenly

I was only getting films about like Gen
Z and like social media and that kind of

stuff. So you need someone, like how
Kalyani did in Loka.

you need someone to kind of come and
break the clutter but i mean it just

everything just feels a bit repetitive
in that sense you know everyone's just

trying to make what's working but I
don't know what the solution is. We want

something fun.

Something fun.

Something like a breather. I love this.

Women having fun.

And that's proof that that works.

Yes, yes. That's proof of many things.
That's proof that a woman can be a

superhero with Loka.

So that's proof.

But it's... I don't know. Do you get
frustrated at not seeing enough good

material?

Yeah. Now I think it's all like thriller
and crime and gore and blood

and stuff.

No fun, energy, colour.

Love song, love, romance.

But also I'm really hoping that I think
what worked for Loka is we had an

amazing woman writer on our team.

And I wish that movies would have more
women writers in them because I feel a

different perspective comes that way.

I mean, men write what they know, right?
And so you can't blame them if they try

to write for a woman. It will go a
little off in my opinion.

So I just think that's why movies are
being made this way because there aren't

enough. Maybe it's an assumption.

But maybe seeing a few more women
writers might change that. Yeah, I think

a systemic thing that needs to happen.
It's not just actors choosing, but it

to come from producers, directors.

Everyone kind of has to...

come together and find a solution
because like we may feel like there's

enough scripts but they may feel like
you don't really know anything fun or

played fun fun ish fun ish and you know

every time i've done something that's
been like 70 % where I'm like not

completely convinced it's never gone
well so then I don't even 70 % no no it

to like and I'm like really like if I
the first time I have to love it if I

back and think about it it means that
I'm there's you know I've been convinced

about it if I have to be convinced to do
something I don't think I should be

doing it so yeah but it's also hard
because we

I mean, everyone keeps saying, oh, you
should do films like this. You should do

films like this. But there should be
films.

Yeah. Yeah.

Comedy.

Yeah. Yeah.

That's what I'm saying. And honestly, if
you're telling that to an actor, I'm

going to give a disclaimer here.

Say, oh, I hope trips like this come to
you. Yes. That's better than saying you

should do it.

I think so.

Yeah. Be a writer and write more.

Yeah. The advice is everywhere.

Yeah. Yeah. You know, there's also the
whole thing last year, of course, which

there was like a collective meltdown
about normalizing eight hour workdays.

know, Deepika wanted eight hour
workdays. Everybody seemed to sort of go

this complete frenzy about, you know,
oh, my God, what is she saying?

And the truth is that many, many men
have for eons kind of said, OK, we will

work these hours or we will work those
hours. Right. But it's also true that

film is privately funded. All films come
with their own budgets, with their own

requirements. And you do whatever it
takes to get a movie made.

How do you personally deal with this? Do
you set boundaries? Is it according to

the film? I mean, like, for example, the
Buckingham Murders, Karina, what...

Because you're working in a budget.
Yeah, definitely. You know, so then,

how do you deal with those questions?

But, like, for that, I had to, like, be
away in London and it was, like, 35 days

in London. So, I mean, like, we kind of
divided the shoot where...

I would go come back twice because we
had Diwali in between. So we planned it

such a way. So I feel like everything
needs to be really well planned.

And you have to be very clear right from
the beginning. But I'm also lucky that

I will be like, this is what I can do.

This is because I have two children. I
need to come back. You need to shoot

other portions while I come back to
visit them.

And then I come back and I finish the
rest of the series.

kind enough to understand that I'm also
kind of like lucky because when I'm

doing a film at that time then Saif is
with the children so if you're in a

marriage I think you need to have like a
partner who understands that this is

because we can't both be working and
leave the children alone so it's an

understanding so if Saif's working right
now then I'm kind of not on a movie so

it is a little bit of sacrifice of time
or a film or

you know, maybe saying no sometimes to a
film particularly, you know, because in

that time zone, he's working and I'm
free.

I mean, and so I need to be with the
children. So I feel like, obviously, if

like you are married, you have children
and as a woman, if you do not want to

give that time, you should be able to
have that freedom to say that this is

I want. This is what I want. I can only
work these number of hours. I think it's

particularly fine to say that way before
a film starts.

Yeah. You just, plan it you have and you
have to be honest so if you're being

honest that this is the time that we can
i can give you i think it's totally

fine and of course few days might go a
little haywire because i mean it's the

movie business yeah there's there's no
way that you know and someday something

might not go wrong or some sort of issue
or location yeah something you know so

that you have to have that openness not
everything is going to go as planned

So... That much flexibility you need.
That much flexibility definitely should

there. Because then it's tough
otherwise.

Yeah. What do you guys do?

I don't know.

I think they are the 22 hours.

We're also in very... We don't have
kids. Yeah, we don't have kids. It's a

different thing. Of course.

But if you're tired, you can't shoot 22
hours.

That happens like once in some time. Oh
no, because the Malayalam industry is 16

hour shifts.

16 hour shift. We just had a thing that
brought it down to 12 and

I think it's a huge win for our
industry. I think in decades, Prithvi

telling me they just go on shooting. 6 a
.m. to 9 .30.

It's... It's at 16, no? Yeah. I'm really
bad at math. 16 and a half to 9 .30.

Every day. And there are no Sundays off.

Yeah. So like, we don't really... And...

What that affects in my head is the film
in the end. Because it's not just us

actors.

The entire crew is on set. And the crew
has to come on a pre -show. Yeah, yeah.

That's crazy.

All the safety on set depends on them.

So it's a big deal that we've even
shifted to... I mean, it's not started

but they're about to start next week.
And it's a big win for us. I think

all of us were...

ecstatic that this new role came in. So
now that it's 12 hours, because I've

always wanted to do a Malayalam film.

Now, yeah.

So now 12 hours now, we can't consider.

But you know what, like ma 'am said, I'm
sorry I'm calling you ma 'am, but I

have to. No, please, not at all.

You can't say that.

You make me sound like I don't know
what.

Like I said, K is good.

Icons are always ma 'am or sir for me,
so I shall say ma 'am.

But, yeah, I mean, Cinema can't be boxed
in to fix us, mainly because a hundred

things have to happen right for a day to
go well. Yeah.

If the location permission, sometimes,
like, you know, cops come out of nowhere

being like, where are your permits?

Yeah. It's all gone, yeah.

Yeah. If it decides to rain, it's none
of our fault. Yeah.

One of our co -actors could be doing a
film on another set and their co -actor

could get sick and that'll mess up our
schedule.

So there are a hundred things that have
to happen, right?

You can sometimes get magic in one take.
Sometimes it goes all night.

So it's really hard to box it. But I
think we all deserve respect and rest.

And we all deserve...

And I think that's what happens with
someone like you. When you set that

precedent, there's enough people to come
and be like, you know what, she's

killing it in the eight hours that she
gives us. Yeah.

Let's figure out a way to support her.
And I think that's what needs to happen.

The eight hours never happen all the
time.

Like I said, it is never going to be
fixed hours. But as long as

the intent is there, then I think it's a
good start. Yeah. Yeah.

you're the 22 hour yeah it's actually
the phase in your life you know if

just a new mother then of course you
know and you want to still work you know

that's why things like this happen where
they say women can't work after

marriage or women can't work after have
giving board to children because you

need an environment that supports that,
you know. It's not like forever it's

going to be like that. But also in our
industry we feel like it's always

measured with the fact that of course
producer is saying that finish it

The director is feeling like if I'm
feeling working 22 hours a day that

that I'm like killing it. And so the
number of hours you're working shows

you're like killing it. And actors may
be feeling that I'm so busy I'm you know

like going at it or whatever. But the
fact is that it's like putting everyone

risk. We need to like get sleep to look
amazing.

And everyone needs to be on the ball.
It's like, you know, going out to war.

It's a discussion and I think the film
should be the priority. Like as Kalyani

said, in that eight hours, you come and
you kill it. And like, if Deepika is the

topic of conversation, I've worked with
her. Before she became a mother, she

like, there was no such thing like that.
You know, she was working, coming for

workshop, no complaints, no asking for
anything in that sort of way. And now

she's a mother and this is what she
needs to, you know, kind of, be present

her child at a time when the first two
years of the child and Kareena did that,

you know, she changed the game for like
all of the girls coming after her. So I

think it's okay to have a conversation
with your producer to find a balance

between, it's a private conversation you
must have and it's something that can

be worked around. There's no hard and
fast rule ki itna hi karenge, itna hi

karna hai. I think everyone is like
allowed to have that conversation.

Yeah. You know, Robert Redford said
that,

The problem with success is that it puts
you into a mold.

I prefer independence.

All three of you are very successful.

How are you ensuring that you're also
independent?

You know what? It's actually really
funny because a lot of people have kept

asking me, oh, how has your life changed
post -Loka?

The truth is, it's not. I'm eating the
same food. I'm waking up. I give the

to my films now that I did before.

My day -to -day life has not changed.

The things that have changed are I'm a
part of something like this once every

couple of months. And I get you guys
saying such great things about me, which

very, very new to me.

So I don't really know how to answer
this. But for me, like I said, nothing's

changed. And so I've always put my 110 %
to every film.

And even from the very beginning, I was
like, I, I, it's very, how do I say

this? You can't predict what the
audience will say about you.

But there's, I've, I've said that they
might like my performance and not like

performance, but I won't let them say
I'm safe and doing the same thing again

and again.

So that's the only thing that I do to
sort of.

Be independent.

Yeah, exactly.

Yeah. Yeah. Yeah.

I think just being patient, you know,
like it's okay to say no to something

sometimes and wait it out rather than
catching on to some wave or like trying

just do everything or be a part of
everything. You know, like when you said

that, the first thing I thought of is
this thing only, like when Khogai Hum

Kahan was successful or Call Me Bay was
successful, the easiest thing for me

to... have done at that time is do
similar things and get stuck in that

only playing one kind of character but
and things like that did come to me and

they were great opportunities where I'm
like oh god this film is like with this

person who I've wanted to work with but
then you're just kind of repeating

yourself and you're not learning
anything new as an actor you're just

playing to the gallery or like playing
to what people already see of you so

sometimes just waiting and taking a risk

would give me that independence in a
sort of way like when I did Kesari I

think I could do it and I was pretty
surprised that they came to me for that

because it's completely different from
you know the life I've lived or anything

I've known but I was like okay this is
gonna give me the independence as an

actor to just go into the dark and just
completely learn something new and you

know be in a new situation and just
change everything so I think waiting and

saying no sometimes gives you the
independence you know Kareena While she

talking about risks, I was thinking that
you've done this from the beginning.

Yeah. Right. Year two or three, you were
doing Chameli.

What is it that has enabled you through
your career to take those risks? What

does the mindset have to be?

I feel, I don't know, maybe earlier on,
obviously, I don't know how I, I mean,

I've never thought about it, but it just
so happened that taking risks early on

in my career, I think has just helped
for this.

longevity of my career.

No, no, completely.

But what happened?

Did you think it through? Did you say
this is a risk?

I knew it was a risk at that time, but I
didn't know, like, what it would bear,

like, 26 years later. But you didn't get
scared to do it. Like, you weren't

like, oh, what will people think? You
think she'd be scared for anything? No,

but I'm like, what would she think?
Like, what made you, like... I was

like, yeah, you know, and, like, people
would say that, okay, you know, like...

She can't play this at 22. Like to play
this.

Character in Chameli.

And she wouldn't look like. She's from
Kamatipura. And things like this. And

whatever. And of course. Everyone was
giving that take. And at that time. Also

to do a film. Based on one night.

And with the whole set up. Yeah. It was
like. They were making all those.

Commercial song and dance. Kind of
movies. And whatever. And I was also

K3G. And Mujhe Kuch Kehna Hai. It was
never that.

But I was like.

Hell bent. That I have to do. Something
like this. That breaks away from the

fact. That.

It. just allows me to just show the
world that I want to actually be an

yeah you guys are making me into this
star but I always wanted to be and I

thought but I just said that all my life
I want to act so I want to do different

parts and I think that has led to the
fact that just being comfortable to like

play

this part in Jaane Jaan, Buckingham
Murders, like where I was like, listen,

just want to go completely bad. Don't
touch up because, you know, people are

like constantly like, okay, do this.

I'm like, no, because it has to break
the mold. I want it because I want this

be for the next 25 years for me to be
able to play different parts. I don't

to be stuck in that, that I want to,
okay, no, this ageism factor that no, I

have to look 25 all my life.

I can't and I don't want to.

But I want to act and I want to act in
different paths.

And so then also there was no sort of...

I don't know, like, massive doubt. It
was just, I'm going to do this,

irrespective of what anyone says. Yeah,
but at the most, what will happen? I'll

fail. People will say that I was, like,
not good or, you know, not good enough

or whatever. But I have to keep trying
and wanting to.

Like, I think, like, even Omkara was so
special because it got such, like, a

lovely cast. And you look so pretty.

It's a stunning film. Stunning film. I
don't know. I feel the energy.

Everything has...

It's destiny to come together, you know,
every part.

I mean, like, Omkara was different to
even a small part, like, in three years,

whether it was. It was completely based
on, you know, the students and their

life and what it was and everything. But
somehow, Piya and Rancho, you can't

forget. You know, it's just there.

It's etched. It's a small part. So for
me, it was never about, like, wanting to

be in the center of the part.

I was like, I know I'm going to stand
out in this role because I know I have a

lovely scene with Baman, which was
there. I had the Dhokla Fafda scene,

I'm going to film.

I was like, you know, I keep thinking,
they said, yeah, people will enjoy it.

They'll like me in the film and plus
it'll just be like so amazing. So I have

think like that.

But do you think it was easier at that
time to take a risk than it is today?

In fact, now I think that then it was
very difficult. Now I'm in a different.

I think everyone is.

There are, I mean, you can't, like, Kho
Gaye Hum Kahan, CTRL, all these movies

are different, no? Yeah.

But you think...

Just on, I feel like because of social
media now, like that, I don't know if

thinking of it in terms of like, in a
bubble sort of sense, but I feel like

it's, at that time, so many more films
would come out and it was okay if a film

didn't do well. You could fail easily.
You could fail easily. And now I feel

like because everyone is talking about
box office, the audience also knows that

it's a first day collection.

You just, it's like that. Like people
are asking these kind of questions

going into a film. No, but it didn't
make so much money. Then, How do you

make films for the love of films? And it
feels like too much pressure, you know?

In your choices. In your choices.

Because it's like, now, you know, or
they like, slaughtered like, but this is

OTT film.

Like, you know, people are talking too
much about and putting too many things

boxes, I feel. And at that time, it was
maybe easier to fail because there was

no pressure.

Like, public pressure on that. Like, no
one really knew. But I feel if we chase

box office success and not chase the
art, then you're...

It'll not happen.

I feel it should just keep working and
doing something different and it'll just

happen. The love.

It's about people loving you. I feel
like at that time I just felt like there

were so many more movies and everything
used to just do fine only. Like you

didn't think like how much like now when
I ask someone I was like did this movie

do well at that time and they were like
no.

But you remember like it being okay that
it didn't do well. It wasn't like the

end of the world. There was just like
one or two people who would like

report on a new paper no one would
really or box office and the magazines

would come monthly so no one is thinking
too much we would wait for the

collection so I feel like at that time
things were so much like now everyone is

giving their opinion and their review
like you know like everyone has a take

yeah yeah yeah It is hard. But no matter
how hard it gets, fundamentally, you

can only go by instinct.

Yeah. That's for sure. There's no other
way. Absolutely. Because there's no way

to predict what will work. I'm sure you
never thought you were sitting on a 300

crore. Like I said, the audience, they
surprise you every step of the way. The

faith is in our audience, in our fans.

They are the ones that drive.

You know, everything.

Everything else, nothing else matters.

But like she was saying about social
media, that's what kind of hurts when

things don't go well.

Because you never set out to make a bad
film.

So when sometimes the conversation is,
oh, you know, why did they make this

film? And they say it that way, I'm
like, I don't think any of us thought

this was going to be a bad film. Why on
earth would we say okay to a film that

was going to be like that, you know? So
I think that level of empathy is

somewhere missing on social media
nowadays.

Empathy and social media are not worth
it.

It's just not worth it.

It's toxic.

Yeah, it's toxic. It is absolutely. So
that's, I think that's where it kind of

hurts a bit because you guys need to
know that we're always excited when we

yes to a film.

And so many people are involved in a
film. They just see the actors and

like... you know, but there's so many
people that go into making a movie, they

put their heart, like I can't even, like
actors still move on, but the directors

and stuff, they've been attached to the
film for so long.

Yeah. No, it's a tough one. It's a tough
one when a film does that. It is a

tough one. I'm almost, almost at the
end. I have to ask, because, it's also

a visual medium, and you talked, Ananya,
about social media, right? And one of

the things that it does, especially
Instagram, is always put you guys,

On a runaway.

Right. Essentially, everyone's looking.

It's like a permanent sort of.

Everyone has to be in couture. Everyone
has to be well -drawn out. Everyone has

to do best hair, makeup.

I don't know. I'm exhausted.

Yeah. Isn't it?

I'd like to touch for tea. You know, if
anyone comes to touch my hand.

Please, I don't want to be touched
anymore.

I don't know. How do you deal with it?

I want to be in my jeans and tea all the
time. I think we're all... They're all

like that. No, I think so.

You could tell when we were shooting
together.

We would go earlier to film events in
our personal clothes and all. You know

favourite videos are the old videos of
film fair awards where everyone used to

go so casually.

So nice.

No hair, makeup, nothing. You used to
just go.

No, I'm like, I'm really walking in.

Before you reach, you're tired.

Because you've done photos.

Is it me? I don't know.

just no no it's not i don't think i
don't even do too too many events or

anything and i'm still tired so i can't
imagine you guys it's a saga anu before

yeah huh before getting there also
before getting there yeah yeah so

ready bit right which is like you know
yeah yeah so i just want people to like

just like come and chill out yeah i mean
why not but can you can you do that I

think one person has to do it and then
everyone will be like, nobody look at me

for that.

I'm not.

No, what I mean like just normal, like
really comfortable, nice, looking

beautiful. Yeah. But like, you know what
I mean?

I agree.

But not everything has to be a look.

That's what it is. Like I said, I'm
exhausted. Like airport now, I'm like,

please, I go in my jeans and my chappals
and my hoodie.

I think you told my mom, you were like,
I love how Ananya comes out of the gym

with one juda on her head and one
like... But now you're dressed at the

can't, can't, can't. I mean, that's
ridiculous, isn't it?

There's pressure.

There's pressure. On the aircraft,
sometimes I wonder how people look so

because I'm like, you know, I'm
exhausted after the flight. Maybe I have

two kids going at me. I want to just shy
my head and be like, keep up.

I just walk out with my jacket and get
into the car because, you know, we're

already jet lagged. Yeah, yeah, yeah. So
I'm like, people are rating my airport.

Look. Like, what's happening?

I don't know.

But you can all tune out this whole
noise. Now you've come to that point

it's done.

Can you? Yeah, now I'm like, whatever. I
don't care so much.

Yeah. You did at one point. I did a lot
at one point. Everything was like...

I used to think for hours like about a
caption and a post and I used to think

much about but like people don't care
like you think people care but they

care as much as you think they care you
know like people have other things

happening in their life and like you're
like but what if they saw my one hair

sticking here and this that really no
one but I like enjoy seeing people like

because now if I'm like like I'll enjoy
watching like and seeing them and I see

them slightly more like normal real like
if you put a picture like I like seeing

things like that and I feel people like
that as well because they get to see the

person and the actor that you know a
little bit of them also my favorite is

in the kaftan yeah we'll be with her eye
patches i mean okay i won't come to the

i won't come to hollywood never know i
might one day but otherwise

i'm saying that i want to see all of
like i

like enjoy like i follow you guys

yeah if you want to see what's real also
but the occasion you have to be

appropriate yeah of course if you're
going for a wedding and you're going

love to also dress up in like my indian
wear yeah yeah yeah a beautiful wedding

and that's fun it's also fun to look at
you guys but it's expected every time

every day you know and also like people
saying oh no so and so is not well

dressed or so and so was well dressed or
you know yeah no no now i see all these

uh

Doctors saying she's had this done.

You know that's dangerous actually. How
do you know?

And it's all lies. They come to us for
this procedure. But that's very wrong to

put that. We should do something because
it's not right to be saying that I'm a

medical person and I'm advertising all
this. It's actually become very scary

now. And people believe.

Everything they see on TV. Yeah, because
you don't know what's... Yeah, it's

like news. They're thinking that this is
news. Correct.

Yeah.

Listen, quick question.

Okay? Just last few quick questions.

I just want to talk about the acting
process.

So for you, it's learning the lines so
you can sing them backwards. Yeah. But

nothing more.

Nothing more. I want to be prepared with
the lines.

But you don't like... I've always wanted
to ask you this question.

What is your process? She tells me all
these videos of her. Like, during jumpy,

when she's on, like, her phone. And then
suddenly, they'll call action. She'll

just kill it. You know? That's what she
says. There is no prep. Yeah. There is

no prep. Unless, I don't know. Like, I
mean.

No prep means, I mean, I'll read the
script. But do you have a backstory?

Nothing like that.

Backstory? I mean, like.

No, no. I don't create my own thing.

Whatever's on paper. Because I feel it
just, it'll clash with my.

maybe approach to things because I feel
somehow I'm very instinctive. Yeah.

Like on the first year of shoot, I know
that the movie is not going to do well.

It's so scary.

First year?

Yeah. Wow. It gives me stress that
sometimes that, oh my God, like I know

this is going. How do you find
inspiration to go forward?

Then that's the struggle. But then I'm
like, I have to be amazing. And then I'm

just focused on the way like, you know,
I'm doing and what it is.

So it's just instinct and experience
now.

Interesting. Kalani, you have actually
studied architectural design.

Yeah, I thought you were going to say
acting. No, no. You worked as an

to a production designer. Yes, I did. So
does that come into the acting at all?

I think what that gives me is somewhere
a different kind of empathy on set.

I'm very aware that when delays happen
that...

No one has planned for this.

I'm more than happy to wait in my
caravan for hours because something went

wrong. And even while I'm on set, I
think I've understood that there

is this consciousness that comes to you
before action when you're suddenly like,

oh, everyone's looking at you.

Truth is, nobody is looking at you. That
person, that problem.

So like the lighting department guys are
not looking at us at all. They're

looking at their work. Everybody is
there focused on their work. And that

of made me sort of loosen up a little in
front of the camera or when I'm

working. So that I think is something
that came from working behind the

But otherwise, I think they're two
completely different jobs.

One is very technical and the other is a
lot more creative.

And for me, I just surrender to my
director.

And so each film is very different as a
result.

The process is different. Yeah, it's
very different. I don't have a stringent

process. I try to put a little bit of
myself in every character, but Loka was

very different. I didn't do that also.

So, yeah.

It is different. Yeah. And Ananya,
you've said that you actually are now a

technical actor. I think it's also
changed really it keeps changing I think

like the films that I'm doing or what
film and the directors that I'm working

but I like having like a little process
for myself that I can take on every film

you know something for myself but then
mostly it's always the director and like

chatting with the director what how they
are like are they more like feedback

oriented do they like you kind of doing
your own thing so it's it's actually

more just talking to the director but
then having a little bit of my own

but lines is like the most important
knowing your dialogue that's the most

thing don't do it it's basic but people
don't do it but it's like your lines you

shouldn't have to think about them you
should know like in your body like I try

to learn like the other actors lines as
much as possible just to know to be

aware to be aware yeah okay what's the
one thing you don't want to hear on a

Karina. Silence!

The shouting.

The shouting you don't like. Karina,
what do you not like? Yeah, I don't like

if the shot is going on and I can hear
people's voices.

Because I feel like you have to respect
what's happening at that moment.

Even if it's for anything.

Dance shot also. But nobody can be
yapping on the side.

corners that people find and decide to i
think it's quite disrespectful to the

actor to any artist yeah that's possibly
giving their shot you know so i don't

like people talking when the shot is off
i think that's universal for all of us

yeah i think for almost every actor that
might be a universal answer yeah okay

phones or no phones through the shoot or
you you stop like once the shot

is done you go look at your messages
Yeah, it depends. For me, it depends on

scene. Yeah.

If it's an intense scene, then I'm not
into it. In fact, intense scenes, I tell

my team, please don't come anywhere near
me.

It's okay if I look ugly. It's fine.

Just don't come anywhere near me. But I
think it's dependent on the scene. Scene

to scene, yeah. Because it's a lot of
waiting on sets.

Yeah. You just have to check it. And
sometimes you can get so into it. I need

to.

One, two.

Yeah. You can get too into.

it and then you can start overthinking
and it's great to have you sort of just

relax in between. Yeah.

Okay. Two last questions. The failure
that broke your heart. Kareena?

Gosh.

Tashan. I love Tashan. But I just feel
like if It would have released now.

It would have just been amazing. Iconic.
I'm dancing on Chalya tonight at my

friend's Sanjeev. I love Darshan. What a
movie.

What a car. Quite a face. They can love
that movie every second. And I feel like

everyone was like giving their best.

Like everyone had just come into the
film with like a hit which nobody like,

know, thought.

Because everyone had just given like...

big blockbusters and we had all just
congregated. So I think everybody's

was like on another level. Sure. And
everyone wanted to look their best and

everyone thought their part was the
best.

You know, when you think that my part is
best, my part is best. All the actors

are like, you know.

So it was just, I just feel like, I just
broke my heart and because I just kind

of obviously thought that it would just
be amazing. But it still is one of my

most favorite films.

You know, and I think it just.

the music. Yeah. Even now. Yeah. I mean,
also, it gave you so much more than

just a... Yeah. It gave me... Yeah, it
gave me my... Exactly.

So, you know what? It was a hit,
whatever.

No, I mean, that destiny was just there.
Yeah.

The rest is history.

Indeed. I think my film with Fahad
Odungudra, I really, I think as a

story, it was a beautiful, beautiful
script. It dealt with...

um depression in a very sort of i can't
say black humor but in a humorous way uh

it didn't translate as well perhaps to
audiences but yeah that kind of i was

very confident about the film and
sometimes when you're confident about a

and it doesn't do well it breaks you
it's like then you start questioning

everything yeah so yeah i mean um

every

failure kind of affects you in some way
or the other but I think I've gotten

better with dealing with failure because
when LIGO happened I feel like because

when you're promoting a film you're in
such an echo chamber you know everyone

around you is like hyping you up you're
everyone obviously feels like you'll

have put everything into a film and so
and then the film doesn't do well it

it's like too much of like a
juxtaposition in your feelings like from

high to come down is like you don't
understand what's hit you and I think

especially with Liger there was just too
much of like a social media

trolling in that sense you know so that
that film just kind of confused me I

didn't know and I was going into like
another industry because you know it was

pan -India film so there was like
reactions from all over the country you

it wasn't just like insular to like
Hindi or that sort of thing so with

was just very like overwhelmed with the
how drastically something can just fall

and how to just manage I learned really
how to manage your expectations then

after that now I've always been kind of
like a bit more realistic after that.

Like, then I know you have to kind of
distance yourself a little bit from the

design. Be zen -like. Yeah, be a little
more zen.

For sure.

Okay, what's your favorite power flex?

Like, what do you love to do?

Oh, what do I love to do? Love to do as
in? Just exert a little bit of the

power. Like that.

I'm sorry, I don't understand this
question.

You know, like, I don't know. No, it can
bring anything to, you know, restaurant

booking to private care.

Anything. You know, that day I called a
restaurant. I'm like, oh, it's a Nanya

Pandya. I need a table. And they were
like, sorry, we don't have space. I was

like, this is not a real thing. This is
not a power place at all.

They were like, yeah, I'm sorry.

Try next time. Did not work out well for
me

at all.

for me okay so I don't know if it's
because my dentist likes me but like

go there I don't have to wait so it's
nice it could also just be my

and not the not the act of it but yeah
he doesn't make me wait which is nice

because I dread the dentist in general
oh god you're like getting it out yeah

sorry I can't give a better answer yeah
hey not waiting yeah

all for that yeah

Yeah. I'm always like, please do it now.
Please, man. Please, man. I'm one of

those characters who's like so
incestuous. So it's not power play. It's

yeah. It's a begging flex.

Please, please, please. Please,

please. And you get such dirty looks on
people.

I get scared to cut the line.

But you never drop. I'm Kareena Kapoor
Khan.

She doesn't need to. She doesn't need
to. No, I'm on the phone, baby. You're

the phone?

Yeah.

No, no, no, no. But who will I call and
say that to now?

It all gets done.

That also. That also.

Ananya, do you have one? It's really not
worked out for me. I'm saying I've

tried these powers, but it's not
happening. These powers. I think I just

seem cool to my sister who doesn't think
I'm cool at all.

It's a sibling thing. Yeah, it's just
really tough being an older sister.

I have a brother. Did Lolo ever feel
like that? But you are obsessed with

other. Yeah, we're obsessed with each
other. My husband feels he has

competition. He's like, whenever you're
older than the... what's happening?

And you also have a sister.

I have a brother and he is not
impressed. My sister is just like, what

doing?

Don't call me for your premieres. I
don't want to know what you're up to.

I'm a movie actor.

Think I'm cool, please.

The day I know I look nice is if my
brother says he looks nice. That happens

once every five years.

Hopefully on this cover.

I think this cover is going to kill it.

Thank you.

Thank you all of you. And, you know,
more power genuinely to each one of you.

Thank you for having us. Thank you for
getting us in a room with baby. All

together.

I don't think a masterclass is due.

In my car. In a car next time. I agree.

The Kareena masterclass.

It's 25 years more.

At least. We're more than happy for
that. We just want to know. For us, like

what to do for the next 25 years.

I'm all, now it's time.

That's fine. I'm not giving any
masterclass. I'm so like.

Thank you guys. Thank you so much.