How do you reflect on the word ‘jugaad’?
The show used to be called Youth Special initially. Along the way, the title changed to Jugaadistan. The title also seems like a jugaad [laughs]. Everyone has a jugaad these days. In Mumbai, it is almost [the basis of] life. I loved the old title, so did everybody else. But it was changed, and that taught me that at the end of the day, one has no control over these things.

You have been part of an ensemble cast before with Made in Heaven. How different is it from a solo-hero project?
I thoroughly enjoy being part of an ensemble cast. Jugaadistan not only had some talented actors on board, but it also had Gen-Z actors. For the first time in my career, I felt like a veteran actor. It’s energising to be around new blood. They’ve grown up with more modern sensibilities than us. Concepts like solo-lead projects are a thing of the past. To tell a story with real human emotions, you need many characters.

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Do you feel the OTT boom has changed the idea of solo-hero projects?
It is trying to [change that outlook]. A project is accomplished with the help of so many people beyond actors — DoP, sound capturer, writers. Actors are merely the vehicle to put the story forward. A lot more credit should be given to the technical crew and the supporting actors.

With the OTT boom, do you think people are jumping on the bandwagon without exploring the true potential of streaming platforms?
As long as the OTT world is not run by simple economics, there is opportunity [for revolutionary content]. But, unfortunately, they are now being run [on the basis of] social media numbers or following. The truth is most OTT platforms have hired people who are making bad decisions. Instead of using the medium to create content that pushes the envelope, people are figuring out how to connect with the masses. They are floundering in their desire to do so. Our audience is international now, so we have to cater to them. Look at what Squid Games [2021] did for South Korea. What is stopping India from achieving something like that? Nothing except that we are thinking narrow. On the other hand, there is Delhi Crime — while it was a show playing out in India, its creative sensibilities made the international audience [sit up and take notice]. That is the most productive way to go forward.

Is it easy to say no when big projects come your way?
It is easy to make up your mind [laughs], but harder to perform the action. Thankfully, we have management teams for that, and we have excuses like dates and economics. No one wants to hear, ‘Sorry, I am not into what you’ve written’. I don’t say that because even if I do not resonate with the material, it doesn’t mean someone else won’t.

How much of the Made in Heaven 2 shoot is left?
We are shooting through the month of March, and then we’ll be done. It has been difficult. We started in February 2021, after many delays due to the pandemic, and witnessed two waves during our shoot.

Do you feel the pressure after the first season’s success?
Any pressure on the makers always trickles down to the entire team, but it doesn’t affect what I do. My approach is to play the character honestly and hope that people connect with it again.