When Todor Lazarov—fondly called “Juji” among his peers—talks about Indian cinema, his voice carries excitement. The Hollywood stunt director, whose résumé spans over a decade of global action spectacles, admits that his most fulfilling experiences have been in India. His latest work, Rishab Shetty’s much-awaited Kantara: Chapter 1, backed by Hombale Films, is set to release on October 2, and he has choreographed the climax and two major action sequences.
“I’ve experienced a lot of Indian films since I started working here in 2017,” Todor begins. “My first film was Manikarnika, with Kangana Ranaut, and the most memorable project has been Rajamouli’s RRR. I was not just handling stunts but also working as a section camera operator, and we shot extensively in Bulgaria. Among the ten Indian films I’ve been part of, the experience has always been ‘larger than life.’”
Todor has worked on massive international titles like The Expendables 2, the Oscar-winning Zero Dark Thirty, Brad Pitt’s Troy, and Hercules. His range also extends to international productions like Loving Pablo. Yet, despite such marquee credits, he insists it is India that gives him his truest sense of belonging.
"If you compare Hollywood and Indian films, I always say this—here, people are passionate. In the West, for many, it becomes just another credit on the résumé. That spark, that joy in working, is missing. Here in India, it feels alive. It feels like home. That’s what keeps me coming back instead of chasing projects in Hollywood or Europe,” says Todor.
The journey to Kantara: Chapter 1 began with a phone call. Lazarov was shooting in Hyderabad when he was flown to Kundapura to meet Rishab Shetty, who was in the middle of a schedule. “The moment I saw Rishab Shetty, there was light—pure heart and soul. He explained his vision for the climax, not just as a director but also as the actor living the character. It was so powerful that I immediately knew I had to do it. I was already committed to two projects, but I cancelled them without hesitation. I thought I had to do it for Rishab. It felt like meeting family; similar to how I felt working with Rajamouli on RRR.”
Lazarov reveals he was already familiar with Kantara before being approached for the prequel. “I had watched it because my mother was a big fan of Indian cinema. She made me watch Raj Kapoor films when I was a child, so there has always been a connection. When I saw Kantara, I was struck by the story of the demigod and the remarkable way in which Rishab built his character. That gave me an understanding of the world and the vision Rishab had for Kantara: Chapter 1.”
Without giving away too much, Lazarov teases that the action in Kantara: Chapter 1 is going to be extraordinary. “The climax is different, but the essence is character building, and it’s about evolution. Rishab was clear that the drama had to intensify along with the action. To achieve that, I brought in around ten international stunt fighters from across the world, and hundreds of Indian stunt performers joined them. We spent 28 days shooting just the climax. It was massive.”
The process, he says, was eased by Rishab’s meticulous narration. “He gave me the entire story arc, which helped me design the sequences as an extension of character rather than just stunts. That’s rare, and that’s what makes the film unique.”
For Lazarov, the location itself added magic to the project. “Kundapura was fresh for me as I had never been there before. But it didn’t feel far away from home. The people made it cosy, warm. India gives you family wherever you go.”
The stunt director insists that Kantara: Chapter 1 will resonate far beyond Indian borders. “For me, this is already a blockbuster. Not just because of the stunts but because of the story, the depth, the soul. It’s made for a world audience. This film has the quality and the heart to reach every height internationally.”
Todor Lazarov, who is currently working on SS Rajamouli's film starring Mahesh Babu and another film starring Naga Chaitanya, believes his connection with Indian cinema continues to be deeply personal. “Work here is not just professional, it’s also emotional. It’s passion. My mother’s love for Indian films is one side, but it’s the people I meet, the directors like Rajamouli and Rishab Shetty, who make me feel at home. That’s why I keep coming back,” he concludes.