Balti wasn’t planned as a Tamil film to begin with. But it naturally turned into one because the story is set on the Kerala-Tamil Nadu border. A lot of people there speak in Tamil, so during the shoot, the producers decided to make it in both languages.

I have been listening to scripts in Tamil as well, but I eventually go with the stories I genuinely like. I did Madraskaaran because I liked the story. I would’ve done it even if it were in Malayalam. There’s no specific focus on any one industry. I just look for stories that can connect with more people. If you want audiences to show up while a film is running in theatres, it has to be commercial too. With that intention, I try to strike a balance by picking good stories.

It’s not always practical to do films solely based on liking the story. There are times when other factors influence the decision. I worked with Priyan sir (Priyadarshan) because I wanted to, beyond just liking the story. With Kumbalangi Nights, it was more about wanting to be part of that team rather than picking the project after a detailed script reading. So the yardsticks keep changing.

No. It’s all by myself. If I like a story, then I will ask for the script. I sometimes discuss it with my mother and sisters. Both my sisters are younger than me, and it’s always interesting to hear their thoughts. But ultimately, I should be interested in the project.

I initially wanted to become a cinematographer, and I still have that desire. Back in school and college, I used to make short films with my friends. I would shoot and edit them myself. So I got a lot of behind-the-scenes exposure early on. I should also mention my participation in Super Dancer Junior. After that, I acted in the serial Hello Kuttichathan, and then got the chance to play a small role in Anwar, thanks to Soubikka (Soubin Shahir), who suggested me to Amal (Neerad) ettan. Through that connection, I got to play Kunjumon in Annayum Rasoolum, directed by Rajeev (Ravi) sir. That same connection led me to Kismath. That’s how things started linking up. I never really thought of becoming an actor because of my circumstances. I did a small role in one film, then a notable one in another, and eventually a leading role. In a way, it all felt like a bit of a miracle.

Back in 2018-’19, I used to do a lot of songs. I don’t know how to play any instruments, but there’s a software called GarageBand on the iPad. You can sing over loops using it. I got into it during a tough time, but then developed a real craze for it. Now, I have around 50 songs saved in a folder.

These aren’t contemporary songs or anything made for a particular film. They’re based on my personal experiences. That said, I sang, composed and wrote the lyrics for a song called ‘Raa Thaarame’ in Bhoothakaalam. I sent several tracks to Rahul Sadasivan [filmmaker], and he picked that particular song.

After Covid struck, like everyone else, I did a lot of thinking. I didn’t want to completely avoid doing such films, but doing something intense for two straight hours or showing that to people felt like a bit too much. I now want a mix of both intense and light-hearted moments. Balti has fun elements, mass moments, friendship, romance, and family drama. I would love it if a film had all of it, but of course, not every film can have it. I last did an investigation thriller, backed by Jeethu (Joseph) sir, which I enjoyed. That’s how I want to approach it now.

There was a time when I found it really tough, like say during Ishq, when I couldn’t even sleep. But now, when a film ends, I am able to come out of it. There are still some influences during the shooting period. I recently played a police officer who is sharp and particular about punctuality and cleanliness. That kind of influence starts showing up in my own life — it happens subconsciously. However, these days, I don’t let it affect my personal life.

I would call it a cinematic journey. The ‘Making of actor Shane Nigam’ has many dramatic moments, ups and downs. With so many conflicts to resolve, it could be turned into a multi-part franchise.

I hope it does (laughs).

Yes, I am, because when I get into something, I give it my all. Naturally, some problems come with that. I am quite sensitive.

I don’t analyse certain things because I can’t find a proper answer. Ultimately, it’s a matter of perspective. What is right from my perspective might be wrong for the other person. I’m indeed emotional, which extends to my work as well. I get upset when someone questions my commitment towards a project, and this resentment might not always come out correctly. This communication problem, where the other person is unable to understand where I come from, often leads to bigger issues.

I didn’t have to do much. Those who did were at their best (laughs).

I don’t have any friends in the industry. It’s not a complaint. Yes, we meet and interact during functions, but apart from that, there’s no real friendship with anyone. I still have some friends from school, and then there’s my family that fall back on.

I realised it’s important to be a bit detached from whatever your situation is — to be able to be attached while being detached.

We all are (laughs). To feel real spirituality, you should get a cat. I have one now, and when I observe closely, I find him very spiritual. He is always in the present. He’s not thinking about the past, nor is he worried about the future. He plays around, eats well, gets good sleep, and nothing bothers him. It’s a simple philosophy to live by, but I am also aware that it’s not always practical.

Not a lot, but there was a period when I used to visit dargahs regularly, like Hazrat Nizamuddin and Ajmer. Just being there would elevate me to a different state.

I used to say them to divert people’s attention (chuckles). I have now realised that not everyone understands what we share from our personal experiences. They either tend to reject it or mock it. So, I don’t make such comments now.

I think she became this strong after I entered the film industry.

It is very difficult to see her as a completely different individual. It’s that close bond. When we talk emotionally on public platforms, not everybody understands it, unless they too have felt it.

I have often wondered how he could grab the audience’s attention within five minutes. I can’t even speak for a few minutes while addressing a crowd, but he used to perform a one-man show for 30-45 minutes. Most of the contents were also spot-improvised. It is an incredible skill.

He was the first to advise me that there should be a certain realism while performing. He used to say that actors should convey real emotions.

Maybe he did, but didn’t openly share anything with me. Parava was my last film that he watched. He was delighted when he saw people clapping for my scenes.

Yes, not sure about the opportunities, but wherever we go, people say they were friends with Vappachi. I think he maintained a good bond with everyone, but had only very few close friends.

I don’t know.

Yes, I was in my second year when I got a call from the Kismath team and it got released when I was in my third year. Then came C/o Saira Banu, Eeda, etc. I didn’t complete the course.

I had that courage right from the beginning. Though I was promised a good character, I was curious to know what I really had to do. But they were upset with a newcomer like me asking such questions. Some filmmakers narrate excellent stories, but when I ask how the character would be presented in the screenplay, they get offended. How can I play a role if I am not mentally prepared for it? Sometimes, they give the script after advance payments. What if I find the role difficult? That is why I ask for the script. But things have changed now.

Yes, I do. In Tamil cinema, we would start shooting in the morning and wrap it up by evening, while Sundays would be off. They mostly don’t work on Sundays because they have to pay extra. That’s good because we won’t get extremely exhausted. When you are continuously working, it’s hard to detach and analyse the work you have done so far — you would be completely immersed in it. After two weeks, we will lose our sense of what we are doing. So, I think it’s good to have that balance.

Well, that depends on personal experiences. I cannot generalise the entire Tamil or Malayalam film industries based on just what I experienced. That said, the crew of my Tamil film was very lovable. They were respectful (laughs). I had an even greater experience with Balti. I have never seen a producer like Santosh chettan ( Santhosh T Kuruvilla). Whatever he did, it was all for the film. Usually, a producer would approach me based on the market value, but sir just chose a person based on what the story needed. Both Santhosh chettan and Binu chettan (Binu George Alexander) invested purely for the story.

I don’t know. I have never felt that way about any film. Carrying such expectations is unnecessary baggage.

No, the process is still the same. If you have a good co-star, the process gets easier. At the end of the day, our main goal is to make a scene work, not just to perfect my expressions. So, if I deliver a line with a certain emotion and the actor opposite responds with the same intensity, it flows naturally.

Kumbalangi Nights was an entirely different experience compared with anything I have done so far. Since it was shot in sync sound, the sets were silent. Usually, film sets are noisy. One has to act amid all that chaos. But 'Kumbalangi…' had none of it. The whole atmosphere helped us all to stay in character throughout.

For that ‘chetta’ scene, I first had a shirt on, but Syam chettan (Syam Pushakaran) said it wasn’t needed. I was also given a coconut and jaggery to eat. And then they explained the scene and gave us both our dialogues. We shot the scene, and that was it. I never thought that the film and the scene would be celebrated so much.

A lot (laughs).

I think there’s a bit of me in all the characters, or at least, I have been able to connect with them somehow. Especially the roles in Bhoothakaalam and Veyil.

It’s because the process was so intense. Not just the role, but the whole experience. You give a lot, mentally and emotionally, and it takes a toll. The character’s emotional state lingers with you. There’s a kind of darkness in it.

I began to realise this during the Covid period, about the different kinds of cinema. There’s one style that’s raw and realistic, like Rajeev (Ravi) sir’s films. Films like Kismath, where you just follow people with a camera. Then there’s the more structured, stylised kind. ‘Cinematic’ films. Like Saira Banu, where you are expected to arrive at your mark, and the camera finds you. The dialogue lands. You move exactly there, turn at this angle. Everything’s precise.

I have learned to adapt to both. That flexibility came from experience. That’s why I try different films. Each one teaches you something.

Definitely. In RDX, we shot with Phantom cameras, which means even one second of action gets stretched dramatically. You need complete control over your movements. In those slow-motion seconds, even slight hand movements matter. That’s what I was learning during RDX. For Balti, we trained for weeks. I did kabaddi, flips, and air jumps. All of these are just to be agile enough for the film’s action moments. It’s tough, but fun. When you see the result on screen, it feels worth it.

That, too, has changed over time. Earlier, I used to watch Iranian films, experimental stuff. During lockdown, I watched more world cinema. But I now love films like Velaiyilla Pattadhari, Thiruchitrambalam... feel-good films. That’s my comfort genre. Also, I don’t watch a lot of violence or intimacy on screen. It wears me out.

Maybe that limits me, but I’m okay with that. I want to do films that I can watch with my family. That’s what I opt for. As a romantic actor, I think I can bring good chemistry, but there’s a line. Sure, if a situation genuinely demands an intimate scene, then I might consider it, but even then, it should never cross into vulgarity. I believe you don’t need a lip-lock to show intimacy. Sometimes a couple of dialogues can mean so much more.

Yes. In fact, the film’s tail-end was suggested by a close friend when I expressed concerns about how my character, who questions the heroine’s chastity, is easily forgiven. That’s not how it should be, right?

In some film sets, they ask us to come at a specific time and then call for the shot after over an hour. In some cases, it takes 2-2.5 hours after getting into costume to actually start filming. I don’t mind being on set and waiting, but once I am in costume and the makeup is done, I am mentally tuned into the scene. I carry the emotions needed for that scene, and if there is too much delay, it starts to fade. I am fine with showing up on time, but once I am ready, I hope the shoot moves forward without long gaps. I have had such issues rarely. So, before making such an allegation, I think it’s only fair to look at how I have been on other sets.

Not really. But when you enter a new space, people see you through their lens. Once you remove those glasses and look at things clearly, there will be no reason for any misunderstanding.

Well, not completely. It’s futile to analyse the past. It was basically a rebellious act. I did it out of anger and aggression, which I will never justify. I wouldn’t say I’m an impulsive person, nor was I in the past, but it is the situation that makes you end up in such a state.

I have tried. I recently collaborated with a friend for around 3-4 months to write a screenplay, but I couldn’t arrive at what I wanted. It was an action-oriented period film, set in Fort Kochi. But I wasn’t happy with the writing and soon got busy with shooting.

Yes

Yes, but not in the film I would be directing. Maybe in a small production. While shooting, I’m always curious about cinematography, the lights used and new technologies.

Haal is a love story that also discusses a social issue. We still have a song pending, which will be shot soon. All the other works have been completed. Then there’s the investigation thriller I mentioned earlier. I play a first-time SI in it. El Clasico is another film coming up. We might start work shortly.

If I keep worrying about what other people will think, then I will never be able to talk. So, if needed, I will speak.

Well, not much. Maybe it’s because I am not used to it. But then, if you want, you can just search online and find out. It’s just that I don’t keep checking actively.