She may be just five films old in the industry, but the actress doesn’t fear admitting her failures or shy away from acknowledging her flaws and understand that she has to better learn the craft.
Sara Ali Khan deconstructs herself in this interview.
You’ve seen everything from highs to lows in your short career so far.
It was never how it was supposed to be. I never knew if I’d become an actor. Then, Kedarnath happened, after which Simmba happened. The media put me on a pedestal then, much more than I deserved. Then, Love Aaj Kal happened, and I was thrown down! Coolie No 1, a commercial project, was an online release, which had songs. It was an ensemble cast and a masala film. The songs did well, but I didn’t realise how it affected me.
As far as Kedarnath and Love Aaj Kal are concerned, I’ve seen both extremes. My journey has been about dealing with success and failures.
You’ve been working with good directors. Was it a conscious choice?
I believe a film is a director’s medium and the storytelling is the director’s vision. You do what they make you do.
I’ve worked with five very good directors, and whether it’s Rohit Shetty, Imtiaz Ali or Aanand L Rai, I’ve been chosen by them, not the other way around. And I’m privileged to be given this opportunity; I want to keep doing good work so they’d want to work with me because I understand more than ever the value of a director. You can do well only because of a director.
Are you seeking a balance by alternating between content and entertainment?
I want to do different kinds of films. I want to do stories that deserve to be told. If I get two strong content films — which are good or two entertainment-based films, which are hysterical, funny and exciting — I’ll do them back-to-back. Balance is the key but most importantly, I want to do those films that deserve to be told. Atrangi Re has the balance of both content and entertainment.
Is Atrangi Re your biggest film then?
I don’t compare one with the other — it’s not about being bigger or smaller. But this is one of the most important films of my career. When I did Kedarnath, I was an unknown commodity. The film’s success was a confidence booster. I got several debut awards and good reviews. Then, Love Aaj Kal happened on 14 February and suddenly I was on shaky grounds. I lost some confidence in myself as it was the first time I dealt with failure.
When was started shooting for Aanandji, it was the most defining period of my life. I remember Ananadji told me, “I don’t want you carrying that baggage of Love Aaj Kal. If you don’t play on the front foot now your career is over. You don’t get to wallow. You got 2 weeks to sulk. Now it’s fine. If you’re not happy you won’t give me what I want in every shot.”
Failure hurts that much?
I take my work very seriously. Beyond a point, I’m not affected by social media trolls, but I take mistakes in my work very seriously. It’s my weak point. I saw the flaws in myself in the film; when you point a flaw in me and I know it is right, it hurts.
Would you want to do a remake of any film of your mum, Amrita Singh?
No. I did two remakes in the past 2 years and I know that some films should not be touched. I look like my mother and if I don’t act as well as her, the media will not let me get away with it. I don’t want that.
You were always seen doing namaste to the paparazzi and now everyone does it. How does it feel to be the 'OG Namaste' girl?
I’ve been doing ‘namaste’ even before COVID, which is a genuine way of greeting people. I’m very proud of being an Indian. Then, COVID happened and people started doing Namaste. So, I became the OG. [Smiles]
