Kalki Koechlin has returned from a two-week road trip with her father to three North Eastern states for an upcoming travel show.
Biker gear is being aired and suitcases are in various stages of unpacking in her new apartment. The interview is repeatedly interrupted by the delivery of dresses, gowns and designer bags since the week is all about promotions for her May 27 release, Waiting. The afternoon is muggy, but Koechlin is as articulate and lively as ever.
What can you share about the documentary with Sabiha Sumar?
We met at the MAMI film festival last year and then she called me to chat about this idea she had for a documentary where two women discover their own countries and we visit each other’s countries too. With India and Pakistan we did not want to make it political but explore what normal people are doing, thinking and feeling about their own countries and circumstances. I was excited to go to Pakistan and visited in January for the first time. I was with Sabiha during some of the documenting. Then she came over and we shot in Delhi and Mumbai too.
The idea is to look at what democracy means to people in both these countries and what it means for the common man – from the poorest of the poor to a rich industrialist to feudal landlords. Food is a common theme throughout. It’s a work in progress and we are continuing to discuss new ideas and continuing with crowdfunding.
"With India and Pakistan we did not want to make it political but explore what normal people are doing, thinking and feeling about their own countries and circumstances." - Kalki on her documentary with Sabiha Sumar
How much value does a strong co-star, like Naseeruddin Shah in ‘Waiting’, affect or add to your performance or to the film?
We hardly talked about or discussed our characters. We were not intellectual with each other but we would read and rehearse together. I learnt a lot from observing him. Normally, I do all my prep before I go on set and then once I am there, I blindly trust the director. Whereas Naseer gets on set and starts having ideas. It’s great to see that process of collaboration with your director.
You invested a great deal in preparing for your character in ‘Margarita With A Straw’. Did you do much prep for Tara for Anu Menon’s Waiting?
I started off by wearing kajal all the time and I dyed my hair dark and would dress like her – in heels and matching bags; more proper. It started with the physical changes. However, when it comes to the emotional process I read the script many, many times and then have lots of questions for the director. And then once I am there, I am in it. When you are doing a scene you cannot plan how you will react. There are a hundred ways in which you could react so in that moment I will react as honestly as I can as that character and if it is not working then the director, in this case Anu [Menon] will tell me and we will try another one.
"I don’t find myself passionate about awards. There are thousands of films around the world that are worthy of awards, but only one can win. The idea of awards does not make sense to me, unless you are giving money, which will help with the person’s next project."
So then what do you consider a measure of your effort and achievements?
Someone in Toronto met me after the screening and said they could not believe I was not really disabled. That was an achievement for me – to have convinced the viewer of the character and people being so moved that they want to talk to their parents about their sexuality. I am a huge fan of Daniel Day Lewis and sometimes I don’t recognise him till I am halfway through something. That ability to transform is an achievement.