I’ve learned to say no; it’s a luxury I’ve earned as an actor: Balaji Manohar

Actor and theatre practitioner Balaji Manohar will mark 25 years in cinema shortly. Looking back, he says he’s finally reached a point where he can appreciate his own journey — largely because he has stayed true to how he wants to work. “I learned to say ‘no’ quite early in my career, and that’s a luxury I’ve earned as an actor. In fact, over the years, I’ve probably dodged more work than I’ve accepted, because my first rule is to ask for a script. That’s how I function — I need to know what I’m stepping into,” he says. From his early days in theatre to notable Kannada films, from being part of the pan-India wave to landing a role in a mega project like Toxic and making inroads into Malayalam cinema, Balaji reflects on a journey shaped by clarity and choice.

'I thrive in collaborative spaces'
“As an actor, I like working on sets where ideas come from everyone. That freedom matters — it helps you grow,” he says. For Balaji, acting isn’t about demanding attention. “It’s not about saying, ‘give me a slow-motion shot’ or ‘focus the light on me’. It’s about sharing ideas with the director and being given the space to explore them," he says. He recalls how, in Avane Sriman Narayana, director Sachin was open to actors’ inputs, while lead actor Rakshit Shetty encouraged improvisation. “Similarly, in the recent Hindi film Chhaava, I suggested that the elders in a scene speak in a distinct way to differentiate them from the younger voices — and I performed it that way. When such things unfold, it makes you thrive as an actor,” he explains. Failures, he adds, played a key role in shaping him. “That’s also where I learned to say no. It’s a luxury I can afford now,” he smiles.

'Going pan-India is about cultural understanding'
For Balaji, working across industries goes beyond language. “I was doing Hindi work even before the ‘pan-India’ wave became a trend. I remember working backstage on lighting for our play Tughlaq in Hyderabad when I got opportunities to assist on films like Dor, Hyderabad Blues 2 and Iqbal,” he recalls. Back home, Avane Sriman Narayana marked the beginning of that larger reach, followed by projects like Hansal Mehta’s Scam 2003. “Being part of a mega project like Toxic — which came to me through Yash and Geetu Mohandas, without any casting agency — is something I’m grateful for," he says.

Balaji is currently working on another Hindi film while also taking on Malayalam projects. “I feel blessed to have work coming from different industries. But being a pan-India actor isn’t just about crossing borders. It’s about how you connect as an actor. Do you understand the cultural sensibilities of the region and the language? You need awareness. You can’t walk onto a set and behave the same everywhere — your demeanour reflects where you come from," he points out.

'Big productions are a learning ground'
Having worked on several large-scale films, Balaji says such sets demand both discipline and humility. “Everything is incredibly organised. From the moment I step out of my car to reaching my caravan, it’s all coordinated through ADs on walkie-talkies,” he says. He keeps his process simple. “I don’t have an entourage. I switch off my phone and focus on the day’s work,” he says. At the same time, he warns against complacency. “The moment you think ‘been there, done that’, you lose the plot. As films get bigger, your responsibility as an actor grows," he says. Recalling Toxic, he says, “I was blown away by the scale. Even the 100th extra in the background would be impeccably costumed. There’s no compromise.”

'I prefer forests over pubs'
Away from the arc lights, Balaji leads a quiet, grounded life. “I’m not a pub person and I don’t socialise much. When I’m not working, I like to upskill — I take courses in lighting and camerawork,” he says. He also works on ad films between projects and enjoys photo walks around Bengaluru. “It’s a city I love deeply.”
But what he values most is time in nature. “I enjoy going into the forest and camping with my wife, Divya. It brings me a lot of peace. I don’t worry too much. I like to stay open — both as a person and as an artiste,” he says.
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