Raghav Juyal: 'The Film is Bigger than Everyone Else'

Raghav Juyal views himself as a production-friendly actor, one who willingly surrenders to the service of a film without succumbing to the ego trips or tantrums that often accompany fame. For him, that ground reality is anchored in both social awareness and personal perspective.

A primary reason for this mindset rests right at home: watching his younger brother, filmmaker Yashasvi Juyal, sweat it out to craft his debut feature, The Ink-Stained Hand & The Missing Thumb (which has Oscar-nominated director Shaunak Sen as an executive producer).

"I know how difficult it is to make a film because my younger brother is an independent filmmaker," says Raghav, whose latest feature Bhai Tera Star Hai recently hit theaters.

In an interview with The Hollywood Reporter India, the actor opens up about his decade-long journey, key industry lessons, and the stark shift in perception he has experienced following standout turns in projects like Kill and The Ba***ds of Bollywood.

What are some typical actor quirks or tantrums that you don't subscribe to?

I think everyone needs a bit of delusion because it keeps you motivated! But as for quirks, I’m a very production-friendly actor. I'm a very desi man, and I feel producers really like working with me. I never complain about double shifts or ask, "When is my pack-up? Why is the shift so long? When are we getting paid?" None of that.

I make the film and I earn my living through brand endorsements... I don't let money disrupt the process. I go all out and support the producer until the very end. You just have to focus on acting well.

Where does this ground reality come from? Is it because you come from a small town without industry backing?

I know how difficult it is to make a film because my younger brother, Yashasvi Juyal is an independent filmmaker. He’s going through the festival circuit right now. Seeing an independent filmmaker at home made me understand the game. So I don't throw tantrums. I’ll buy my own vanity if needed, or I’ll sit on the footpath and shoot. The film is bigger than anyone else. I deeply respect everyone on set.

It will be so wonderful to see you and Yashasvi team up for a film eventually.

I know right! He hasn't hired me yet. That’s the festival cinema space, but I'll do it soon. He’s doing great work.

You had no formal training in dance initially, and picked it up by watching television before Dance India Dance. Is there a similar self-taught pattern for your acting, or how did you learn the nuts and bolts of the craft?

For acting, I actually trained rigorously. Even with dance, while I didn't have classic formal training, coaches like Saurav Shinde and Raghav Agarwal trained me intensely on how to work every muscle. Acting requires that same discipline. The real art is being in the moment and not staying inside your head... that's my knack, and that's what helps me on set.

It’s been roughly a decade since your acting debut. What have these 10 years taught you?

My initial films made me realise how crucial proper training is for an actor. I had to reinvent myself. Reinvention is a tough game. If you enter the industry with a total package and financial backing, it’s easier. But breaking a established image — especially when you’re famous on television — and taking a four-to-five-year hiatus to reset is extremely risky. I took that risk, and it was necessary.

Do you feel there’s been a massive perception shift after Kill and The Bads of Bollywood?

It has completely changed. My fear is gone now. People have move past seeing me just as "that dancer"... they now accept me as an actor. That public acceptance is everything. You can pump yourself up all day, or the industry can hype you, but if the audience doesn't connect, it won't work. I feel blessed that after 15 years — whether it is dancing, hosting, or acting — the public has consistently accepted me.