Dulquer Salmaan's journey so far has been unique, with a blend of humility and a keen eye for scripts that resonate deeply with audiences. Although Dulquer has his foot in four Indian film industries, he confidently says, "I hate the word pan-Indian. I feel films should be rooted in a specific culture or place. The idea of a pan-Indian film often leads to compromises in storytelling." Speaking on the sidelines of his latest release, Lucky Baskhar, Dulquer opens up about his role, the evolving landscape of cinema, and the personal philosophies that keep him grounded.
What drew you to the character of Lucky Baskhar?
It's a very relatable story of a common man. Baskhar is the sole breadwinner of a big family, constantly juggling debts. The pun in the title is intended, and when the characters called me 'lucky Baskhar' with slight passive-aggressiveness, I wondered if they really meant it (laughs). The protagonist's struggles felt very real to me.
Is the story fictional, or did it draw inspiration from real events?
While the character is fictional, there were some real-life inspirations, especially from the late 80s and early 90s. Venky Atluri, our director, did a lot of research about that period, especially on financial scams and banking procedures. I constantly asked him questions to understand the story better because it felt so close to reality.
You've played quite a few morally ambiguous characters lately. What attracts you to these roles?
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