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.

You have been having a busy year – the India-Pakistan collaborative documentary with Sabiha Sumar, the Fox Life travel show, a potential web series, a role in Konkona Sen Sharma’s debut, and ‘Waiting’. And yet you recently said there isn’t much work for ‘white Indian confused Bollywood actresses’.
There are so many directors who love me but they are like how do I cast you. There are a few roles where I can be realistic and convincing but then it depends on the film and treatment. A big Bollywood film is elaborate and larger than life and there isn’t too much emphasis on not authenticity of accent or a person’s origins. For example, in Yeh Jawani Hai Deewani we didn’t explain my character’s origins. But if it’s a raw, gritty film, then it matters.

I do think there are limited roles for me, but at the same time I am not afraid to break that also. For example, I could try to play a Kashmiri girl which would mean working on it, but that excites me. There are plenty of roles for modern Indian women now with web series. I am looking at a playing a Parsi, a Catholic girl and in this Goa web series, I play a half Indian half Spanish girl. I have also been able to play a French hippie [Kaash] and now an Anglo-Indian in Konkona’s [A Death in the Gunj] film. At the same time I cannot do the Bihari gaonwali ladki though I would want to do that too. As an actor you want to take any opportunity that comes your way. I suppose I have been lucky that people find me interesting and I keep getting work. What can I say? I guess I am just amazing!
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The song ‘Zara Zara’ from ‘Waiting’.

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 t o 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.

Although you won the Special Jury award at the National Film Awards for your performance in ‘Margarita With A Straw’, did you feel the film deserved more accolades?
Of course I am grateful I received the award. I think it is a big boost to get a national award for a film like this. An acknowledgement on a big scale gets the film attention on a bigger scale and increases interest in the film; otherwise in general, the other awards do not really impact the audience flow. 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. I can’t say oh, the film should have got more recognition. I think it’s great if Margarita has the reach and impact on society. That people have been watching this film and it’s still reaching out to the people.

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The making of Koechlin’s character Laila in ‘Margarita With a Straw’.

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 believeI 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.

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.