Ramayana’s Bharat Addinath Kothare on working with Ranbir Kapoor: ‘We went to the same school’ | Exclusive

New Delhi: From quirky, small-town comedy to mythological grandeur, Addinath Kothare is having a career-defining moment. In an exclusive candid conversation with News9 Digital, the actor-filmmaker opens up about landing his role in the Yami Gautam-starrer Nayyi Navelli, Nitesh Tiwari’s Ramayana, bonding with Ranbir Kapoor, and why Marathi cinema is finally breaking all linguistic barriers.

Nayyi Navelli brings a uniquely quirky, fresh vibe to the screen. What drew you to the script, and what can you tell us about your character, Raja?

I was actually busy doing a TV show that I was both producing and acting in when Mukesh Chhabra, our casting director, called me. When Mukesh Bhai calls, you never say you’re busy because he’s always working on something incredible. So, I said, “Kuch nahi bhai, bolo na kya karna hai?” though I had no idea how I was going to manage my completely packed dates. He told me, “Aadi, I want to cast you opposite Yami Gautam.” I was completely blown away by the brief and immediately said yes.

Soon after, I met producers Aanand L. Rai and Himanshu Sharma. They were very confident about me playing the part. Then writer Divy Nidhi Sharma gave me a detailed reading of the script. It’s an extremely meaty character with so much depth. I don’t want to give away too much, but I can say that my character is the biggest twist in the film.

You mentioned that Yami Gautam Dhar doesn’t carry the aura of a traditional Bollywood star on set. How did that collaborative energy shape your on-screen husband-wife dynamic?

Working with Yami was an absolute delight. She is so down-to-earth, helpful, and very easy to talk to. I remember, on my second or third day of shooting, Yami, Balaji Mohan, and I were casually talking. In the early stages, you’re searching for your character, trying to find your footing. I was in the exact process when Yami said something and I laughed. As I laughed, she looked right at me and said, “Aadi, this… this is Raja.” That moment of recognition pushed me in the exact right direction.

On top of that, Anurag Thakur was a massive support. Anurag comes from Bihar, and he’s very familiar with Uttar Pradesh. Since the film is set in Meerut, the characters needed a distinct Merathiya accent, and I was quite tense about nailing it. Himanshu Sir helped tremendously, and on set, Anurag was a lifesaver.

I had one major scene with a huge monologue, and I was quite anxious about it. I called Anurag around 8 PM the night before the shoot and asked him how I should pronounce particular words and hit the correct notes. We caught up at 9:00 PM for coffee in Andheri and sat together until 11:30 at night, even though our shoot was scheduled for 9:00 AM the next morning! He walked me through all the little nuances of the accent. The camaraderie on set was just wonderful; the entire atmosphere felt like family.

The film marks Tamil director Balaji Mohan’s Bollywood debut. What was unique about his style of storytelling?

Nayyi Navelli is a very difficult project to make because it blends fantasy, drama, and comedy with an ensemble cast. It required immense clarity, planning, vision, and visualisation. The captain of the ship had to have absolute clarity, and we were so blessed to have Balaji Sir guiding us. He was completely clear on what he wanted and what he didn’t want.

Balaji Sir is so soft-spoken, yet through that quiet, simple nature of his, he commanded the entire set and guided all the actors effortlessly. I learned so much from him, both as a filmmaker and as an actor.

I remember a very important, complicated sequence—the interval sequence. Balaji Sir shot it beautifully, but he took very limited shots. A few days later, he showed me a rough lineup of the sequence on his iPad, and I literally fell off my chair. It was just a rough lineup of shots, hardly two percent of the final product, with no music, no DI, and no VFX. Yet, looking at just those raw shots, I thought, “Wow, this is what true clarity and vision look like.”

In Ramayana, how are you approaching Bharat, a character of such immense mythological and emotional weight?

Ramayana is spearheaded by Nitesh Tiwari, one of the finest directors we know. I am simply following the vision of Namit Malhotra Sir (producer) and Nitesh Sir because they are absolute masters. When I read the script, I realized this is the Ramayana we all grew up with. It is in our blood and in our hearts. Characters like Bharat, Ram, and Lakshman are part of our core value system. We grew up listening to their stories from our grandmothers. This film captures that exact essence, and hats off to Nitesh Sir and Namit Sir for bringing it all together.

What was your reaction when you first stepped onto the sets of Ramayana and witnessed the sheer scale of production and technology?

I was completely blown away and mesmerised. It felt completely surreal. We were shooting a scene in Ayodhya with Ram, Lakshman, Sita, Vishwamitra, Vashistha, and all these incredible actors standing right there with me. It took some time for it all to sink in. When you’re on set, you’re focused on performing, so you don’t overthink the scale. But after my very first day of shooting, I came home, sat down with my parents, and told them that what I experienced today was breathtaking.

What has been your biggest learning experience working closely with Nitesh Tiwari, Namit Malhotra, Ranbir Kapoor, and a stellar ensemble cast?

It has been a deeply humbling experience. I remember the first time I met Nitesh Sir and Namit Sir after learning I was locked in for Bharat. Nitesh Sir already knew me because I had tested for many of his films before. I was almost shortlisted for Tarla and made it to the final rounds of casting. The part ultimately went to someone more deserving, a dear friend and, like an elder brother, Sharib Hashmi. But finally, the stars aligned, and I got to work with Nitesh Sir through my auditions and previous projects—and thanks to Mukesh Chhabra once again!

Meeting Namit Sir for the first time was equally memorable. He sat with me personally for at least half an hour, explaining the vision and the world they were building. When a producer of that stature takes the time to personally walk every actor through the vision, it makes you feel like an integral, valued part of the team.

Actually, Ranbir Kapoor and I went to the same school, Bombay Scottish, where he was my senior. I had a common friend, Binoy Gandhi, who once introduced me to Ranbir when I was in the sixth or seventh standard. When I met Ranbir on set, I reminded him of that!

During our first scene together, we were all standing in a line as brothers—Ranbir as Ram, Ravie Dubey as Lakshman, and I as Bharat—filming a Swayamvar sequence with Sai Pallavi as Sita and other actors on the other side. Because it was my first day, I was being extra cautious, wanting to gauge the vibe before attempting any improvisation. Ranbir helped me break the ice. Right before the take, he nudged me with his elbow and said, “Aadi, do this. Do this gesture, and it’ll look nice.” I thought, “Yeah, I was actually just thinking about that. Wow, thanks!” I did it, and a moment later, Nitesh Sir shouted out, “Hey, Aadi, that was very nice!” I yelled back, “Thank you, that was Ranbir’s suggestion!” It was a truly beautiful moment.

How has your transition between Marathi and Hindi projects of different scales influenced your growth and craft as a performer?

It has been a truly eye-opening journey. My first big Hindi film was ’83, followed by Ramayana and now Nayyi Navelli. I am truly blessed and grateful for these wonderful opportunities. I want to thank Mukesh Sir for believing in me; he is one of the greatest casting directors in our country because he dares to break stereotypes and bring in talent from every corner of India.

Working on grand Marathi films like Chandramukhi and Zapatlela or major Hindi cinematic universes broadens your frontiers, your vision, and your creativity. It makes you realise that thinking big and dreaming big is entirely possible. As an artist, experiencing that scale is invaluable.

Having worked extensively in Marathi, what do you think needs an immediate course correction to take Marathi cinema to the global or pan-India level?

I think Marathi cinema has already crossed over and is actively doing that. We have family dramas like Tighi as well as the big-scale Raja Shivaji and many other recent releases that are not only succeeding locally but are being enjoyed by pan-India audiences.

It is a fantastic time for regional cinema because language is no longer a barrier. Thanks to OTT and digital platforms, audiences are savouring content in different languages with subtitles. Even my film Paani and web series Manvat Murders performed well in their Hindi-dubbed versions as well. It’s a good time for regional content, and I am so glad to be a part of it.

With Nayyi Navelli hitting theatres and the hype around Ramayana reaching a fever pitch, how do you look back at this phase of your career, and what kind of stories do you want to tell next?

I am truly grateful and blessed to be in this phase of my career as an artist. What brought me here is my absolute honesty toward my work and my script choices. I always prioritise the story and the team telling it, regardless of the size of the character.

One core lesson I learned from my father is that as an artist, you should never obsess over the end result when starting a creative journey. When you are creating something, follow your heart and participate simply because you believe in it. I am always going to follow my heart, stay honest to my craft, and keep working hard. I want to thank God and the audience for always being there to support me.