Sharat Sonu on Mandala Murders, OTT breakthroughs, and his journey from Bihar to Bollywood

I was first called in for an audition. After that, I got shortlisted, had a video call, which was followed by a meeting with the directors. Everything clicked, and I was finalised for the role of Pramod. What drew me to the character was the humour, a rare lightness in an otherwise intense and dark narrative. In a world full of tension, Pramod brings the much-needed relief. I have always believed the most memorable characters are often the quiet game-changers as they tend to shift the mood, leave a mark, and exit without much noise. That contrast really appealed to me.

That balance was key. Humour, especially in a serious setting, can easily go overboard. Gopi sir and I spent a lot of time in workshops to keep Pramod’s tone grounded. I never approached him as someone trying to be funny. I let the situations speak and the humour came from honesty. The trick was to trust the scene, the writing, and the co-actors. When you’re present in the moment, the right tone emerges naturally.

Both are incredibly talented and down-to-earth. From the very beginning, there was a sense of ease and openness. That kind of comfort really helps and it allows you to take creative risks and be fully present in a scene. Vaani and Vaibhav created a safe, collaborative space, and that’s invaluable for any actor.

I was in Patna during high school, actively doing theatre. Someone told me about an audition in Ranchi. I went, got selected, and was called to Mumbai, only to find that the person who called me had disappeared. It turned out to be a scam. This was back in July 2003. I was heartbroken but refused to return to my village. I stayed back, hustled, took whatever work I could find. My first break came in 2006 with Anwar. Since then, every project has added a new chapter to my story. Mumbai taught me that talent alone isn’t enough. You need resilience, patience, and an unwavering belief in yourself.

Every language comes with its own cultural flavour, rhythm, and emotional texture. While working in your native tongue feels comfortable, stepping into another language forces you to adapt and grow. For instance, in the Marathi film Zombivli, I had to speak fluent Marathi. It wasn’t easy, but it stretched me as an actor and gave me a new perspective. I’ve always admired actors who move fluidly across languages. I want to keep exploring and expanding that way.

OTT has revolutionised the industry. It’s no longer about who looks like a hero, it’s about who can bring a character to life. Casting today is driven by story, not image. That’s a game-changer, especially for actors like me. OTT platforms have created space for authentic performances, layered characters, and fresh faces. It’s given me some of the most meaningful roles of my career, with Mandala Murders being one of them.

I’m fascinated by characters that straddle light and dark, someone with a twisted sense of humour, who’s both charming and dangerous. That blend of unpredictability excites me. The beauty of acting is you get to live many lives;  you can be a hero, a villain, or something deliciously in-between. I’m drawn to roles that have layers, contradictions, and complexity.

There’s a web series called Hajamat for Jio, and four films in the pipeline. Three are already shot, and one begins in September. I can’t reveal the titles yet, but each project is vastly different. I crave that variety; roles that challenge me, surprise me, and remind me why I love this craft.