<p>In his latest film, Anant Nag plays a middle-class man forced to find a job at 65.</p>.<p>Hottegagi Genu Battegagi, releasing today, is inspired by a Kanakadasa poem, and talks about how everyone must play a variety of roles to be able to earn a livelihood.</p>.<p>Anant Nag chooses his scripts cautiously, and many of his recent releases have veered away from the formula. His latest character must change to adapt to a new work environment, and the film talks about the emotional adjustments he must make.</p>.<p>In an interview with Metrolife, he shares his experience:</p>.<p><strong>Tell us about your latest role in </strong><strong>Hottegagi</strong><strong> Genu Battegagi.</strong></p>.<p>The subject is complex and multilayered. It is about human relationships and explores how the older generation adapts to a new environment. It delves into many subjects, such as job security and the functioning of the private sector. There’s conflict and conflict resolution as well.</p>.<p><strong>What is your character like?</strong></p>.<p>I play a man forced into retirement because the publishing house he used to work for goes bankrupt. He has a modest house and all basic necessities. But he is short of money and that’s what forces him to seek employment at 65. He finds a job in a textile company headed by a woman entrepreneur. The story moves on to how the old man moves centre stage.</p>.<p><strong>What other characters do you confront?</strong></p>.<p>I have many scenes with Radhika. Our characters are total opposites. While I am a music lover, Radhika is put off by anybody who likes music. Her mother is a classical singer and Radhika believes her father and mother were separated because of her mother’s obsession for music. Very serious emotional scenes come into play.</p>.<p><strong> How was it for you to play the character?</strong></p>.<p>It was rather tough. My character has few dialogues. I have to convey whatever I want to through silence at my workplace because the concept of a boss doesn’t exist. Everybody has to do everything. So my character ends up doing all kinds of jobs. I am mocked at and ridiculed by youngsters. All <br />this is captured in a subtle way.</p>.<p><strong>How was it working with director Narendra Babu?</strong></p>.<p>I was drawn to Narendra’s writing. The few lines I have are beautiful, strong and thoroughly engaging. I had to be very alert. The youngsters were all from theatre and good at their work. It was challenging to be with them and hold my fort.</p>.<p><strong> You are playing diverse roles these days. Is the change conscious?</strong></p>.<p>Young directors are very intense and sure about what they want. They come up with new ideas everytime they make a film. There was a phase in my life when I worked on films based on novels, I later moved to scripts that leaned towards entertainment. I think the audiences are open to scripts that are unconventional and with some underlying values.</p>
<p>In his latest film, Anant Nag plays a middle-class man forced to find a job at 65.</p>.<p>Hottegagi Genu Battegagi, releasing today, is inspired by a Kanakadasa poem, and talks about how everyone must play a variety of roles to be able to earn a livelihood.</p>.<p>Anant Nag chooses his scripts cautiously, and many of his recent releases have veered away from the formula. His latest character must change to adapt to a new work environment, and the film talks about the emotional adjustments he must make.</p>.<p>In an interview with Metrolife, he shares his experience:</p>.<p><strong>Tell us about your latest role in </strong><strong>Hottegagi</strong><strong> Genu Battegagi.</strong></p>.<p>The subject is complex and multilayered. It is about human relationships and explores how the older generation adapts to a new environment. It delves into many subjects, such as job security and the functioning of the private sector. There’s conflict and conflict resolution as well.</p>.<p><strong>What is your character like?</strong></p>.<p>I play a man forced into retirement because the publishing house he used to work for goes bankrupt. He has a modest house and all basic necessities. But he is short of money and that’s what forces him to seek employment at 65. He finds a job in a textile company headed by a woman entrepreneur. The story moves on to how the old man moves centre stage.</p>.<p><strong>What other characters do you confront?</strong></p>.<p>I have many scenes with Radhika. Our characters are total opposites. While I am a music lover, Radhika is put off by anybody who likes music. Her mother is a classical singer and Radhika believes her father and mother were separated because of her mother’s obsession for music. Very serious emotional scenes come into play.</p>.<p><strong> How was it for you to play the character?</strong></p>.<p>It was rather tough. My character has few dialogues. I have to convey whatever I want to through silence at my workplace because the concept of a boss doesn’t exist. Everybody has to do everything. So my character ends up doing all kinds of jobs. I am mocked at and ridiculed by youngsters. All <br />this is captured in a subtle way.</p>.<p><strong>How was it working with director Narendra Babu?</strong></p>.<p>I was drawn to Narendra’s writing. The few lines I have are beautiful, strong and thoroughly engaging. I had to be very alert. The youngsters were all from theatre and good at their work. It was challenging to be with them and hold my fort.</p>.<p><strong> You are playing diverse roles these days. Is the change conscious?</strong></p>.<p>Young directors are very intense and sure about what they want. They come up with new ideas everytime they make a film. There was a phase in my life when I worked on films based on novels, I later moved to scripts that leaned towards entertainment. I think the audiences are open to scripts that are unconventional and with some underlying values.</p>