Director Priyanka Ghose discusses Zeenat Aman’s limited screen time, and why Ishaan Khatter and Bhumi Pednekar’s casting was the right choice for The Royals
(From left) Ishaan Khatter as Maharaja Aviraaj and Bhumi Pednekar as Sophia Shekhar
It wasn’t Ishaan Khatter and Bhumi Pednekar, the new pairing, or the curiosity surrounding royal lives that drew us to creators Rangita Pritish Nandy and Ishita Pritish Nandy’s latest show, The Royals. It was to see how yesteryear actor Zeenat Aman marks her comeback on the screen. However, when we confessed that to director Priyanka Ghose, she clarified that they had every intention for the senior actor to have more scenes. When we said we only began rooting for Khatter and Pednekar’s love story after episode six, she said, “That was by design. I knew that by then people will want them to get back together.” The Netflix eight-episode series follows the clash between an entitled prince and a tech startup entrepreneur amid a contemporary fairytale setting. In conversation with mid-day, she discussed the casting choices and why she had to hand over direction to Nupur Asthana later.
Excerpts from the interview.
Zeenat Aman was the biggest pull to watch The Royals. While it was a cameo, why did it feel that she was under utilised?
When you’re writing a script, writers shouldn’t be limited by restraints. The minute you get to execution level, you know the challenges. You’re aware that you’ll get an actor only for a limited time and shoot only so much. As a director, you have to be clear on what to cut and what to keep. We had written and wanted more of Maajisa, but by the time we cast Zeenat ma’am, we knew her health challenges. We had spoken to her and her management, and learnt that her health would permit her only a few days. So, I worked backwards. We handpicked the scenes and calculated how much screen time to give her. I knew the key scenes she had to be part of, even in the royal ensemble during the charity fashion show. Her scenes with Sakshi [Tanwar] ma’am were non-negotiable — we needed the emotional arc. In the royal gathering, there were earlier scenes for her, but since she couldn’t shoot more days, I had to remove her from them. I shot the polo scenes for three days and the fashion show for two. It was difficult to have Zeenat ma’am sit through all that. I had to finish her parts all at once. The next day, I would shoot the opposite axis to avoid her angle. The intention was more, but the reality differed. Still, we did our best to include Maajisa in the right proportions across the season.
Zeenat Aman as Maajisa
When did Nupur Asthana come on board as a director?
We brought in Nupur to direct episodes four and seven, which we shot last. The schedule had shifted because when we were to shoot in the mahals, it was peak wedding season in January and February. The dates shifted, and by the time we got to episodes four and seven, I wasn’t available. Rangita and I actively went out looking for a director to take over. Nupur had little to shoot in Rajasthan because her episodes were set in Mumbai and Madurai. Even the royal ball was shot in Mumbai. It broke my heart — I had done all the homework — but I had already committed to another project.
How many palaces were used in the show?
That’s like giving away secrets [she laughs]! Across six episodes, the entire schedule was in Rajasthan, then a short one in Goa for the opening episode, and some bits in Mumbai like the Gastronomics competition. I did three rounds of location recces. I picked different palaces because one palace doesn’t offer everything. We needed a bat-pooping corner, a dancing hall, darbar hall, exteriors, a swimming pool, and a polo ground. I went out with my production designer — incidentally, my sister Payal Ghose. The challenge was to make different locations seamlessly look like one palace. Even when we got access, we were only given empty barren halls. Payal dressed them up from scratch. Yuvanath Singh’s [Milind Soman] room was a giant open hall with no artwork or bathroom. Everything was constructed on-site by Payal and her team, including painting the walls.
Sakshi Tanwar as Padmaja Singh
How much of the state of royal estates shown is true?
Each royal family from different provinces is positioned differently — financially, socially, or politically. On our recce trips, I had met some royals. Through those interactions, I realised every family’s trajectory is different. They might be holding onto a title from the past, but some of them are very affluent doing well after foraying into fashion, polo, politics and other fields. We showed different shades inspired by them.
How did you convince Sakshi Tanwar to play such a controversial role?
I knew of Sakshi ma’am through casting coach Atul Mongia, who directed her in Mai [2022] and spoke highly of her. I had to convince her of Padmaja’s arc across the season. This was new to her, and she was skeptical, but that was the challenge she took as an artiste. She was also going through a personal crisis, but I saw a hungry artiste wanting to prove herself. In three days, she found her rhythm. Watching her scenes with Ishaan on camera was a joy.
Pic/Ashish Raje
Ishaan was the epitome of thirst trap in this series. How did you blend his emotional and sexy sides?
Ishaan in real life is a sexy, endearing, sensitive man — that was easy to portray. I was surprised no one had tapped into that before. He made Aviraaj far more likeable than he is on paper. If you just read the script, he’s a brat who behaves badly — during the will-reading and post a one-night stand. No one would root for him. But Ishaan brought more to the table. Yes, the ‘eye-candyness’ helps. His shirtless scenes didn’t feel forced and he is comfortable in his skin. I never used an inch of body make-up on him. He carried the trauma of the crown taking his father away and ran from it. Ishaan brought those layers effortlessly.
Was it intentional to show the leading lady as a knight in shining armour instead of a damsel in distress?
Yes, that arc was always in the story — Sophia is the one pulling the royal family out of its misery. Full marks to the women creators who thought of the female character in a wholesome way.
Sophia is ambitious, but also impulsive. Was that due to Bhumi playing the part?
Her impulsiveness was on paper. We leaned into it knowing Bhumi could pull it off without making it overbearing. With any other actor, I’d be skeptical. In India, we don’t easily accept authoritative women. But Bhumi has softness and vulnerability. Sophia is flawed, and only Bhumi could make her likeable. Sophia is Bhumi in real life.
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