Everything we ever wanted to know about Ahad Raza Mir – in his possess words
Capturing a airwaves by a storm, Yaqeen Ka Safar is a large favourite among audiences. It got a somewhat delayed start, rivaling Alif Allah Aur Insaan that raked in bigger ratings for a channel – yet Yaqeen Ka Safar, like a name, grew on audiences, jetting off on a tour of a own. While Alif Allah aur Insaan dwindled into a untimely mess, Yaqeen Ka Safar’s intrigue blossomed and gained adequate strength to mangle a internet.
Written by Farhat Ishtiaq who has also penned Diyaar e Dil, Humsafar and Udaari – and unfailing by cinematographer incited executive Shahzad Kashmiri, Yaqeen Ka Safar had a star garb expel with Sajal Aly, Shaz Khan, Hira Salman and audiences’ stream heartthrob Ahad Raza Mir. Sajal and Ahad’s pairing gained a solid cult following as their story helped Yaqeen Ka Safar turn an present hit.
Sajal plays Dr Zubia, a lady with a condemned past and who is unfailing to be with yet Dr Asfandyar, who has a tortured past too – yet in a totally opposite way. The chemistry of a lead span became a strike and Ahad, for whom YKS is usually his second play, became Pakistan’s new crush.
Ahad is maestro actor Asif Raza Mir’s son yet that is not what Ahad relies on to turn a successful actor or what he wants to be his explain to fame. According to Ahad, his father instilled in him good values and Ahad went on to learn and investigate acting, play and entertainment in Canada, where he grew up. He returned to Pakistan to pursue it by operative tough and proof himself worthy. Here he talks about his character, Dr Asfandyar Khan, who is coping with a comfortless past and heartbreak yet also learns to tumble in adore with his co-worker Dr Zubia (Sajal).
ET: What do we do to get into a section of your character? Are we a impression actor? Is there a routine to how we get into this zone?
Ahad : Acting is something we can’t take too seriously. Everyone has their possess method/process. Whether they demeanour during a text, either they go into a character, whatever it competence be. we privately trust in not holding it too seriously. When we take it too severely we take a fun out of it. When we take a fun out of it, we take a flawlessness out of it. That being said, when it’s a ‘heavy’ scene, we don’t like distractions. And this is something that Shehzad (Kashmiri) has drilled into me. we consider about my possess life – yet my routine is about a journey. You demeanour during a impression and think, “Who is this chairman when we met them – and who are they when I’m withdrawal them?” And how they’ve morphed within you. we can speak about how Asfi became Asfandyar yet we indeed don’t know. Asfandyaar would mostly come home to me, within me. I’d be still and wouldn’t unequivocally contend much. It usually kind of sits inside you. When we play a impression for a while, they always stay there. When we went to fire my film, we was in a same mood. And a executive told me, hey this isn’t Dr Asfandyar. It usually depends on a character. You have to deposit in it. we like to memorise scripts. we am a crazy chairman who shows adult early on a set, has a initial 12 episodes memorised. People would be like, “Here we go, this is a stage we can read,” and Id’ be like yeah we know this already. Sometimes here, we get a stage like an hour before or something. And I’m not a large fan of that – since when we unexpected get a text, we get confused. So that’s my routine – plainly and not too seriously. During my entertainment training, a lot of a actors were routine actors, who usually won’t dump a impression during all. we do have a small bit of that – so many so that when a fire starts, a impression is there and it usually goes divided when a play ends.
Brad Pitt once pronounced in an talk that he had sealed himself in a room for 12 Monkeys to get into that zone.
I know that I’ve pronounced we can’t take your art too severely – yet those are a kind of characters that we can’t do unless we go by that kind of credentials or experience. Those are a kind of a things we have to knowledge to do that role.
Yes, maybe like The Revenant. If we haven’t been unprotected to forest we won’t be means to know a story or a impression during all. You have to demeanour during a requirement of a role. we didn’t have to ready a lot for ‘Salaar’ yet we unequivocally had to ready for ‘Asfandyar’. This other purpose I’m doing requires even some-more work than Asfandyar. So it depends on a character. The new play that I’m doing requires me to get into that impression approach some-more than we was in Sammi, let’s say.
ET: Talk a small bit some-more about this kind of work that went into Asfandyar. How did we ready for those tough scenes, a regretful scenes, a ones where Asfandyar breaks down? What was it like good in front of a ton of people?
Ahad: It’s tough. But we have to give my entertainment training some credit. When we was in my final year of behaving in school, there was an practice where we have to giggle hysterically and afterwards finish adult crying. And it was a uncanny exercise, many people couldn’t do it, couldn’t get it. So we don’t know what it is about creation yourself totally open and exposed in front of people – that usually kind of numbs all out. For YKS, we had a time to lay there and consider about my brother, a approach Asfandyar is feeling regretful about his brother. we adore my hermit unequivocally much, and we haven’t seen him in dual years. A crony of cave had died during 22 from a medical condition. So we unfortunately had some incidents where we could consider of. It’s formidable articulate about it. we was sitting there perplexing to do that stage and meditative about my hermit and a shock arrange of went by me, something that was there in my chest. we don’t know. I’m a unequivocally regretful guy.
ET: But that’s a good thing, isn’t it? Being an regretful man means being a good actor?
Ahad: we review that Yaqeen Ka Safar has turn one of a many rarely watched Pakistani dramas ever. And we started crying. Because we was like, “Man, we wanted this to occur and this is happening.” And yeah, as an actor we have to be emotionally available. we have realised that a good actors are a ones who don’t demeanour like they’re acting. Their emotions, either or not they feel them, they make it demeanour like they are THEIRS. So yeah, we have to be peaceful to go there. So a fact that we put myself in regretful highlight so a spectator has something authentic to declare – so when it pays off, it’s great. That’s since people say, we guess, that behaving is a tough job. It indeed is.
ET: we consider that’s amazing. You remember dialogues, we get so invested. How formidable is it to undo from a impression then?
Ahad: That’s a burdensome part. It’s physically draining. It’s easier when my family is around. When we come home to my father and my mom, it’s many easier to let go of a chairman we was personification – it’s formidable when you’re alone. When we was sharpened in Kashmir we would usually go behind to my small room. All we did was work there. I’d go behind to a room and usually demeanour during a script. Maybe that’s another since Asfandyar has finished so good – since we never unequivocally forsaken a impression until we were finished.
ET: In a destiny do we devise to take on lighter roles? Do we devise to do disastrous roles?
Ahad: These days we have been conference that they’re job me a ‘romantic hero’ and we never suspicion I’d ever be called that. we usually wish to do things differently. Whatever people have seen on TV or film in Pakistan so far, we wish to do that yes, yet differently. The disastrous or certain doesn’t matter – it’s a circumstances. For example, if someone comes adult to me and says we wish we to take adult a impression that has intelligent palsy and has 15 lines in a whole film. I’d contend approbation right there. Because, when would we get that eventuality again? As an actor, maybe I’m utterly selfish. we wish to do things that are opposite – that make people go ‘wow’. we don’t wish people to consider that he can usually be a hero. Although that is what it is and that’s fine. we wish people to demeanour during me and consider we can fit him anywhere, he’s like clay, we can mold him whichever approach for a purpose we want.
ET: Every actor has some inner philosophy. For Akshay Kumar, say, who once pronounced he was confident by usually doing movies, regardless of their book and whatnot, since he had bills to pay. But a lot of actors didn’t concede on that. What satisfies you?
Ahad: I’m usually reckoning this out we think. Being a entertainment actor to start with, we wish to do characters that hold a audience. But obviously, a contention I’m in now has a ‘commercial’ component to it, a ‘showbiz’ element. People tell me, don’t do any disastrous roles – so we have to be a bit careful. I’m removing a lot of scripts during a moment, and I’m unequivocally propitious that that’s happening. But in a position that I’m in right now –I have a oppulance of selecting what we wish to do and consider about it. we consider there has to be a concede of some sort.
ET: But it’s going to be a good compromise?
Ahad: Yes, definitely. But I’ll be clever for a bit. Pakistan has unequivocally few or no regretful heroes. Fawad was there yet he’s not been operative on a lot in dramas. Yeah so with time I’ll find that slit we theory and I’ll do it all.
ET: Action too?
Ahad: Yes, movement too. I’ll do it all. Everything!
ET: We saw we singing a bit in Yaqeen Ka Safar. So what’s on a cards in that regard? Any albums entrance out? Maybe a duet with Sajal?
Ahad: (laughs) That’s not a bad idea! we have finished low-pitched theatre; we have a story of that in Canada. I’m a initial desi actor to win ‘best actor in a musical’ during a Canadian Critics’ Awards. we don’t systematise myself as a thespian though. we consider an actor should know as many as he can. Every month we try to learn something new. Last month we attempted training a West African drum called djembe. we try to learn opposite languages, portrayal etc. Because we never know. What if someone comes to we and says, this is a critical film yet we gotta play a drums in it. And we can say. Yeah. we know it. Let’s do this. It’s an actor’s shortcoming to enhance their ability set.
ET: Are there any disastrous practice that you’ve had so distant that have angry we or done we wish they could be bound so things could get improved on set?
Ahad: There’s a miss of professionalism sometimes. And afterwards what happens is that a people who are veteran get frustrated. But it’s changing. If someone asks me to come during 9 during a call time, I’m there during 8.30. we had learnt some qualities in Canada that we was starting to forget and my father reminded me, asked me, ‘why did we send we to Canada if we have lost those habits and have let go of them’. So we held myself again, went behind on track. we also feel people put down a new man a lot. I’m new; they consider we don’t know anything. If it’s function to me, I’m certain it’s function to other people my age too.
ET: Would we wish to try into Bollywood/international cinema?
Ahad: we have dual aspirations actually. When it comes to Bollywood, I’d contend any actor should demeanour during an general scale. Bollywood actors are going to Hollywood – it’s satisfactory to contend that Pakistani actors should be in Bollywood and clamp versa. But another shortcoming we have is to pull things forward. Collectively we can make a lot of things opposite about Pakistan. That’s also a shortcoming we all have. People have a lot of messed adult conceptions about Pakistanis internationally. When dramas/films come out, we send them to people in Canada. we recently was in a conform uncover [Ahad walked a ramp along with Sajal Aly during a new conform eventuality in Pakistan]. It was brilliant. we had not even illusory that Pakistan could do something so illusory in terms of conform and ramp shows. So we consider it’s a shortcoming to showcase to a universe how shining we are. we consider we’ve got a bad repute for a wrong reasons. This is my shortcoming as a Pakistani to assistance change that.
ET: Are there any films or dramas in a Pakistani attention we favourite in a new past?
Ahad: Muqabil was one of my favourite dramas of a year. O Rangreza too; Kashif Nisar is a good director. The approach that he’s combined this word, it’s amazing. It’s a fun to watch. Bilal and Sajal are smashing in it.
Article source: https://tribune.com.pk/story/1546781/4-everything-ever-wanted-know-ahad-raza-mir-words/