When I called Ishaan Khatter a few months after his shoot for VMAN, I found myself staring out to the hills of Los Angeles where the Hollywood Sign instantly caught my eye. Naturally, one starts to think about all the great actors that have hit the pavement hard in the city of angels, hoping to have a shot at the big screen that will propel them to superstardom. Though most of the world recognizes Hollywood as premier destination where cinema magic is made, Mumbai’s bustling Hindi cinema scene recently has been questioning that idea, offering a unique option to films than what Western audiences are used to. And at the forefront of the next generation of leading men in the region is Ishaan.

At just 29 years old, the Indian actor and dancer has been captivating audiences slowly but surely since he was just 10 years old, going on to land his breakthrough role in director Majid Majidi’s Beyond the Clouds years later in 2017. Since then, he’s seen a steady incline in projects that allow him to push his craft further, recently introducing himself to Western audiences with his role as Shooter Dival in Netflix’s murder thriller The Perfect Couple–starring opposite icon Nicole Kidman, of course. Now, set to star in the upcoming Netflix rom-com series The Royals, it seems both the West and East will have to keep up with the always-moving [and always-evolving] thespian.

ISHAAN KHATTER: So you’ve got me in the middle of one of those days. If my brain cells are functioning at half the level, just go with it.

KEVIN PONCE: [*laughs*] It sounds like I got you at the perfect moment to do this. It’s like in the frenzy of everything going on in your life now, and of what’s to come.

IK: You know, it’s true. I’m glad that we’re able to do this as well. We did meet that night [at the VMAN x Montblanc New York Fashion Week dinner.] I actually flew into New York just for a day and a half for the shoot and event, and it was worth it.

KP: Was that your first NYFW experience?

IK: It was! I didn’t really get to spend much time outside the VMAN ecosystem, but it was also a really buzzy time for me, being that it was literally the day after The Perfect Couple dropped. The world premiere happened, and people were watching it around the world and it was exciting. Already there were a lot of people that had already binged six episodes within 12 hours of the launch. My most potent memory of that trip, which was pretty crazy, were people in the streets [shouting] ‘Shooter!’. Like what are these guys on? It was a Netflix binge.

KP: Ah yes, Shooter Dival, your character in the show! Has the response been like that everywhere you go? I feel like that’s sort of the first time in which people are really getting to know you, as this character who is involved with many storylines. He’s quite compelling of a character…

IK: Yeah, it’s fun. I definitely think that it was a show that got watched around the world; even back home here in India, it was really widely viewed and liked. It’s great to be a part of a show that’s binged and enjoyed.

KP: Has the response felt overwhelming, or are you sort of just taking it all in and just enjoying the moment?

IK: I am, I am enjoying it. I think I had the good fortune of jumping back into work immediately after, so I didn’t revel in it all too much or let it get the better of me, in that sense. In general, I kind of have a radar for when I’m indulging myself too much in success, or failure for that matter. I think it was a great and really fun journey that came to fruition for all of us, because there were so many wonderful artists that were part of this, including the folks over at Netflix and the producers, and of course, Nicole [Kidman]. So I’m happy for everyone, and I’m looking forward to the next chapter with my next cast.

KP: Something you said is actually quite striking; you don’t revel in your successes or failures too much. How did you come to that perspective? That takes a lot of willpower to be in control of your emotions when it comes to your work and your art.

IK: I think it’s perspective that you gain, having done it for a little bit. In my case, I’m the second generation of a line of artists in my family, so I’ve kind of seen it from the wings. If I can directly quote Rudyard Kipling: “If you can meet with triumph and disaster. And treat those two impostors just the same.” Neither of them mean any more than the other, and it’s a part of the journey. Of course, I get affected by how people respond. This is a commercial art, but it’s also for the people. It’s a formative art, so that matters to me a great deal. But also there is a larger perspective we have [as artists]. I think for me, the priority is to take the success and be able to convert it into something better. Fuel the fire to do better work, keep going and be able to empower people and films, projects, and stories that I believe in. So that’s the meaning of it for me. Fame, money, and all of that stuff are like externalities, right? I am not pretentious about not needing that; everyone needs comfort in their lives to be able to thrive, right? And of course, I want to be able to provide for people in my family and take care of others. But beyond that, it’s a great pleasure to share the joy in a successful moment. You want to celebrate it with the people you love most. And then get right back to work.

KP: Always celebrate the successes while it’s happening because it won’t last for long until the next one. And then, like you said, it’s back to work. But when it comes to the roles that you take on, what do you look for in the characters that come your way? Are there specific qualities that you sort of keep an eye out for?

IK: I’m just six, seven years young into my career, but I think the more I go forward, it’s beginning to become more important for me to choose the people that I work with, sometimes even above the material, because you’ve got to be able to live a significant period of your life and journey through it with them. It’s from creative chemistry that good storytelling is born, in a sense, especially when it comes to directors that I work with because they often really set the tone for the way a unit functions. I think that is definitely a priority for me. I am selective in the sense that I need to be able to believe in what I’m doing, at least in that moment. If I don’t believe in it, it’s bound to be a disaster, so there’s got to be something that is exciting and inspiring me. I’m open to trying things as an actor, I don’t want to put myself in a box. 

KP: It’s relieving to hear that, because there’s so many times where you hear stories from other actors who are like ‘Yeah, I just took the job because it was a job and I needed work.’ and you can clearly tell when they hate the role that they’re doing, it’s like watching teeth be pulled. I think spirit is going to be the denominator for a new generation of actors like yourself, where there has to be intentionality behind everything that you do, or else it’s ingenuine.

IK: That’s a beautiful way to put it, because it really affects the work that you do. I have to also acknowledge that it is a privilege that I get, the benefit of choice. I was very fortunate that when I began my career as an actor, I had two very diverse opportunities. One that really allowed me to find my footing as an artist and as a performer was Majid Majidi’s Beyond the Clouds, which was my first film. From then I was able to jump into something so different with a mainstream Bollywood intense romantic drama [Dhadak], and that found a lot of mainstream success, and that film was a huge hit. So that kind of gave me the benefit of choice afterwards, to some degree. I’ve seen highs and lows, and I think that’s what gives me the perspective to be able to go for it if I feel passionate about it. Because why do this job if you’re not passionate? Go do literally anything else in the world. Passion is what drives this machine.

KP: I absolutely agree. You know, it’s always been said that people, as they get on with their lives and when they start their career, as they get older and a little bit more experienced, they change their career two to three times, at least in America, that’s sort of how it goes. So later in life, I may not be an editor for a magazine. What if I become a makeup artist next year? Or what if I become a veterinarian or chef? 

IK: Do you like to cook?

KP: No, I can’t cook for shit. 

IK: [*laughs*] I wanted to see how hypothetical you were going.

KP: No, that’s why I work in fashion, because that’s sort of where my heart lies. But, having other interests, I think is needed because there should be something else to fall back on. And if you don’t have anything, then you’ve got to give it your all with the one shot that you got.

IK: You only live once!

KP: And for some, they live way too long.

IK: [*laughs*] Why is it that I immediately had a sense of [knowing] some people that have had it too long? My brain is messed up.

KP: Going back to something you spoke about, which is your first few films. Are music and dance-focused films, like the big Bollywood musicals that the world has come to know, something you like more or [do you] prefer the drama-focused roles like the ones in Hollywood?

IK: I think playing Shooter in The Perfect Couple was a very interesting opportunity for someone who’s based out of India, as it kind of bridged the gap in a very interesting way. All the attention that came my way from the West also prodded my peers here [in India] to ask me this question. The same kind of curiosity that comes to me from the States, for example, is all about what the big difference is between Hollywood and the Indian film industry. What is the difference in the DNA? And to me, there isn’t much that’s different in the craft of filmmaking. It’s simply that, culturally, we are very diverse. And one of the things that I am proud of is our culture finds its way into our films in a very natural and organic way. It doesn’t have to be a musical format for the film to have music. We’re able to communicate some things deeper, sometimes more profoundly, or frivolously, and have fun kinds of thoughts and emotions through music [be communicated] very efficiently, and we’ve been doing that for decades. There is a very strong parallel kind of industry where you have dramas and Indie films and various genres that are coming from the Indian film fraternity, which do not include song and dance. So there are those films as well, but song and dance is very naturally part of our storytelling. I’m a dancer. My mom was a classical Indian dancer and maestro; if I may say so, we kind of inherited a percent of our talent and were able to run with it. [*laughs*] I’m not a singer, but I am a dancer.

KP: Did your mom teach you how to dance?

IK: She did. I kind of grew up under the influence, even as a toddler, going to the classical Indian concerts, and watching, listening to that music. My brother and I are both trained dancers, and we put in the hours for formal training. It’s just part of who we are. And I think in a big way, it also informed my craft as an actor, having rhythm and musicality and having control over my own “instrument,” physically. Just being uninhibited and being able to get out of my head, it’s a big part of my craft as an actor so I love dancing. The film that I mentioned, called Dhadak, is inherently a romantic drama, but it’s kind of a tragic romantic drama that did have some song and dance.

KP: All romance is dramatic and tragic, so that sounds normal to me.

IK: [*laughs*] Yeah it’s tragic. but I enjoyed [the singing and dancing] very much. I do look for that as well, but not just for the sake of it. I feel like it needs to be organic and push the boundaries a bit, and go all out. Since I am a dancer, I want to make the most of it. I like to go for it. Break a leg.

KP: I’m trying to think of good dancers in Hollywood that everyone’s obsessed with…

IK: Like Channing Tatum or Adam Sevani?

KP: Oh, my God, no! I’m talking older, like Gene Kelly or something.

IK: Ooo, like Gene Kelly, John Travolta, Fred Astaire, so many.

KP: Yes exactly! Fred Astaire. Now that’s an actor who could dance. Blood and rhythm were all in one when it came to him. It just flowed out. 

IK: Stunning. 

KP: He’s someone who actually went for it and sort of became a god in Hollywood because of his expression and movement. That’s something I think you can sort of relate to in a way, having the need to really go for it when it comes to performing.

IK: I would not even claim to be like the dirt on his foot. 

KP: [*laughs*] 

IK: He was just such a master. These are the people that I idolize and have inspired me. It’s also just such a beautiful art form. Don’t you miss those kinds of musicals? Like Summer Stock with Gene Kelly. The kind of stuff that they were able to do, they would literally float. It was so cool to watch. I know a lot of people enjoyed La La Land when it came out recently, and it would be so cool to see more of those done well.

KP: Musicals are now a rare form. It’s beautiful that the art still exists in other countries. You know, America gets so boring sometimes with their film releases. There hasn’t been another film like La La Land in a while. Maybe we need to bring that back. We need to bring you back and bring a little Bollywood to Hollywood.

IK: Shout out to VMAN, let’s do it.

KP: We’re gonna start calling agents very soon. Something else I saw recently, which came from your Instagram: I saw this post where you expressed nice sentiments about a film that you just wrapped. I’m curious about why this upcoming project holds so much meaning for you.

IK: Well, with all that I can reveal about it, it’s with a filmmaker that I’ve been wanting to work with since before I became a leading man in movies. It’s been 10 years that I’ve been wanting to work with him because I was moved by his first feature. It’s a very rare human story, the kind that you don’t really get to see much of. Without spoilers or hyping it too much, I think it’s just very relevant, and on a personal note, I think it’s been the most wholesome filmmaking experience I’ve ever had, I can say with confidence. It’s very rare that you have somebody that leads a crew with love and conscientiousness, and is sensitive with thoughtfulness every single day. Because film sets can get rough. You know, you’re working with 200 people, and some people butt heads; there are logistical issues. As actors, you’re trying to function from an emotional place, as well as kind of a technical place, and it can get messy, right?

(cont…) So often, there’s this chaotic energy on a film set. And not to say there wasn’t on this one, but it was just so wholesome, and it’s rare that everybody there was truly there for the work. The energy was pure. Everyone was really good at what they did, and happy to make space for the others to thrive and that’s a rare thing. I’ve been on small projects and I’ve been on projects on the scale of The Perfect Couple that are big and it has nothing to do with those things. It’s literally the person that leads who sets the tone on the set. I’d like to give a shout out to the director that I’m working with, Neeraj Ghaywan, for just being a pleasure to work with. I hope that it’s a film that people can find inspiration in. 

KP: It sounds so exciting. That’s something you don’t really hear too much about, the production experience of it all. You know what they say: it takes a village, and it truly does, you know?

IK: It totally does. Even with you being part of the fashion industry, I would imagine even looking at a magazine shoot, it cannot be done without everybody functioning at their highest level. And the more ambitious you are, on an emotional level or a practical level, the more it takes. It takes a lot from every single person and it’s rare when you come out feeling like it was so worth it. I would do it all over again.

KP: What’s happening with The Royals, which was just recently announced as a new Netflix show. What made you choose that project?

IK: In the same way that The Perfect Couple had a really big quality to it, I think The Royals also has something for everybody. It’s certainly going to be a very entertaining bonanza, it has a great cast at the helm of it, but it’s a very unique, interesting take on the royals in North of India. It is fictitious, but it kind of has a very compelling storyline and it is a contemporary take. Unlike a lot of projects on royalty that we’ve been seeing recently, it is about the contemporary world that we’re in. I think it’s the dichotomy between the heritage and history that they carry, and literally own, that defines them in a way, that sees them struggling to find their feet in the modern world. There is an argument to be made: who are the real royals now, you know? Is it people that are in the world of entrepreneurship, the people that are really taking over who are in a position of power to influence the zeitgeist and culture? Or is it the royals? So there’s a lot of comedy and high drama, and more than anything, the role allowed me to be presented in a way that I haven’t yet. I’m just stepping into manhood, and it gave me an opportunity to display that side of me as a performer. I also got to learn horse riding for it, which was really cool. They needed me to look like a prodigious polo player in two months. [*laughs]* Which is a tall order to say the least, but I had a great coach, and we managed to put some work in, and that was really fun. Any role that allows me to learn a skill, or do something new, is exciting to me. This show has it all in many ways, and I hope it comes together well and is a fun watch for the audience.

KP: Are you going to be riding a horse anytime soon with all this newfound knowledge that you have?

IK: Newfound knowledge! I’ve been in a very different kind of zone working on this other film, which is a totally different social class of society. So I was not engaging in any of these sorts of indulgent activities, but I did manage to get a horse riding session in last week after a long time. I have to say, I feel like it might be a lifer for me. It might be something I have to carry on with; it’s addictive. Do you ride horseback at all?

KP: I actually have ridden a horse before once, and the horse’s name was Dolly Parton–it was the most terrifying experience of my life. I used to think the subway in New York City is scary but that fucking horse beats it.

IK: (*laughs*) That is hilarious! I mean, how many people get to say they rode Dolly Parton, anyway?

This story appears in the pages of VMAN 54: now available for purchase!

Photography Alvaro Beamud Cortés

Fashion Nicola Formichetti

Creative Director / Editor-in-Chief Stephen Gan

Makeup Charlotte Willer (Home Agency) using Chanel Beauty

Hair Shin Arima (Home Agency) using Davines

Production viewfinders

Digital tech Christopher Glover

Lighting director / DOP + Video Editor Simone Triacca

Photo assistant Héctor Adalid

Styling assistants Alice Almeida, Angelina Khachaturyan

Production assistant Ha Chu

Retouching Camillo Bernardi Studio

Fashion coordinator Liv Vitale

Location Untitled NYC Studios