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Deepika Padukone says £50 million films no longer matter as she focuses on fair pay and meaningful work

The actor prioritises fair pay, manageable hours and supporting emerging talent while preparing for King with Shah Rukh Khan.

Deepika Padukone

Deepika Padukone talks to Harper’s Bazaar about work culture in Bollywood

Instagram/bazaarindia

Highlights:

  • Deepika says big-budget numbers no longer guide her choices
  • Exited Spirit and Kalki 2898 AD with Prabhas
  • Focus now on supporting writers, directors and emerging talent
  • Critiques overwork culture in Bollywood
  • Next film is King with Shah Rukh Khan

Deepika Padukone has reached a point in her career where £50 million (₹500 crore) films no longer excite her. The actor, who has delivered some of Bollywood’s biggest hits, says her focus now is on meaningful work and fair labour practices, rather than commercial scale. She emphasised this in a recent Harper’s Bazaar interview, reflecting on her exits from Spirit and Kalki 2898 AD.

Deepika Padukone Deepika Padukone talks to Harper’s Bazaar about work culture in Bollywood Instagram/bazaarindia



Why Deepika is moving away from big-budget films

“It’s not about £10 million (₹100 crore) films, or even £50–60 million (₹500–600 crore) ones anymore,” she told Harper’s Bazaar. Offers of big money alone do not persuade her. “Anything that doesn’t feel true to me doesn’t cut it. Some projects may not be commercially big, but I believe in the people or the message, and I’ll stand by it.”

Reports suggest she left Spirit and Kalki due to disagreements over pay and long work hours. She reportedly wanted eight-hour shifts and fair compensation, which were not agreed.


What Deepika is focusing on now

Through KA Productions, Deepika has backed films like Chhapaak and 83. She says her goal is to support other talent. “What excites me is empowering writers, directors, and new producers. That feels meaningful to me now,” she said.

She is willing to take on smaller projects if the team or story matters. For her, integrity and honesty are more important than box-office numbers.

Deepika Padukone Deepika Padukone advocating fair pay and manageable working hours for film crewsInstagram/bazaarindia


Calling out overwork in Bollywood

Deepika also criticised long workdays. “We have normalised overworking. We mistake burnout for commitment. Eight hours of work a day is enough for the body and mind. Only when you’re healthy can you give your best.”

Her stance clearly aligns with her career choices. Stepping away from films that compromise fairness and wellbeing is now part of her path. “Bringing a burnt-out person back into the system helps no one,” she added.

Deepika Padukone Deepika Padukone emerging talent through KA Productions and meaningful projectsInstagram/bazaarindia


Looking ahead

Fans have noticed the shift. While big-budget projects dominate headlines, Deepika’s focus on people and process is clear. She will be next seen in King with Shah Rukh Khan. “The experience of making a movie, and the people you make it with, matter far more than its success,” she said.

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Anurag Kashyap on 'Dhurandhar': "Ignored the propaganda dialogues and loved the filmmaking"

Filmmaker Anurag Kashyap has added his voice to the praise for Aditya Dhar’s spy thriller Dhurandhar

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Anurag Kashyap on 'Dhurandhar': "Ignored the propaganda dialogues and loved the filmmaking"

Highlights

  • Anurag Kashyap calls Dhurandhar a “significant” and “brilliant” film despite disagreeing with parts of its politics
  • Says he ignored what he viewed as propaganda lines and concentrated on the filmmaking
  • Compares the film to Hollywood war dramas often criticised for political messaging

Kashyap’s review singles out craft over ideology

Filmmaker Anurag Kashyap has added his voice to the praise for Aditya Dhar’s spy thriller Dhurandhar, saying he admired the film even though he did not agree with all of its political messaging. Writing on Letterboxd, Kashyap said he chose to look past what he felt were a couple of propaganda-heavy moments and instead focus on the quality of the filmmaking.

He noted that hostility towards an enemy state is often built into the genre itself, adding that he had no issue with that aspect. However, he pointed to two specific dialogues that troubled him, saying that setting them aside allowed the film to work strongly on its own terms. He described Dhurandhar as a good, and ultimately brilliant, film largely set in Pakistan.

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