Eastern Eye caught up with the actor to discuss the Apoorv Singh Karki-directed film Sirf Ek Bandaa Kaafi
By Mohnish SinghJun 02, 2023
Self-made star Manoj Bajpayee has gone from small roles in films to winning multiple awards, acclaim, and adulation for stunning performances as a leading man.
That incredibly rich career has enabled the versatile actor to play a wide array of roles in diverse projects that have shown off his impressive range. He recently added to his immense body of work with newly released film Sirf Ek Bandaa Kaafi Hai, which recently premiered on streaming site ZEE5 Global and won rave reviews. The powerful legal drama, based on real events, sees him play a lawyer who takes on a holy man accused of sexually assaulting a teenage girl.
Eastern Eye caught up with the actor to discuss the Apoorv Singh Karki-directed film, his role, Hollywood aspirations and why he has nothing left to achieve.
What can you tell us about your new film Sirf Ek Bandaa Kaafi Hai?
Bandaa is actually inspired by true events. It’s the story of a lawyer and his chemistry with the victim whose case he has filed. It is a case that took five years, for a very regular ordinary lawyer, and someone who was not even expecting a case like this to happen to him. When he gets the case, he gives all his life experiences and intentions to winning it.
Tell us a little more about the role you are playing?
The character I am playing in Bandaa is very real. His name is Mr PC Solanki. As I mentioned, the film is inspired by true events, so this character is also modelled on a real-life person. For me, it is also a story of a 16-year-old girl, who is the victim. It’s about them deriving strength from each other and holding each other’s hand in the difficult journey. That is what the film is all about.
Bajpayee in 'Sirf Ek Bandaa Kaafi Hai'
What most appealed to you about this story?
Once you get the story, first you look at its creative potential. For me, it is very, very important that I am not an activist, but an actor. First and foremost, it has to appeal to me as an actor, okay? And then you try to be sincere and sensitive to the message it is trying to convey. You know, it should work on both levels. If it works on both levels, you just go ahead and do it.
What was the most challenging part about playing this role?
You know, it is always very challenging when it comes to courtroom dramas. It is about the words, sections, and all of that. Then remembering them and saying those lines. It is about the arguments and those testimonies. You must memorise those legal technical words and try to make it look interesting, and exciting for the audience at the same time. That’s the biggest challenge for an actor.
This is a story based on reality. How much was altered for the film?
See, this case went on for five long years. We, of course, used to read up on it every day and every time there was a hearing. That much knowledge and awareness were there. The directors and writers started researching it. Many of the intricate and minute details started coming up and they were handed over to me, to just go through it and be aware of the facts and journey. My whole focus was on Solanki’s life and the kind of person he is.
Tell us about that?
What made him take up this case? What made him go through such a long and difficult journey? What are the points where he felt completely vulnerable, tired, or exhausted? These were things I was more interested in.
You have collaborated with ZEE5 Global previously. How do you look at your association with the streaming platform?
This streaming platform has my film Silence (2021), which is the most viewed movie on this platform. I was completely surprised when I was given this news. Yes, I knew that it was good, but to be the most viewed film content on the streaming platform was quite an achievement.
Tell us about that successful association with ZEE5?
Before Silence, we released Suraj Pe Mangal Bhaari (2020). Then there is Dial 100 (2021) and now Bandaa. All these films have been ZEE Studios productions. My next ZEE Studios film Zorum is getting a lot of praise (at film festivals) in Rotterdam and Sydney. So, I am excited about my association with ZEE5 Global, and they are showing such pride in this relationship. We are very happy in each other’s company. I get a lot of support from them. That gives me a lot of strength and emotionally you feel secure in this kind of a relationship.
Bajpayee in 'Sirf Ek Bandaa Kaafi Hai'
You have innumerable accomplishments and awards. What is it that you still want to achieve professionally?
You know, there is nothing I want to achieve. The only thing I wanted to achieve in my life was to get my salary as an actor. When that happened for the first time, I started telling the world that I am a professional actor. This is what I wanted to be and what has happened to me, so I feel blessed. After that, whatever I am getting is a bonus and blessing. It is the kind of blessing I never thought or comprehend that I would ever get.
You have been a part of Indian cinema for such a long time and achieved so much. At this point in your career, do you have any Hollywood aspirations?
See, I never had the audacity or guts to think about that. Coming from a village, and just becoming an actor was a tough task. I could never run my imagination wild and cross seven seas and see myself in Hollywood. Even now when I am talking to you, I find it very, very difficult that I would ever be able to break through there. But yes, I am always open, since the world has all come closer. Opportunities are there, but not ones I would like to take because that is not somewhere I see myself. I see myself doing great roles in beautiful projects in India. Then the criteria are going to be the same in any other industry, and this is what I am waiting for.
What would you tell the public to expect from Sirf Ek Bandaa Kaafi Hai?
I would expect them to come and watch a great story of a very ordinary man.
Panellist Hailey Willington (BPI), Roshan Chauhan (Daytimers), Indy Vidyalankara (UK Music/BPI), Kara Mukerjee (Warner Music Group), Mithila Sarna (Arts Council England), and Jataneel Banerjee (PRS for Music) at Lila’s “Future Unveiled” event, held at the BPI office in London on September 16, 2025
Only 28% of South Asian musicians in the UK can rely on music as a full-time income
Around seven in ten say they are overlooked or unseen in key industry roles
Artists face repeated challenges like family worries about stability, difficulty accessing money, and no guidance from mentors
The community agrees the path forward needs proper guidance, visible decision-makers, and financial support tailored to their journey
Surveyed artists work across multiple genres and aim for global audiences but face structural challenges
When the lights went down at the BPI’s London office for Lila’s “Future Unveiled” event in mid-September, speakers and delegates were not gathering to celebrate a triumph. They had gathered to confront a simple, brutal truth: the music industry was failing them. For South Asian artists and professionals, the dream of a lasting career was crashing against a set of measurable, stubborn barriers. The South Asian Soundcheck changed that. It was impossible for the industry to continue ignoring the data since it was evident and impossible to overlook.
Panellists Hailey Willington (BPI), Roshan Chauhan (Daytimers), Indy Vidyalankara (UK Music/BPI), Kara Mukerjee (Warner Music Group), Mithila Sarna (Arts Council England), and Jataneel Banerjee (PRS for Music) at Lila’s “Future Unveiled” event, held at the BPI office in London on September 16, 2025
Data reveals daily struggles behind the statistics
Statistics, however damaging they may be, cannot tell the complete story. Each percentage point represents a daily struggle. The survey, run by the non-profit Lila, gathered voices from 349 creators, managers, producers and industry workers, revealing a community bursting with talent but stranded without a map to sustainable work.
Financial precarity and invisibility
The numbers are stark and consistent. Consider the financial reality: only 28% can actually make a living from their music. For the vast majority, it's a side hustle. Compounding this is a deep-seated sense of erasure: nearly seven in ten (68%) feel they are either poorly represented or entirely invisible within the business. The study laid bare the personal toll.
Lila’s Data Consultant Sania Haq presenting the findings of the South Asian Soundcheck
The weight of stereotypes and family pressure
Imagine constantly being told what kind of music you should make, based purely on your name or skin colour; 45% of respondents face that very stereotype. Then there’s the pressure at home, with two in five (40%) navigating family concerns that this path is just too unstable. And cutting through it all is the blunt reality of prejudice: a sobering 32% have faced direct racial discrimination in their careers.
Beyond prejudice: the missing links of money and mentorship
These aren't abstract figures. They outline the reality of versatile professionals. Respondents said they work across an average of seven genres, yet are systematically shut out from the rooms where line-ups are decided, artists are signed, and real power is held.
The report also flagged practical barriers beyond prejudice. More than half, that is 54%, said they struggled to access funding, and similar numbers described gaps in industry networks and business knowledge such as contracts and rights. That combination; lack of money, know-how and connections is what stalls careers, not a shortage of talent.
Sophie Jones, CSO at the BPI, delivers the opening speech of the evening
The “Progress Paradox”
Lila founder Vikram Gudi framed the findings with a phrase the report uses repeatedly: the Progress Paradox. While 69% of respondents say they have seen improvements in South Asian visibility over the past two years, that perceived progress has not translated into representation where it matters: the boardrooms, A&R desks and festival programming committees that allocate budgets and define careers.
“Seventy-three percent earn some money from music, but only 27% earn enough to rely on it as a sustainable career,” Gudi told delegates, summarising a gap that numbers alone struggle to convey. The report also notes the headline figure of 28% who can rely on music full-time. Think about that. Nearly three-quarters are making some money from music, scraping together a living from their art. Yet barely a quarter can actually depend on it to pay the rent. That void, between grinding away and truly building a life, is where the real story lies.
Vikram Gudi presented key findings to label executives festival programmers and trade bodies
The invisible wall of representation
That gap is compounded by what respondents described as an “invisible wall”: the absence of people who look like them in positions of power. Two-thirds of those surveyed identified the lack of South Asian professionals in industry roles as the single biggest barrier to progression. Without visible senior figures, the path into senior programming, label deals and streaming strategy remains shadowy and difficult to navigate.
Without mentors who have lived the same experience, many feel they are learning the rules of the business in public. One anonymous respondent summed it up bluntly: “There are virtually no visible and successful South Asian artists in the mainstream, people simply do not know where to place us.”
A three-part solution
The Soundcheck does more than catalogue obstacles; in fact, it points clearly to remedies. So, what’s the way out? The response from the community was crystal clear. Roughly three-quarters agreed on a three-part prescription for survival.
First: mentoring that actually teaches you the rules and points you to decision-makers. Second: real representation in the rooms that sign, programme and pay artists. And third, they need dedicated funding and actual financial pathways that are accessible and understand their unique journeys.
The report makes it clear these aren't just items on a list; they are interconnected. Without funding, representation is an empty gesture. Without mentorship, that funding is likely to be wasted. Each element needs the other to actually work.
Suren Seneviratne from the DAYTIMERS Collective
The emotional cost of being boxed in
Respondents described the everyday consequences of those structural gaps. Artists who work across multiple genres said they were routinely typecast: an electronic producer might be nudged towards “Asian Underground” tracks; a classically trained musician expected to add bhangra flourishes regardless of artistic intent. For 40% of respondents, pursuing music means repeated conversations at home about financial security.
For many, the prize of mainstream validation remains distant, and the cost of trying to bridge that gap is emotional as much as economic. One participant put it simply: “All I want is to tell my mum I have been booked to play at my favourite venue and for her to be excited, but I cannot.” These testimonies are threaded throughout the report to give voice to the statistics.
The global ambition vs. local limits
The study also highlights a further artistic anxiety: 45% worry that specialising in South Asian music will limit their broader industry opportunities, and 71% believe the industry has limited acceptance for artists who do not fit traditional categories. In short: artists are ambitious and global in outlook, but the industry still thinks in narrow boxes.
Members of Warner Music’s ERG with some of the Lila TeamAudience at South Asian Soundcheck The Future Unveiled showcase at Tileyard Studios,London
Industry reaction and next steps
Industry bodies took the findings seriously at the launch. The Soundcheck is supported by major organisations including UK Music, the BPI, the Musicians’ Union (MU), Warner Music Group (WMG), the Music Managers Forum (MMF), Arts Council England and PRS for Music, and the research also consulted groups such as Bradford City of Culture and the Association of Independent Festivals. Lila unveiled eight key insights at Future Unveiled on 16 September 2025, in a preview hosted by BPI in partnership with Warner Music Group and Elephant Music, an assembly of partners that suggests the report has the power to move institutional levers if they choose to act.
From talk to tangible change
The survey reveals a tension that defines many of their careers: this gap between putting in the work and finding security shows why targeted help is necessary. After the report came out, the room’s discussion turned straight to solutions: pilot mentorship programmes, clearer access to funding, and real initiatives to bring in fresh talent.
The response from music publications and activist circles hasn't been an outright celebration, but wary optimism. Coverage in specialist outlets described the Soundcheck as the missing piece of evidence needed to shift diversity conversations from moral urgency to measurable targets. Commentators emphasised the report’s value in informing pilot programmes like mentorship schemes, targeted grant funds and recruitment pipelines, and in providing a baseline against which progress can be tested.
Members of Warner Music\u2019s ERG with some of the Lila Team www.easterneye.biz
The real test: action or another interim?
Implementation will reveal whether the Soundcheck becomes a catalyst for change or another well-documented interim. The report’s message to the industry is blunt: warm sentiments won’t cut it anymore. What’s needed are tangible, funded pathways. That starts with grant programmes and fellowships built specifically for South Asian artists, rather than asking them to contort themselves to fit outdated criteria. It means pushing the doors open, hiring programmers, A&Rs and commissioners, and making a real, public effort to find this missing talent.
And mentorship can’t be a coffee meeting that goes nowhere; it has to be a dedicated bridge, linking emerging artists with established figures who have the clout to actually pull them up. The ultimate goal is to plant champions in the rooms where it counts, people who grasp the cultural context and will fight for their work when the final selection is decided and the big money is allocated.
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