RAMPAL ON BRINGING DREADED GANGSTER TURNED POLITICIAN ARUN GAWLI’S LIFE TO THE BIG SCREEN
by ASJAD NAZIR
THE story of Arun Gawli fascinated Arjun Rampal so much that he decided to produce, co-write and star in a biopic of the notorious gangster-turned politician titled Daddy. He overcame a number of challenges and went through drastic makeover for the story, which is set across 40 years and has the blessing of the now jailed Gawli. The newly released film sees Rampal present all sides of a man who has gone down in Indian folklore and deliver one of the most powerful performances of his career. The brooding actor was just putting the finishing touches to Daddy and was feeling quietly confident when Eastern Eye caught up with him to talk about his most ambitious movie project yet.
What did you like about the ArunGawlistory that made you want to produce, write and star in it?
He has had an extraordinary life. If you liked the story of Pablo Escobar you would love this guy’s story even more. He has been kind of a legend. There are loads of legendary stories about him in Mumbai. He is the only guy who didn’t run away from the country. He served his time in prison, came out and became a politician. So he has had an amazing life and I thought that would be a very interesting film to do. I am really attracted to this genre anyway, so for me as an actor I found it very interesting.
What made you want to co-writeand produce it?
As a writer it was totally accidental because we wanted to get the script right, but weren’t getting there and then I started bedding down all the stories from the research I was doing. That is how we started putting the stories together and it just happened, as a producer because I didn’t want anybody else like a studio or an investor to interfere creatively. Others can end up diluting the story and take away from the credibility of the subject. I thought the best thing to do would be to stay far away from that and so I decided to produce it myself.
Did you interact with Arjun Gawliwhileputting the movie together?
So he is serving time in prison right now. He came out on parole a few times and that is where I got to meet him. So yes I did interact with him.
Did the fact you were making a life story of a feared man like him put pressure on you?
(Smiles) If you get scared then you shouldn’t make the movie. I was just hoping he would allow us to tell the story the way we wanted to tell it and not just have his point of view on it. So that was the pressure part of it. It was about not just glorifying someone and just portraying him like a Robin Hood type of character, which he was of his era and a politician, who did so much for his people. It was also about him being a milkman’s son, who through various circumstances joined the underworld and rose up to become an accidental Don, how he grew from there and did a lot of nasty things too.
Did he say yes toall that?
So to be able to show all of that and then get his stamp of approval and his backing to say yes this is my story was, I think, the toughest part. But slowly he realised what we were trying to do; not trying to make it about the underworld, a gangster, a Robin Hood character, or a messiah, something like that. We wanted to tell a story of a human called Arun Gawli. The feelings he is going through via all these incidents and more.
How did you come upon on the title of Daddy?
It’s because he is called daddy by his people.
How did you decide on your look in the film?
Ashim Ahluwalia, who is the director was very clear that if you are going to go ahead and make this film that I have to become him and look like him. So if you Google Arjun Gawli, and you see my picture we look alike. The whole idea was to become him and not see Arjun, to see Arun Gawli.
You are a good-looking guy, did they try to talk you out of doing the prosthetics?
Both of us were on that page. It was not about being good looking. I am playing a part and getting a chance to do a biopic. It’s a brave decision by a man to share his life so you have to do it complete justice. As an actor it is not about your looks.
When you were playing ArunGawli and researching for the film, what did you find was his driving force?
I think it comes from a lack of opportunity and not having anything to do. When you are sitting at home and people are starving around you, the whole environment becomes a kind of a cesspool. Society is looking down on you, the government isn’t helping and you are kind of neglected. That drove him into the world of crime and then you create the big crimes. Then it becomes a habit. Then they make their own laws and make their own rules out there. They rule places like that.
Do you have a favourite moment in Daddy?
It is very layered and there are many wonderful characters in the film. There is so much detail and so much history. So people will want to understand how it was done. I think there is a strong message. We are not trying to glamourise or say this is what you should become, but it has a particular reality check for everybody. Finally he is also a human being and you do kind of empathise with Arjun Gawli’s story and that is important because if you don’t he becomes inhuman. That is not the case at all.
Did you encounter many challenges and obstacles while making the film?
(Laughs) Bro I am encountering them even today. I am still not done with them.It seems like you have framed it like a Hollywood film. That isn’t me but Ashim Ahluwalia, the director, has a great eye for detail and his aesthetic sense is fantastic. We had a wonderful female DOP from Canada who came to shoot it named Jessica Lee Gagné. We had wonderful art directors who captured the different periods from the film across 40 years. So you have the retro vibe going on in seventies, eighties and nineties. Then it comes into the 2000s, where we have the technology coming in.
What kind of gangster films do you enjoy?
My favourite obviously is the Godfather trilogy. I don’t think there has been a better one. I also like Goodfellas, Scarface, Carlitos Way and The Untouchables.
What is your driving force asan actor?
I have not followed the commercial trend for a long time because for me it is about walking out of a film feeling satisfied. That is the most I can do. After that I let go of the film and character. If you walk out of a film wondering how it will do and doing calculations it is a miserable experience. You are an artist, not a micro manager, so you have to enjoy your art for what it really offers. What it offers you is to play wonderful and different characters. If you can’t do that it is very boring.
Will you be producing more films?
Well I hope so, lets see. Now that this is done, there are other scripts I would love to be part of. But yes I will produce another film. I just hope it doesn’t take that long again.
Why should we watch Daddy?
Because I don’t think a film like this has ever been made. It is a true story. It will entertain, but also keep you engaged. It is very hard-hitting and intense. If you like that type of movie you should watch it – it won’t disappoint.
AI can make thousands of podcast episodes every week with very few people.
Making an AI podcast episode costs almost nothing and can make money fast.
Small podcasters cannot get noticed. It is hard for them to earn.
Advertisements go to AI shows. Human shows get ignored.
Listeners do not mind AI. Some like it.
A company can now publish thousands of podcasts a week with almost no people. That fact alone should wake up anyone who makes money from talking into a mic.
The company now turns out roughly 3,000 episodes a week with a team of eight. Each episode costs about £0.75 (₹88.64) to make. With as few as 20 listens, an episode can cover its cost. That single line explains why the rest of this story is happening.
When AI takes over podcasts human creators are struggling to keep up iStock
The math that changes the game
Podcasting used to be slow and hands-on. Hosts booked guests, edited interviews, and hunted sponsors. Now, the fixed costs, including writing, voice, and editing, can be automated. Once that system is running, adding another episode barely costs anything; it is just another file pushed through the same machine.
To see how that changes the landscape, look at the scale we are talking about. By September 2025, there were already well over 4.52 million podcasts worldwide. In just three months, close to half a million new shows joined the pile. It has become a crowded marketplace worth roughly £32 billion (₹3.74 trillion), most of it fuelled by advertising money.
That combination of a huge market plus near-zero marginal costs creates a simple incentive: flood the directories with niche shows. Even tiny audiences become profitable.
What mass production looks like
These AI shows are not replacements for every human program. They are different products. Producers use generative models to write scripts, synthesise voice tracks, add music, and publish automatically. Topics are hyper-niche: pollen counts in a mid-sized city, daily stock micro-summaries, or a five-minute briefing on a single plant species. The episodes are short, frequent, and tailored to narrow advertiser categories.
That model works because advertisers can target tiny audiences. If an antihistamine maker can reach fifty people looking up pollen data in one town, that can still be worth paying for. Multiply that by thousands of micro-topics, and the revenue math stacks up.
How mass-produced AI podcasts are drowning out real human voicesiStock
Where human creators lose
Podcasting has always been fragile for independent creators. Most shows never break even. Discoverability is hard. Promotion costs money. Now, add AI fleets pushing volume, and the problem worsens.
Platforms surface content through algorithms. If those algorithms reward frequency, freshness, or sheer inventory, AI producers gain an advantage. Human shows that take weeks to produce with high-quality narrative, interviews, or even investigative pieces get buried.
Advertisers chasing cheap reach will be tempted by mass AI networks. That will push down the effective CPMs (cost per thousand listens) for many categories. Small hosts who relied on a few branded reads or listener donations will see the pool shrink.
What listeners get and what they lose
Not every listener cares if a host is synthetic. Some care only about the utility: a quick sports update, a commute briefing, or a how-to snippet. For those use cases, AI can be fine, or even better, because it is faster, cheaper, and always on.
But the thing is, a lot of podcast value comes from human quirks. The long-form interview, the offbeat joke, the voice that makes you feel known—those are hard to fake. Studies and industry voices already show 52% of consumers feel less engaged with content. The result is a split audience: one side tolerates or prefers automated, functional audio; the other side pays to keep human voices alive.
When cheap AI shows flood the market small creators lose their edgeiStock
Legal and ethical damage control
Mass AI podcasting raises immediate legal and ethical questions.
Copyright — Models trained on protected audio and text can reproduce or riff on copyrighted works.
Impersonation — Synthetic voices can mirror public figures, which risks deception.
Misinformation — Automated scripts without fact-checking can spread errors at scale.
Transparency — Few platforms force disclosure that an episode is AI-generated.
If regulators force tighter rules, the tiny profit margin on each episode could disappear. That would make the mass-production model unprofitable overnight. Alternatively, platforms could impose labelling and remove low-quality feeds. Either outcome would reshape the calculus.
How the industry can respond through practical moves
The ecosystem will not collapse overnight.
Label AI episodes clearly.
Use discovery algorithms that reward engagement, not volume.
Create paywalls, memberships, or time-listened metrics.
Use AI tools to help humans, not replace them.
Industry standards on IP and voice consent are needed to reduce legal exposure. Platforms and advertisers hold most of the cards here. They can choose to favour volume or to protect quality. Their choice will decide many creators’ fates.
Three short scenarios, then the point
Flooded and cheap — Platforms favour volume. Ads chase cheap reach. Many independent shows vanish, and audio becomes a sea of similar, useful, but forgettable feeds.
Regulated and curated — Disclosure rules and smarter discovery reward listener engagement. Human shows survive, and AI fills utility roles.
Hybrid balance — Creators use AI tools to speed up workflows while keeping control over voice and facts. New business models emerge that pay for depth.
All three are plausible. The industry will move towards the one that matches where platforms and advertisers put their money.
Can human podcasters survive the flood of robot-made showsiStock
New rules, old craft
Machines can mass-produce audio faster and cheaper than people. That does not make them better storytellers. It makes them efficient at delivering information. If you are a creator, your defence is simple: make content machines cannot copy easily. Tell stories that require curiosity, risk, restraint, and relationships. Build listeners who will pay for that difference.
If you are a platform or advertiser, your choice is also simple: do you reward noise or signal? Reward signal, and you keep what made podcasting special. Reward noise, and you get scale and a thinner, cheaper industry in return. Either way, the next few years will decide whether podcasting stays a human medium with tools or becomes a tool-driven medium with a few human highlights. The soundscape is changing. If human creators want to survive, they need to focus on the one thing machines do not buy: trust.
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