Ganesh Acharya on Yash’s ‘Toxic,’ His Collabs With Allu Arjun and How the South Industry Works Differently (EXCLUSIVE)

In an exclusive conversation with Variety India, choreographer Ganesh Acharya opens up about reuniting with Yash for “Toxic: A Fairy Tale For Grown-Ups,” his collaborations with Allu Arjun in recent years and the creative process behind his hook steps. Reflecting on his decades-long journey across Bollywood and South Indian cinema, Acharya also shares his thoughts on the work culture and the demands made by young actors in the Hindi film industry. 

How was it reuniting with Yash for ‘Toxic’ after ‘KGF Chapter 1’?

It was a lot of fun working with Yash and Kiara Advani on “Toxic.” It wasn’t a dance track; “Tabaahi” is a romantic number. I had earlier worked with Yash on the song featuring Mouni Roy in “KGF: Chapter 1,” where he danced. He is a very good dancer. But “Tabaahi” is romantic rather than an energetic dance number. 

Your collaborations with Allu Arjun have been iconic. What’s his process like? 

Working with Allu Arjun on “Oo Antava” for “Pushpa 1,” and “Sooseki” and “Gango Renuka Thalli” (Jathara) song in “Pushpa 2” brought a different kind of joy. His process is very distinct. 

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What is your creative process for designing a hook step that looks effortless on screen and becomes popular among people who replicate it on social media?

I constantly keep learning alongside young talent and improving technically. I always try to deliver what my audience expects in today’s era. I have my signature style that audiences have loved since the ’90s, when I worked with Govinda ji, Salman Khan, Sanjay Dutt, Sunny Deol, Akshay Kumar and Ajay Devgn. 

Right now, I am working extensively with Akshay Kumar and Ajay Devgn because they are extremely sincere, respect the work, and adhere strictly to call times. I love Hindi films and enjoy working in the South. Whatever song fits my domain, I strive to give it my 100%. 

Having worked extensively across both Hindi and South Indian regional industries, what differences do you observe in how dance sequences are planned and the work culture?

I don’t see a huge difference between the South and Hindi film industry. But technically, the South is definitely stronger. Whatever we, as technicians or choreographers, need, they provide it. They never restrict requirements based on budget limits. In the Hindi film industry, work currently happens under strict budget constraints. The number of days for the shoot is pre-decided. That doesn’t happen in the South. There, they keep working on the song until the content and overall production are the quality they aim for.

I’ve done a vast amount of work in Hindi films and continue to do so. However, working in the South has distinct advantages. First, you never have to ask for payment repeatedly. When your dates are booked, you get half the amount upfront, and the remaining half on the final day. It functions very systematically, and technicians are given tremendous respect. In the Hindi film industry, a lot depends on the lead artists, especially the younger actors. 

The younger heroes demand specific choreographers, who then end up getting the job. Senior actors like Akshay Kumar, Ajay Devgn, and others work with whichever choreographer the filmmaker assigns. They don’t make any demands. However, some younger actors in the Hindi industry insist on a specific cameraman, fight master, or choreographer. I don’t understand this. 

In the South, that isn’t the case. The stars there, whether Allu Arjun, NTR Jr, Chiranjeevi sir, or Prabhas, show immense love and respect. Directors like Sukumar in the South, as well as directors in Hindi cinema, have appreciated my work immensely. Ultimately, my name was built in Hindi films first, which opened doors to South films for me.