Kushboo Sundar: ‘I May Compromise a Little on My Fee, But Not on How I Am Credited’ (EXCLUSIVE)

Tamil actress Kushboo Sundar, who has several films lined up, continues to explore diverse roles across industries. In an exclusive interview with Variety India, she opens up about her upcoming projects, pay disparity in the industry and the importance of women standing up against exploitation. 

Among your upcoming projects is the ‘Birbal Trilogy: Case 2.’ What can you share about the project?

My role is more of a cameo than a full-fledged part, but it’s a wonderful role. I shot for it earlier this year. All I can say is that I play a politician. It’s new-age cinema, and it was great working with directors like Srini, who bring fresh ideas. Right now, I’m working with senior directors as well as a new generation of filmmakers, which feels like a perfect blend.

You have quite a few films lined up. What does the upcoming slate look like for you? 

I’m doing “Dragon” with Prashanth Neel, which I’ve just finished. Then there are Prasanth Varma’s ‘Mahakali,' ‘Sundeep Kishan’s Telugu film ‘Rowdy Pettai’ and a Malayalam film with writer Nishad in which I play an army officer. There’s also a Kannada film in the pipeline.

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After all these years in the industry, when you consider a role, what matters most to you? 

I look at the impact the character will leave on the audience. You may not be in the film from the first frame to the last, but the role must matter to the story. For instance, in Suresh Triveni’s ‘Subedar,’ I appear in only two scenes, but the character (Sudha) is discussed throughout the film. The emotions between the father and daughter are rooted in Sudha’s presence, so the character is important. For me, it’s not about whether the film revolves around me; it’s about the impact the role leaves on people’s minds.

Having worked with both veteran and younger filmmakers, what differences have you observed in their approach to filmmaking? 

The main difference is their working style. Senior directors know exactly when to start and when to finish. They already have the edit in mind and understand the craft so well that they know precisely what needs to be shot. Younger directors know their work, but the process has changed. Earlier, senior directors worked with film rather than digital formats, so they were very precise about what needed to be shot. Today, directors have the advantage of shooting more freely—they can capture the same scene from several angles and decide later what best serves the story.

There has been considerable discussion around the pay disparity between female actors and their male counterparts. What is your take on it? 

Times have changed, though men still dominate the industry. Everyone has their own choices, but for me, title credit is non-negotiable. I may compromise a little on my fee, but not on how I am credited. Given my seniority and experience, if a film is not willing to give me proper recognition, I would rather not do it.

Do you think women in the film industry today are better equipped to speak up against exploitation? 

I believe actors do have a choice, though I sympathize with young women who may have faced unfortunate situations or been taken advantage of. If a script requires an intimate scene, there are intimacy coordinators now and clauses that clearly define what an actor is comfortable doing. These agreements are made in advance, and a professional is present on set to ensure boundaries are respected.

What advice would you give young actors who face such situations?

I would tell them: trust your talent and learn to say no when you need to. No producer is going to spend crores of rupees on a film simply because someone compromises their integrity. If you cannot act, you cannot sustain a career. Confidence in your ability is what will take you forward. Today, casting decisions are largely made by directors, and talent remains essential.