Anmol Ahuja Interview |“OTT Has Changed The Game From Star Power To Storytelling”

There have been a few moments in my journey where gut instinct played a crucial role—and thankfully, paid off. One of them was during the casting of Jubilee (2023). When we saw Wamiqa Gabbi, she wasn’t the obvious, mainstream pick for a classic period drama. But something about her screen presence, her eyes, and her stillness just felt right. Similarly, with Sidhant Gupta, there was an innate vulnerability and charm in his audition that couldn’t be ignored, even though he was relatively under the radar at the time.

It would’ve been easier to go with more familiar faces; but our gut said that these two had something undiscovered, which the show needed. And now, both of them are being celebrated for exactly those qualities we had sensed. That’s incredibly satisfying.

Casting LSD 2 (2024) was a unique experience. It truly challenged us to break convention. The world of Love Sex Aur Dhokha (2010) has always been raw, bold, and rooted in realism, and with this sequel, the stakes were even higher. We had to find actors who could perform with absolute honesty—often in uncomfortable or emotionally exposed situations—without the safety net of stylisation or over-dramatisation.

What made it exciting was that it wasn’t about star value, it was about believability. We were looking for actors who could live in the moment, often with a camera right in their face, and still stay completely authentic. A lot of fresh talent came in, and we’re proud that the cast feels so real and unfiltered—exactly what a film like LSD 2 demands.

It also allowed us to take risks to go beyond the typical pool and find voices that felt current, raw, and relevant. And I think that’s what made the process special—casting not just for performance, but for truth.

Another strong example was Raghav Juyal in Kill (2023). People knew him as a dancer and TV personality—not necessarily someone you'd expect in a high-intensity action film. But when we saw his audition and the rage simmering underneath, there was no doubt. We fought for him, and today, audiences are shocked (in the best way) by what he’s done in that role.

These choices weren’t just about being unconventional. They were about listening carefully to that instinctive voice that says, "This person can surprise everyone." And as a casting director, those are the moments you live for.

Paatal Lok (2020-2025) was a milestone for us at Casting Bay: a show that demanded authenticity across every layer. From lead characters to fleeting cameos, we had to dig deep, cast pan-India, and trust new faces. The impact it made reaffirmed our belief in the power of honest casting. Panchayat (2020-2025) is another favourite—deceptively simple, yet requiring immense nuance. Getting that everyday, rooted tonality right was key, and we’re proud that the performances felt so lived-in and universally relatable.

Mirzapur (2018-2024) allowed us to explore high-octane, larger-than-life characters. Building a world where each actor could bring unpredictability and raw energy was a thrilling challenge and the love it continues to receive is humbling. Jubilee was creatively rich—a period drama with layered emotions and a chance to cast both seasoned actors and fresh discoveries. Every casting choice had to strike a delicate balance between nostalgia and freshness.

I’m also especially proud of Sitaare Zameen Par (2025), which recently released. It gave us the chance to handle a space that was not done before in Indian cinema and the casting has been heart-warmingly appreciated. What ties all these projects together is the opportunity to serve stories truthfully and give actors—both known and undiscovered—the space to shine.

It’s one of the most difficult and delicate parts of casting—knowing that choosing one actor means saying no to many others. And as someone who deeply respects the craft and effort actors bring into the room, I don’t take that lightly. At Casting Bay, we’ve always tried to create an environment where actors feel safe, seen, and respected, whether they get the part or not. We’re very clear that an audition is never a judgement of talent. It’s about the fit for a particular world, character, tone, or even energy. And sometimes, incredible actors don’t get cast simply because they don’t match that specific vision. We make that clear, especially to younger or newer actors who are still navigating the industry.

Over the years, we’ve also started doing something we feel strongly about: short feedback sessions with actors, whenever possible, especially if someone has tested for a significant part or gone through multiple rounds. We let them know what worked, what didn’t, and where we see potential. It’s not a criticism, it’s a conversation. Many actors have told us that this helped them grow, reflect, and walk away from an audition feeling respected, not rejected.

Rejection is inevitable in this line of work. But what shouldn’t be inevitable is disrespect or silence. As casting directors, we can play a small but meaningful role in keeping actors motivated, grounded, and creatively fulfilled—even when the answer is “not this time.”

One of the biggest challenges of being a casting director is that you’re constantly working in the space between vision and reality. You’re trying to interpret what the director or creator has in mind—sometimes in very abstract or fluid terms—and then translate that into real, living actors who can embody those roles with honesty and depth.

Another ongoing challenge is time. We often work under tight deadlines, sometimes with incomplete scripts or evolving character briefs. You’re expected to deliver nuanced, layered casting in a short span, while juggling multiple projects and coordinating with agents, managers, production teams, and actors.

Then there’s the emotional labour—something not often spoken about. You’re dealing with a sea of rejections daily, watching talented actors give it their all and not make the cut. You have to handle those conversations with empathy, while staying focused on the bigger picture. There’s also the push-and-pull between creative instinct and external pressures, whether it's commercial expectations, recognisable faces, or certain types being favoured. As a casting director, you’re constantly trying to protect the integrity of the story while balancing those realities.

And finally, there’s the challenge of finding freshness—going beyond the obvious, discovering new talent, and making space for actors who don’t fit the usual mould. That takes risk, conviction, and persistence. But when it works, it’s incredibly rewarding.

OTT has fundamentally changed the way casting is approached in India and mostly for the better. It’s shifted the focus from star power to storytelling. Earlier, casting often revolved around familiar faces and commercial appeal. But now, with long-form storytelling and a more discerning audience, there's a genuine hunger for authentic performances and fresh faces.

As casting directors, we’re no longer limited to the usual suspects. We can look towards theatre circuits, smaller towns, or even social media to discover talent that feels real. For instance, in a show like Paatal Lok, we were able to bring in a wide variety of performers—some known, many unknown—and that diversity added to the believability of the world.

Even outside our own work, you see this shift clearly in shows like Black Warrant (2025), Made in Heaven (2019-2023) or Sacred Games (2018-2019).These weren’t about conventional good looks or big names. They were about specificity, nuance, and actors who could carry complex arcs. Rahul Bhatt in Black Warrant and Pratik Gandhi in Scam 1992 (2020) are perfect examples of actors who might not have been mainstream earlier, but OTT gave them the space to own the screen.

The other big change is regional representation. OTT has made it normal, even expected, for characters to speak in their native dialects, for stories to come from Tier 2 and Tier 3 cities, and for casting to reflect that truth. Shows like Kohrra (2023-2024) or Tabbar (2021) have embraced this beautifully. It’s a challenge we enjoy taking on, to find actors who feel of that world.

Of course, the volume of content means that casting teams are busier than ever and the expectations are incredibly high. But the most satisfying shift is that OTT has made talent the star again. For a casting director, there’s nothing more exciting than that.

Unfortunately, while the industry has evolved in many ways, the casting couch still exists in some corners—and that’s deeply troubling. It’s not a reflection of the casting profession as a whole, but rather of individuals who misuse their position or proximity to power.

The truth is, casting is still an unregulated space. Anyone can call themselves a “casting director” or “coordinator,” and not every actor—especially a newcomer—has the access or experience to differentiate between credible professionals and opportunists. That gap is what some people exploit, and it leads to situations where power is abused and boundaries are crossed.

I always say that real casting happens in offices, not hotel rooms or coffee shops. It happens through auditions, not vague promises. And while more professionals and organised casting companies have come up in the last decade, there’s still a long way to go in creating a transparent, ethical ecosystem where actors feel completely safe.

At Casting Bay, we’ve always believed in keeping the process clean, respectful, and structured, where every actor, no matter their experience level, knows they’re being evaluated solely for their craft. I think the industry as a whole needs to keep reinforcing that standard—not just in how we work, but in how we speak out against those who tarnish the profession.

The more we educate young actors, call out unprofessional conduct, and create safe spaces, the harder it becomes for this kind of exploitation to survive. The only way this changes is if we, as an industry, stop turning a blind eye. We need to call it out when we see it. We need to support actors who speak up, not silence them. And we need to ensure young professionals are educated enough to know the difference between a real opportunity and a trap.

It’s not enough to say “this happens everywhere.” It shouldn’t happen at all. And the responsibility lies with all of us—not just to do better, but to protect those who are most vulnerable.