I believe this particular medium belongs to the writer and the director, not the actor. As an actor, you need to perform whatever your director wants; you cannot do anything that doesn't align with their vision.
To me, acting is truthful pretending. I take the sketch of the character in my mind and work with different theories. For Babu, I envisioned him as a mixture of multiple animals—he could be a tiger, a snake, a cow, or anything else. At the same time, Prosit (Roy) and I discussed making him look like a part of society, rather than portraying him as some stereotypical movie villain. The reason you fear Babu so much is that he feels like one of us, like someone who is around us. I always wanted to keep it that way, allowing the audience to perceive him that way.
Everything I have learned in this industry has been on set. I haven’t been to acting school or done theatre; whatever I've learned has come from being around cameras and working for so many years. Personal experiences help immensely as well. I travelled in local trains for 13 to 14 years of my life and observed so many people—how they talk, what they do, and how they look. Ultimately, it’s a mixture of everything: that lived experience, observation, and the craft itself. I am also a very instinctive actor who doesn't just stick rigidly to lines. If my co-actor changes a line, my response changes too, because I don't believe in just reciting lines—I believe in responding to the other actor.
It is incredibly important to align with your director, and Prosit and I are deeply aligned. If I ever got stuck, he would come over, give me a real-life reference, and I would run with it. We also spent a lot of time together in workshops, hotels, and vanity vans. That is exactly why our chemistry worked, and why the show beautifully captures the toxic marriage between Rajjo and Babu.