Half The Country Wakes Up In The Morning And Starts Watching Reels: Swapnil Kotriwar

Over the years, Swapnil Kotriwar has built a reputation for portraying complex, often unsettling characters with remarkable restraint and authenticity. Whether as a troubled criminal in Crime Patrol, a theatre performer shaped by rigorous training at the National School of Drama, or a supporting actor sharing screen space with some of India’s finest talents, he has consistently brought depth and conviction to his roles.

In this conversation, he reflects on his journey from Chhattisgarh to Mumbai, the craft of acting, the lessons he learnt from theatre, and his candid views on the state of contemporary Indian cinema.

Partha Prawal: Where did your acting journey begin? When did the acting bug bite you?

Swapnil Kotriwar: There was a theatre festival happening in my hometown. My mother was associated with Akashvani as a Hindi announcer and often attended plays. One day, I accompanied her and watched a performance. Something clicked inside me. I felt that I wanted to be part of that world.

I joined theatre soon after and gradually realised that acting had become much more than a hobby.

Around that time, I learned about the National School of Drama (NSD). I started researching it, prepared myself, eventually got selected, studied there, and later moved to Mumbai.

Partha Prawal: You come from Chhattisgarh. Was the journey from there to NSD a struggle?

Swapnil Kotriwar: Every meaningful journey has its challenges, but I never felt mine was filled with suffering. I wasn’t selected for NSD on my first attempt. In fact, I got in on my third attempt.

But I never looked at those failures negatively. Each year I would make it through certain stages, attend workshops, and learn more.

By the time I was finally selected, I had already spent years working with theatre practitioners and teachers associated with NSD. It was a learning process rather than a struggle.

Partha Prawal: Did self-doubt ever creep in after repeated rejections?

Swapnil Kotriwar: Not really. I was very young when I first appeared for the NSD entrance process. Looking back, I realise I was probably attempting it before I was fully ready.

I was fortunate in one important aspect—my family never pressured me to pursue engineering, law, or any conventional career. My mother understood the creative field and supported me. That made a huge difference.

Partha Prawal: Do you remember your first play?

Swapnil Kotriwar: Absolutely. Before NSD, all my theatre work was with IPTA—the Indian People’s Theatre Association—in Raigarh. I spent almost a decade with them.

The first play I performed in was Bakasur, written by the Marathi playwright Ratnakar Matkari.

Partha Prawal: If you compare yourself as an actor then and now, how would you rate your growth?

Swapnil Kotriwar: I have never looked at acting through ratings.

Whenever I watched great performances—whether by Irrfan Khan, actors from Hollywood, Korean cinema, or European films—the only question I asked myself was: “Will I ever be able to do something like that?”

When your standards are set that high, ratings stop mattering. The goal becomes growth.

Partha Prawal: Who are your acting idols?

Swapnil Kotriwar: In Hindi cinema, my favourite actor is undoubtedly Irrfan Khan.

Internationally, I greatly admire Jack Nicholson. When I first watched One Flew Over the Cuckoo’s Nest, I was amazed by the ease and energy of his performance. It felt effortless and deeply inspiring.

Partha Prawal: You worked with Irrfan Khan in Paan Singh Tomar. What was that experience like?

Swapnil Kotriwar: I had just graduated from NSD and had been in Mumbai for barely a month when I got the role.

The film’s director, Tigmanshu Dhulia, is an NSD senior. They were looking for someone to play Irrfan sir’s son, and I was cast quite quickly.

For me, it felt like a dream. You’re suddenly sharing screen space with someone you’ve admired for years.

What stood out most was the atmosphere on set. Neither Irrfan sir nor Tigmanshu sir created any sense of hierarchy. Everything felt relaxed and collaborative. That ease is visible in the final film.

Partha Prawal: Which medium is more challenging—stage or screen?

Swapnil Kotriwar: The challenge doesn’t come from the medium. It comes from the people you’re working with.

If you’re collaborating with directors and teams who are clear about what they want, the work becomes easier, whether it’s theatre or film.

For me, acting is about being completely honest in the role. Whether I’m standing on a stage or in front of a camera doesn’t fundamentally change that.

Partha Prawal: How do you prepare for a character?

Swapnil Kotriwar: I read the script. Then I read it again.

The more times you read a script, the more layers reveal themselves. You begin to understand the character psychologically, socially, politically, and emotionally.

Most actors make the mistake of reading a script only once or twice. I believe you should read it fifty times if necessary. Look at it from different perspectives, not just your character’s viewpoint.

Everything you need is already in the script.

Partha Prawal: You’ve portrayed several memorable criminals and psychologically complex characters in Crime Patrol. How did you approach them?

Swapnil Kotriwar: People often assume we conduct extensive research, but television schedules rarely allow that luxury.

Much of that became evident during my years on Crime Patrol, where I was often entrusted with psychologically complex and morally ambiguous characters.

What helped enormously was the quality of the writing. Writers like Subramaniam Iyer and Charudutt Acharya created exceptionally strong scripts that provided actors with a solid foundation.

When a script is well written, the character begins to take shape naturally in your mind. Once you can visualise the character, portraying them becomes much easier.

I also believe actors should avoid overacting. The goal is not to do more; it is to remain truthful and in control. Whether on Crime Patrol, in theatre, or in films, I always tried to keep my performances grounded, natural, and believable.

Partha Prawal: Why did you stop doing Crime Patrol?

Swapnil Kotriwar: Around 2017–18, I felt I had explored everything I wanted to within that space.

The last major role I did there, the three-episode episode in which I portrayed the caharcter of Rajat Verma, gave me a sense of closure. After that, I wanted to explore new creative avenues.

I have been writing, directing, and developing projects through my own production house. Acting should remain  exciting. Once something becomes repetitive, I feel the need to move forward.

Partha Prawal: You recently directed the short film Machhli Jal Ki. How did that project originate?

Swapnil Kotriwar: The idea came from a real-life incident involving a watchman in my building.

I had left some bank cards in my car. They disappeared, and during the conversation that followed, a thought emerged that eventually grew into a story.

From there, I wrote the script. Initially, the goal was simply to make a short film. Then came the process of finding financing, assembling a crew, casting actors, and managing production.

Good pre-production played a major role in bringing the film together.

Partha Prawal: OTT platforms have changed the entertainment landscape. How do you view this shift?

Swapnil Kotriwar: I think the conversation has moved beyond OTT versus cinema.

Today, a significant amount of content consumption happens through short-form vertical videos. People wake up and start scrolling through reels.

Ironically, films face censorship while vast amounts of online content remain largely unrestricted.

The bigger challenge now is attention. Cinema, OTT, and social media are all competing for the same audience.

Partha Prawal: Many influencers are now being cast in films. What is your view?

Swapnil Kotriwar: Having millions of followers doesn’t automatically translate into acting ability.

Social media success and acting require different skill sets.

A person may be excellent at creating reels or dance videos, but performing a complex character on screen is a different craft altogether. Without proper training, the limitations become visible very quickly.

Partha Prawal: Has there ever been a role you regretted missing?

Swapnil Kotriwar: Not really.

What bothers me more are projects that never get made. Sometimes you spend a year developing a film or series, only for it to collapse before production begins. That’s far more disappointing than losing a role.

Partha Prawal: Your NSD roommate was Himanshu Prasad from Assam. Any memories from that time?

Swapnil Kotriwar: Many. Through Himanshu, I got to know a lot of Assamese students living in Delhi. We often visited their homes, especially during holidays.

Honestly, the biggest attraction was the food. Hostel food gets boring very quickly, and Assamese cuisine was a welcome change. I particularly enjoyed the simplicity and flavour of the cooking.

Partha Prawal: Why do you think film industries in languages such as Malayalam, Tamil, Telugu and many more have been flourishing in recent years while the Hindi industry-‘Bollywood’- is struggling?

Swapnil Kotriwar: There are multiple reasons. Ticket prices are extremely high. Food at theatres is expensive. Audiences won’t spend that kind of money unless the content is genuinely compelling.

At the same time, Hindi cinema has become overly dependent on star systems. Viewers are increasingly rejecting that model and responding more positively to strong stories.

The industry needs to return to fundamentals.

Watch Swapnil Kotriwar’s full interview here

Partha Prawal: What makes a good film?

Swapnil Kotriwar: Everything begins with the script.

Film schools teach that “script is God.” Somewhere along the way, parts of the industry forgot that.

A good film has a coherent story, believable performances, and a clear creative vision. A bad film feels like disconnected pieces stitched together without purpose.

Partha Prawal: If you could adapt any literary work into a film, what would it be?

Swapnil Kotriwar: The Mahabharata. Every character and every episode contains enough depth for an entire film. It’s perhaps the richest storytelling resource we have.

I would also love to see more adaptations of Premchand’s works. His stories still feel remarkably relevant.

Partha Prawal: Which Mahabharata character would you most like to play?

Swapnil Kotriwar: Karna. For an actor, Karna is one of the most fascinating and challenging characters ever written. He is constantly caught between loyalty, morality, destiny, and identity.

Partha Prawal: What advice would you give aspiring actors?

Swapnil Kotriwar: Read. Read stories. Read novels. Read plays. Reading expands your imagination and helps you understand people and situations.

At the same time, stay connected to theatre. And if you’re serious about acting, seek proper training. Its value may not be obvious immediately, but you will understand its importance over time.

Partha Prawal: Finally, what would today’s Swapnil Kotriwal tell the Swapnil of fifteen years ago?

Swapnil Kotriwar: When you look back fifteen years, you inevitably see mistakes and shortcomings. That’s natural.

Life teaches through experiences, people, travel, successes, and failures. Over time, you grow.

I don’t think I would offer one grand piece of advice. I would simply acknowledge that growth comes from living, learning, and continuing to evolve.

What emerged most clearly from this conversation was not merely Swapnil Kotriwar’s journey as an actor, but the philosophy that has guided him throughout it.

Whether speaking about theatre, Crime Patrol, cinema, writing or directing, he repeatedly returned to the same values: preparation, curiosity, honesty and an unwavering respect for the script.

At a time when the entertainment industry is increasingly shaped by algorithms, follower counts and fleeting trends, Kotriwar’s perspective feels refreshingly grounded. For him, there are no shortcuts to meaningful work.

The process begins with reading, deepens through observation and preparation, and ultimately rests on the strength of storytelling itself.

As he puts it, “Nothing is greater than the script”—a belief that continues to inform both his craft and his view of the industry.

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