Shared screen time with the veteran actor offered a masterclass in subtlety that Saif absorbed instantly.
"I got to shoot with him a little bit in this movie. He did a cameo, yes, and he was wearing dark glasses, and the way he adjusted them so you could actually see his eyes, so that you could notice that he is in fact blind was fantastic. Small, small details and the clarity with which he works... Sometimes it looks like he's not doing anything, but it conveys so much."
When it came to Priyadarshan’s directorial style, Saif found the complete absence of modern Bollywood hyperbole deeply refreshing.
"Priyadarshan sir is very experienced. He's seen it all," Saif shares.
"There's no kind of praising extra, talking people up, or just that extra hyperbole that we kind of have in our business. He's very kind of slightly old school 70s in the sense that there's a shorthand and there's a nod, and that kind of approval is all you're going to get. It's my father's generation where we had men of few words who would just nod, and that nod meant more than some people's long paras of praise."
He believes his role in Haiwaan, also starring Akshay Kumar and Shriya Pilgaonkar, is his career's best.
For an actor who smoothly transitioned from 90s boyish charm to becoming Hindi cinema’s ultimate chameleon, it is a massive claim. Over three decades, Khan has consistently side-stepped predictable stardom; pioneering the digital streaming boom with Sacred Games, reinventing himself as the nuanced antagonist in Omkara, and subverting traditional hero tropes in films like Being Cyrus and Ek Hasina Thi. Now, at a phase where most veterans rely on nostalgia or safe studio bets, Khan continues to run toward high-risk, character-driven experiments that challenge his craft rather than just bolster his box-office metrics.
"Haiwaan is possibly my career's most interesting films," Saif declares.
"It's not very often that I get such a nice person to play; such a kind and optimistic person at the same time, tough, strong, and sympathetic."
Deciphering 'Priyan Logic' and the craft of acting
Known for minimal takes and zero patience for over-analysis, Priyadarshan’s fast-paced sets demanded immediate instinct over endless prep, making the collaborative process another masterclass in the making.
"It suited me to a T," Khan explains.
"Because if everyone's on the same page and you're all focusing towards the first shot, that's great. You do a bit of rehearsal in your head without overthinking or having the time to overthink it. It's very Clint Eastwood, from what I've heard. It's such a beautiful thing for an actor to work with a director who knows what he's doing. It's a director's medium, and he's in charge."
In Haiwaan, that traditional balance gets completely flipped on its head. This time around, Saif takes center stage as the grounded, mature hero driving the emotional soul of the narrative, while Akshay steps out of his conventional savior lane to play the menacing, ruthless antagonist. It is a total 180-degree swap of the roles that defined their early stardom; a shift that subverts decades of nostalgic cinema expectations.
"This film was offered to me by Priyan sir first, and there was no actor in the other role," Khan reveals. "He said, 'I want you to play this lead, and you're playing the hero in this. And I need to find a very effective villain.' They asked a couple of people who wanted more, or were not comfortable with the particular part, so he was getting fed up. One day he told Akshay on set that this is the trouble he was having casting. Akshay went off to give the shot, came back, and said, 'Well, what if I did it?' So he called me while I was in France on holiday, and I said that'll be amazing for the movie."
On set, Priyadarshan’s focus remained resolutely on the story rather than star egos.
"Priyan sir is in charge of his frame and his movie, and he's very true to the world of the film," Khan notes. "Luckily, since I'm playing the protagonist and the lead, he is making sure that I am protected and looked after at all times... He's not catering to stars or actors. He's catering to his moment, and that is incredible."
Reflecting on their evolution since their early days together, Khan adds: "In Yeh Dillagi, Akshay played a more mature elder brother, but I would say that younger guy was the soul of the movie. Akshay always played the tougher, slightly more grown-up, action, and cooler kind of guy. But in this film, finally, after so long, I am playing the mature, tough guy, which feels like a real coming-of-age."
Owning misfires and choosing the next chapter
In an industry built on finger-pointing, Khan remains strikingly unapologetic about his career missteps, taking total ownership of projects that bombed.
"You're complicit. You're involved. You're the one who said yes," Saif states bluntly.
"Nobody put a gun to your head and made you. But it seemed like a good idea at the time. I personally think I was miscast in Humshakals because it's not my thing. Whereas there are certain actors who could really pull that off, and you need a kind of commitment and an ability to make people laugh on a very different level, which perhaps I wasn't able to convince myself to do, or wasn't basically good enough in it to do. So I won't blame the movie at all... I stand by the movie, and I stand by him, and of course we have to stand by all our movies."
That commitment to clear-eyed choices shapes his vision for the years ahead.
"What motivates me is to have something to do, but also something to look back on," Saif says.
"I think I'm at a point where you realize you look back a bit, and you look forward... I want films to count, and I want a filmography over the next five years where every choice was intentional, rather than done for survival to pay the bills. I kind of like to look at a poster and feel that yeah, okay, this was an important one."
Perspective, survival, and the high of the craft
Reflecting on high-profile security incidents and the violent intruder attack at his home, Saif's outlook remains firmly anchored in reality rather than paranoia.
"I wasn't a big fan of security, and I quite liked an open thing," Khan shares. "But you have to understand my takeaway is that there's a lot of haves and have-nots in the world, and you should not tempt fate. So you have to lock the doors, you have to put away the valuables, and you have to understand how lucky you are and how unlucky most people are."
When asked about facing extreme danger in those moments, his response is surprisingly serene.
"I just feel it's very lucky. I remember thinking at one point that this might be it, but I also remember thinking it's been an amazing life, and I think an amazing ride... I tell you, I was quite happy, and I thought, 'My God! I just remember feeling it's been amazing. Absolutely amazing.'"
For Saif, avoiding burnout means stepping away from the glamour the moment the cameras stop rolling.
"It's the balance, right? You say, 'Okay, I don't want to just do this all the time.' I get annoyed with the same feeling of hairspray, the sound of the hairdryer, and that vibe of getting made up. You can do it for a while, but then you need to cut off... I find it refreshing. If I start doing the same thing on holiday, meeting similar people, then I feel I've not culturally expanded. You do some work, and then take off on a break."
Yet, the pull of the set remains as sharp as ever.
"That feeling when a director puts up a shot, a DOP lights you a certain way, you've got these lines, and there's this moment you have to do—it's still intoxicating to me," Khan concludes.
"So if you say what keeps you going, it's a kind of addiction to that feeling. The combination of the camera, the lights, and the material... that's what hooks us all and keeps us going. It's not really working for the paycheck. It's that feeling that you're after."
