One can't manufacture a pan-India film; good content does that: Dhananjaya

With multiple releases lined up as both actor and producer, Dhananjaya says, “2026 is shaping up to be one of the busiest, and most defining years of my career”. Refusing to be boxed into a single image, he speaks to us about the year ahead, the responsibility that comes with audience trust, juggling dual roles, backing new voices, the evolving landscape of Kan nada cinema, and why content decides a film’s destiny.

'2026 IS LOOKING CHALLENGING’
“2026 began with production work. All the films I’m producing are with new directors and a bunch of fresh faces, and that excites me. Producing isn’t about expanding a brand; it’s about building an ecosystem where new talent gets a fair chance,” he says. On the acting front, he has five releases lined up. He admits the recent lull between releases has been unusual for him. “By this June, it will be two years since I have had a film released. That’s the longest gap I’ve taken in my career. I can’t do that. I’m an actor, and I want to act more,” he says.

‘I ENJOY MY ONSCREEN VERSATILITY; IF I TYPECAST MYSELF, I GET BORED’
One striking aspect of Dhananjaya’s upcoming line-up, he says, is the diversity of characters. From intense dramas to genre-driven narratives, he is intent on avoiding repetition. “Since the start of my career, I’ve always enjoyed my versatility, and I’m continuing that. If I typecast myself, I get bored very soon. I want to enjoy being an actor for a long time, so I choose different subjects,” he says, adding that he is clear about what anchors his choices. “Whenever I get good directors to work with, I tend to become their fan and follow their vision. Otherwise, the entire responsibility of the film comes on me, and that can become very diffi cult,” he explains. That clarity, he feels, is essential for longevity. “I’m careful about my associations. A good director means a good story, and that gives me something solid to perform,” he says.

‘PRODUCING FILMS HAS DEFINITELY CHANGED ME’
Balancing acting and produc ing has altered his perspec tive. “Definitely, it has changed me. I love being an actor more, but as a produc er, I want to tell many stories — and there is only one life,” he says. Producing films with new directors and actors, he admits, comes with risk. “It’s business, yes, but it’s also my way of giving back to the industry that helped me sur vive.” Failure, he believes, is inevitable — but losing audience trust isn’t. “We can’t win every time. There will be failures. But we should never lose the trust of the audience. With my productions, people know they can expect honesty. They may or may not like a film, but they should see our sincerity,” he points out.

'THE PAN-INDIA LABEL IS AN OUTCOME, NOT A GOAL’
While content remains key, Dhananjaya stresses that positioning also matters. “We need good content, but we also need to think about how a film is positioned and how it reaches the audience. One film may make less profit, another more — but the film has to work,” he says. Reflect ing on the recent success of rooted Kannada films, he sounds optimis tic. “Earlier, if a film worked in the atres, it worked everywhere — on TV, YouTube, all platforms. Now films like Kantara and Su from So have shown that huge business is possible purely in theatres,” he says. He points out that Kanta ra’s success came largely from Karnataka itself. “That has shown the real potential of our market. When films are good, this kind of business is possible. These films proved that,” he says. However, he is also clear-eyed about the current pan-India phenomenon. “We shouldn’t run behind the pan India label. You can’t make a pan-In dia film deliberately. If the film is good, it automatically becomes pan India. Good content travels on its own,” he states.
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