Ridhi Dogra: 'Need more people to back me—and they won't regret it' | Exclusive

Ridhi Dogra discusses her challenging role as Kavya Raisinggh in Kull: The Legacy of the Raisingghs in an exclusive interview with OTTplay. The actor, who is known for playing complex characters, discusses the mental and physical challenges that this character presented. She thinks about how the changing OTT scene is giving actors like her more freedom to tackle complicated topics, connect with viewers on a deeper level, and take chances.

Edited excerpts from the interview...

Kull: The Legacy of the Raisingghs features you as Kavya Raisinggh — a woman described as self-focused and liberated. How did you internalise this character, and what personal or professional layers did you tap into for the role?

I didn’t internalise this character at all; in fact, this was probably the first time I played someone so far removed from my world. I didn’t draw from any personal experiences, and that, in itself, was liberating. Usually, I find some thread to connect with my characters, something to understand them better. But Kavya was different; she was so empowering, and her world was entirely external to mine. We had a great cast, and we shot in a real palace, which added to the authenticity. For the first time, I relied completely on external tools to build the inner world of a character. That, for me, is what made portraying Kavya so unique.

In what ways did working on Kull feel “hugely refreshing” compared to your previous roles?

It was refreshing to play a character with whom I didn’t have any connection. She was far removed from my world and the way I live my life. This character belongs to a privileged world; her point of view and perspective are very unique. So yes, everything about her was different, and the stakes of her emotions were very different from mine.

You’ve transitioned across television, web series, and films. How do you adapt your acting craft for each format? Is there a particular space where you feel most at home now?

As an actor, I have certain tools, and it’s my job to apply them across all kinds of mediums. If there’s a fantastic street play, I’d do that too. I’d love to do Broadway; I have training in dance, after all. So, the medium doesn’t really matter to me, and I don’t label myself as a particular kind of actor or box myself into one space. I believe it's important to adapt and mould myself to the vision of different filmmakers, directors, and writers, and to bring their stories to life, whether that's through an OTT series, a film, theatre, or even an audiobook. I don’t restrict myself; for me, it’s all about the story and how best to serve it.

What has the OTT boom changed for you personally, in terms of opportunities or creative freedom?

The OTT boom hasn’t changed me personally; I think I’m still the same person I’ve always been. But yes, it has definitely been a fantastic medium for all of us, from writers to independent producers to actors, especially for those who previously didn’t get the chance to showcase the different sides of what they can do. OTT gave us that opportunity. I’m very grateful for the platform because it came at a time when I was rethinking what I wanted to do. Opportunities were limited, and if you didn’t know the right people, or if people were busy boxing you into a certain image, it was really hard to break through. OTT arrived at just the right time for me; it was a space free from labels, free from preconceived notions, and free from rigid ways of thinking. That’s when I got to do the work I’ve done on OTT, and I’m truly thankful that the platform and I found each other at that point. I’m really happy that such a space exists, where there’s not only creative freedom but also recognition and fulfilment. And I say we because this work is always a collective effort. Nothing we do can happen in isolation; it’s always a team effort. So yes, for me personally, OTT has been a creatively satisfying and rewarding space. And most importantly, it allows us to do good work, which is what truly matters.

What kind of scripts or characters excite you in 2025 that may not have caught your attention a few years ago?

I think at this point in my career, my focus is definitely on working with good teams, directors, creators, and people who are clear about what they want to do and have the right intentions to create meaningful work. I don’t want to work with people who just want to make something. I want to collaborate with those who are truly passionate and committed to making something worthwhile. Also, it’s very important for me to work with people who are genuinely excited to have me on board. That’s how I function best. I’m a collaborative person, and I need to feel that investment from the team. I can’t work in an environment where I feel afraid to speak up. So, going forward, these are the things I’m prioritising. I’m also very open to working again with people I’ve worked with before, many of whom have been incredibly talented and respectful professionals. It’s a great feeling when someone you’ve worked with wants to work with you again; I think that’s one of the best compliments an actor can receive. As for roles, the project and the character absolutely matter. The role has to challenge me. Ideally, I’d love to portray women who represent the everyday Indian woman, especially modern women navigating life today. That’s what I’ve always gravitated toward. Most of my characters have been strong, working women, not just someone standing silently in the background. And that’s the kind of work I want to continue doing.

You’ve said it feels like a “win” that people like Shah Rukh Khan and Atlee now know who you are. How do such moments of recognition shape your choices moving forward?

More than the moments of recognition, I think the real win for me is getting to work with them. Knowing someone through contacts or meeting them at parties is very different from actually collaborating with them on set. So, if I’ve had the opportunity to work with people who are, in many ways, legends of our industry, that, to me, is the real achievement. The fact that these incredible filmmakers, actors, and creative minds know me and that I can reach out to them if I ever need advice or even just to say, “Let’s work together again,” is something I deeply value. And yes, I’ve told many of them more than once that I’d love to collaborate again, and hopefully, that will happen. For me, it’s always about working with the right people, those who are truly passionate about making cinema. I’ve loved cinema since I was a child; it’s been a huge part of my life, and I hold it in great admiration. So, getting the chance to work with people who are at the top of their game and approach their craft with unmatched conviction is something I cherish deeply. That, to me, is the true win. 

With nearly two decades in the industry, how do you reflect on your journey from being known as a television star to being recognised as a multifaceted performer across mediums?

It hasn’t been two decades yet; there’s still some time. But I do feel I’ve had a great innings so far. I think if anyone still believes that an actress has a shelf life, they should really take a look at me. Times have changed, and I’m grateful to be living and working in this era as a female actor. The actresses I grew up watching are still holding centre stage today; they’re powerful, relevant, and have a wealth of strong content being written for them. In fact, this is one of the best times for female-driven stories. The characters are far more layered and nuanced, and filmmakers and writers now have the space to create roles that are deeply real and relatable. I’ve done just as much work on OTT as I did on TV, and even before that, I spent several years on stage. So honestly, I don’t know what to call myself, and I don’t feel the need to label myself either.

What’s your perspective on the evolving space for female leads in Indian entertainment today? Are we doing enough with complex, age-inclusive roles?

I'd say there's all kinds of work, like I said in my previous answer, that it's actually a great time to be a female actor. I think there are incredible actors and actresses who can do fantastic work, but I don't think we are commissioning great writing.  And that needs to be the focus. We need to back good writers and by backing, I mean putting your money on them, taking the risk to tell great stories and taking good actors and good female actors. So while the time is great, I don't think I am utilised as a female actor completely. By the fraternity, they still need to sort I want to perform; I want to tell real stories, I want to talk about the women of India, I want to talk to them and I don't want to play characters that are written by people sitting in South Bombay.

I want to play characters that are written by writers who come from the heart of the city. And I think that is what we need to put the focus on. The raw stock is all there. I am a raw stock. I have 100 ways of doing one scene, but are there enough people to tap that? I am afraid the answer for that right now is that there are, but they are not being pulled forward. 

As someone who's seen the industry's transformation firsthand, what do you think still needs to change — behind the scenes or on screen?

I think we need to back real talent and not just do one project. I think there should be 10 projects backing real talent. And they should be; we should have great budgets on these things. Only then will they give you the star value in return. If you are going to do a small project or a medium-sized project with someone who's got a great talent and… and then just… or if you do it just for one actor and then, you know, be like,  Oh, we did it for one actor; it's not happening, or you… It doesn't work like that.  I think talent needs to be backed consistently. And I think that needs to change, that we are not just me. I think everyone is calling for that – bringing back real talent, bringing back people. Like, I know I'm a production-friendly person. I know somebody… I know that I'll bring… I'll bring you your money's worth on a set. I will bring you the production's money's worth. Your time will not be wasted. You will not be dealing with an amateur. And I can tell, you know, you want… you want me to do 10 ways of doing a scene; I'll do it. And I'll show you and you pick what you like. So, I think there needs to be that, you know. I need more people to back me, if I can say that in short. And I need people to put money on me because they will not regret it. They will only make money out of it.

You encountered criticism for your condemnation of the Pahalgam terror attack, despite your collaboration with a Pakistani actor. How do you handle such backlash, and how do you distinguish between professional work and personal principles?

I think when you talk about the Pahalgam attack, I don't think professional and personal lines are very different because this is a matter of my nation and I am deeply, deeply patriotic, and what I feel for my nation is in my heart and I don't think I can display it to anybody or I need to. So this is not professional; actually, it's personal and these things become personal because I also come from the state of Jammu and Kashmir and I know of various, you know, devastating incidents that have happened there over my lifetime. So for me, this is very, very personal and I have just maintained that I want to stand by my country, and I want to stand by my armed forces and that's the least I can do as a civilian to stand as a rock and, if at all, just be good PR for my country at this point, you know. We all need to be united and we all need to have harmony and we all need to stand up for our nation not just in words but in actions and not just in actions but in words also. So we need to, you know, just back them and yeah, that's what I'm doing, and I think that's what's most important in this matter.

Do you believe artists have a responsibility to make political or ethical choices while selecting projects — especially when national sentiment is involved?

I think I mean national sentiment is always involved. You can’t show your country in a bad light; then don’t live in that country. You know I’ve said this before. Either stand by the country you are living in or live in the country you stand by. It's that simple. So I am a proud Indian and everything that I do, not just as an actor. Even as a person, whatever I do, you know, be it while I’m travelling or interacting with other people from other countries or personally, just however, I live life. It’s very much in tune with my nation and my country and I don’t really know – I don’t really differentiate between the two. I think national sentiment should always be upheld when you’re making any choice as a person or as a professional.

Would you work again on a cross-border collaboration, knowing the environment is often volatile?

I will work as and when, if you, if you ask me to work with a Swedish team, I’ll work with French, I’ll work with American, yeah, I would work with anybody from around the world. And where there is tension, of course not, absolutely not. You know that I stand by my country and that’s for the most part, but we have a good relationship with many parts of the world, and I’d like to focus on the good at the moment.

How do you deal with public scrutiny — especially when it comes from people who don’t know the full story?

Exactly that. They don't know the full story. People don't know. People normally don't know. I mean, in public discourse, that's what happens. You just respond to one side of the story. Even I have done it as a civilian when I didn't know things completely. You know, and then when you hear all parties in the discussion or you hear different sides of the story, you understand that you know very little. And not everybody has that, you know; not everyone will have that sort of exposure. So I don't take it personally. I think people speak their heart and they speak from emotions and they don't really mean half the time what they say. They don't know the full story. So only when, you know, you should only take things personally when, you know, someone's sitting in front of you talking about things and arguing over things that there's a full perspective on.

What’s next for Ridhi Dogra?

Good work is ahead for me, working with the dream directors that I want to, creating characters that an Indian woman can look at and say, You know, that's me and she's representing us. I don't want to look like a glam doll on camera, which is what I've always done. I mean, I've never done that, and I'm not going to do that in the future either. I want to represent the thinking Indian woman and I know so many amazing Indian women and I'm constantly in awe of just how incredible we are and I want to portray them. I want to even take an Indian character, an Indian woman and place her in a completely different setting, maybe in a French project or, you know, a Spanish project. But I do want that, you know; I want to take just us as we are and be global because I think we need more representation and I'm here for it.