Supern Verma does not wait for permission – not from industry, not critics, and of course not cultural consensus. He is a storyteller who has found himself in a rare moment of convergence: personal development public verification meeting. Scripting The Family Man 2 To show testsDirecting Rana NaiduAnd production Sirf ek bandaa kaafi haiThe Verma has emerged as a style-hoping, format-shaking force in the streaming scenario.
But the one who really separates him is fearlessness with which he discovers gray. A clearly, in a 90-minute conversation with the Hindu, Verma, success, the morality of storytelling, toxic masculinity, cancellation of culture, canceled self-sensorship, and why Indian cinema is contrary to anything else on Earth.
End of success and search for verification
For most of his career, Verma was a name known for internal formulas than the mainstream. But everything changed with the release The Family Man Season 2.
“Success of” Family man 2 Broke every door, “he says.” People start looking at my old work with new eyes. The same ideas that were suddenly rejected became ‘interesting’. The success replaces the lens – it allows you to say, and not afraid to lose everything. ,
But that success did not pay attention to him; This allowed him to avoid the need for this.
“The minute I was successful, I stopped looking for verification,” they say. “I don’t care that I am beautiful. I just need verification to open the doors – not for my soul.”
Criticism, toxic character, and the responsibility of reflecting the result
Verma is not far from controversial characters or complex ethics. Asked if he feels pressure to clean his characters in the era of criticism of Wok, he clearly responds:
“If a character is toxic, it should not be appropriate. Show the result. This is where I draw the line.”
using the Animal And Pushpa As points of comparison, Verma explains that the audience should be challenged, not coded. But the challenge, he emphasizes, it does not mean irresponsibility.
“I will not give a character that throws acid on a woman.
Playing long games on censorship
After working in many film industries and OTT platforms in India, Verma understands the rules of the game – and how to work around them.
“The censorship is always in existence. Instead of complaining, learn to play the game. Push what is needed to push. Say what you want to say – but do it cleverly.”
His stance is almost philosopher. He attracts the quiet disregard of Iranian cinema and notes development in Indian censorship over the years.
“Compared to 25 years ago, the amount we can say, and showing is not shaping. It is not correct. But it is opened – and we have to use that freedom wisely.”
On streaming: Double-added distribution
Verma has been at the center of the OTT blast in India. Show Rana Naidu Dark, dirty, morally unclear – everything inheritance Hindi cinema is often opposed.
“I am a style addict. I like to play in different sandboxes – drama, thriller, horror, comedy,” they say. “Streaming existed people like me.”
Nevertheless, she is in a hurry to accept that this freedom comes with the fragmentation of the loyalty of the audience.
“The audience now has to change every three months. You can’t crack them. You have to listen, adopt, develop.”
On cooperation: leave your ego at home
As someone has worked with giants of industries like Raj and DK, Milan Luthria, and Karan Anushuman, Verma credited his longevity for one thing: leaving the ego at the door.
“Everyone is going to die in this room. Your work will remain. It all matters.”
Whether instructions, writing, or showing, their focus is always on the story – not personal credit.
“I have been the most experienced filmmaker on the set and a boom operator listening to the boy who holds a better idea for a line delivery. This is the job. Listen. Learn.”
On the development of Indian cinema
Asked how Indian cinema compare global standards, Verma moves forward.
“There is no cinema like Indian cinema. Not even close.”
He speaks with reverence for diversity: Realism of Malayalam, patience of Tamil, spectacle of Telugu, history of Bengali, the nuances of Marathi – and the use of Hindi.
“If we stop thinking about Indian cinema only as Hindi cinema, we will handle the world. We are the most colorful, contradictory industries on earth. We are a peacock with 25 heads.”
He is especially animated about historical reasons why things developed-the way he did-from the item numbers born from the sensorship, to multi-hero films born of shooting obstacles.
“You study society, you understand cinema. It all makes sense when you know the backstory.”
On Vokens, retrospective decisions and crowd culture
Verma criticizes that today’s moral outlines are being used to judge old tasks – a trend that he sees as intellectually dishonest.
“You cannot go with winds up to 2025 standards. It was made in another time. The art reflects its time. Do not erase it. Learn from it.”
Accepting that some approaches are important today, he warns against crowds and culture wars.
“The crowd mentality has always destroyed the nuances – to cancel the culture from a witch hunting. If we believe in law and society, we should believe in proportional reaction and redemption.”
On the format of Indian story: in Beyond Burger and Thalis
Western story structure – with its three acts and tight styles – not fully applied here, Verma’s argument.
“They serve the burger. We serve Thalis. Our films are emotional buffet. You want comedy, action, romance, philosophy – we give all this. And it works.”
This, he says, is a strength and a challenge. Writers should embrace chaos today and make multilingual, multi-style, multi-class audiences which define India.
What’s next: Everything, everywhere, all together
Supern Verma is not thinking about the third work of life right now. “I’m starting now. I have found stories to tell in every direction – La, Hyderabad, Mumbai – and every style under the Sun.” Asked if he ever sleeps, he laughs. “I don’t work. I play. I am paid to play.”
Published – June 02, 2025 06:31 pm IST
