Veteran actor Vikram Kapadia, known for his roles in films like Kapoor and Sons and Yodha, as well as popular web series such as The Night Manager and Scam 1992, has voiced strong opinions about two of Bollywood’s most prestigious production houses—Dharma Productions and Yash Raj Films (YRF). In a recent interview, Kapadia claimed that both production giants are guilty of underpaying actors, attributing this to what he describes as their “ego.”
The ‘Ego’ behind the pay scale
Kapadia’s statements come in the context of his own experiences within the industry, having worked with these major production houses in different capacities. He pointed out that while actors view a debut with Dharma or YRF as a significant opportunity, the compensation offered does not always reflect the value of the work.
Speaking to Bollywood Now, Kapadia explained, “Yash Raj and Dharma have this ego that we are Yash Raj and Dharma, so we will pay you a little less but you should be happy because we are paying you.” According to him, the reputation and stature of these studios in Bollywood are used as leverage to offer lower compensation, and actors are expected to accept this simply because of the opportunity to work with such big names. Kapadia emphasized that this practice is widespread and not limited to his personal experience: “I think they do that with everyone. I think that’s why actors are concerned.”
Payment practices at Yash Raj films and Dharma productions
Despite the criticism regarding actor compensation, Kapadia did acknowledge that Yash Raj Films had paid him well when he worked as a writer for the studio. However, he maintained that the issue lies specifically with how actors are compensated. He added that while the studios may offer lower pay, they are timely with their payments, stating, “They’re giving you a break, so maybe the value is a little less, but they never delay in payment.”
Kapadia’s remarks have sparked discussion at a time when industry insiders are increasingly vocal about the financial disparities in Bollywood, especially between top-tier stars and lesser-known actors. The issue of payment practices has been a longstanding topic of debate in Bollywood, where established actors often command exorbitant fees, while emerging talent may receive far less despite their contributions to a film’s success.
Karan Johar’s take on actor fees
Kapadia’s statements come shortly after Dharma Productions’ head Karan Johar made waves with his comments on actor fees. Speaking to The Hollywood Reporter India, Johar revealed that he has become more cautious about paying hefty sums to stars. Reflecting on his earlier career, he admitted that he used to give in to actors’ demands for large fees but has since changed his approach.
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“I don’t pay any more. I’ve said, ‘Thank you very much, I can’t pay you.’ I am not paying anyone,” Johar remarked. He added that he now questions actors on their recent box office performances before agreeing to pay high amounts, stating, “What were your last couple of films? How much have you opened to? What right do you have to ask me for this number?”
Johar also pointed out the difficulties of managing production budgets when actors demand fees that match or even exceed the film’s total budget. He cited an example from one of his recent projects, Kill, a high-concept film with a debutant actor. Johar expressed frustration that despite the film’s Rs 40 crore budget, every star approached for the project asked for the same amount in fees. “When the budget is Rs 40 crore, how can you ask for Rs 40 crore?” he questioned.
A broader conversation about bollywood’s pay structure
The comments by Kapadia and Johar highlight a growing discourse about the financial dynamics in Bollywood, particularly as it relates to actor compensation. While established actors continue to command high fees, there is an increasing focus on whether these fees are justified, especially in light of box office performance. At the same time, newer actors and supporting roles often face lower pay despite significant contributions to the success of a film or series.
Kapadia’s remarks suggest that despite the prestige of working with production houses like Dharma and Yash Raj Films, the pay scales are often skewed by the “ego” associated with their brand. As the industry continues to evolve, especially with the rise of web content and international collaborations, these long-standing practices may come under further scrutiny from actors and industry professionals alike.
In the coming years, it remains to be seen whether production houses will adjust their compensation practices in response to growing criticism or continue to leverage their iconic status to attract talent at lower rates.
