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Viraj Ghelani says moving from online sketches into films required him to change what he prioritizes as a performer: instead of reaching constantly for the next joke, he has to serve the character and story over time. In a Hindustan Times interview published 3 October 2026, he describes that adjustment as “a lot of unlearning.”
What Ghelani means by “unlearning” for films
Ghelani’s point is not that comedy stops mattering when he acts in a film. It is that a performer has to respond to the form they are working in. In the interview, he says, “I had to do a lot of unlearning for this. Every platform has different mathematics that goes into it.”
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He contrasts the quick hook he associates with Instagram with the longer span of a film. Ghelani puts it this way: “Instagram’s retention rate of an audience is one second. So you have to grab them in that one second. Whereas in a film, you have two hours. You can’t put comedy everywhere. It’s the character that grows on the audience with time. That arc of growth doesn’t happen digitally.”
The one-second and two-hour figures are Ghelani’s way of describing the formats, not independently established audience-retention data or a claim about every film’s runtime. His broader distinction is about pacing: a sketch may need to catch attention quickly, while a film can let a character develop across a longer arc.
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How film acting differs from online sketches in his account
| What he compares | Online sketches | Films |
|---|---|---|
| Audience engagement | Ghelani says a sketch needs to grab attention quickly. | He describes more time for the audience to grow with a character. |
| Comedy | He associates content creation with looking for the next joke or laugh. | He says comedy need not be present in every moment. |
| Performance focus | In his description, the creator is often considering what will make people laugh next. | He says the actor must understand the character and story, then let the character change over time. |
Ghelani sums up the shift in his own working approach: “As a content creator, you are always thinking, ‘What is the next joke? What is the next thing that will make people laugh?’ But in films, you have to understand the character and the story. You have to let the character breathe and grow.” This is his perspective on adapting his performance, not a universal rule about every creator, sketch, or film.
Why language mattered for his role in Mitrata
Ghelani says making his character believable in the Gujarati film Mitrata also meant paying attention to how Gujarati differs by place. He describes the distinction this way: “The Gujarati spoken in Mumbai is very broken, very Maharashtrian Gujarati. Gujarat’s Gujarati is different.” The interview presents this as a detail he considered for the role; it does not establish a general linguistic rule or provide further detail about the film’s language.
The interview describes Mitrata as revolving around the friendship of three young men. Ghelani connects the language distinction to the believability of his character, illustrating how his film work involves choices beyond the timing of a joke.
What the interview establishes about his screen work
Hindustan Times names Govinda Naam Mera and Jhaku as screen projects Ghelani has worked on, and notes his earlier character work in sketches. It does not specify his roles in those titles or provide a complete career history, so those mentions should not be taken as a full filmography.
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He also frames film roles as a chance to show audiences a different side of himself: “People have seen one side of me through my content. Films give me the opportunity to show them another side. That is exciting because I also want to keep learning and keep experimenting as an actor.”
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How Ghelani says he responds when audiences dislike a choice
Ghelani says he does not want to take his audience for granted, and that he is prepared to acknowledge work they do not like: “I would never take my audience for granted. If I have made a wrong choice or wrong content or any film that people didn’t like, I will own up to it. It’s not easy.” That admission complements his account of learning a different approach for film: adapting means accepting that a performance or project may not land as intended.
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- Author: Shurtleff, Michael.
- Publisher: Bantam
- Pages: 288
- Publication Date: 1980-01-02
- Edition: Reissue
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