Part I: The Call That Changed Everything
Anant sat in his small room above the Sharma Family Restaurant, the Baahubali script still on his lap, his mind processing the magnitude of what he'd just committed to. The evening prayer calls from nearby temples mingled with the sounds of Chandni Chowk settling into its nighttime rhythm. But Anant barely heard any of it. He was thinking about Baahubali, about the transformation required, about the risk and opportunity in equal measure.
He pulled out his phone and dialed Ronnie Screwvala's number. It was late – nearly 10 PM – but this couldn't wait.
Ronnie answered on the second ring. "Anant? Is everything alright? You don't usually call this late."
"Sir, I need to tell you something. I've committed to a film."
There was a brief pause. "You... you've committed? Anant, you've turned down twenty-three films in the past four months. Big budgets, A-list directors, massive commercial potential. What changed?"
"The story changed everything," Anant replied simply. "Sir, SS Rajamouli came to Delhi today. Telugu director, made Magadheera and Eega. He's developing a two-part mythological epic called Baahubali. The most ambitious project in Indian cinema history. And I read the script."
"SS Rajamouli," Ronnie repeated slowly, processing. "I know the name vaguely. Successful in Telugu cinema, right? But Anant, you're Hindi cinema's biggest star. Why would you commit to a regional director's project?"
"Because the script is extraordinary," Anant said with intensity. "Sir, I've read hundreds of scripts since Uri released. Generic action films, safe romantic comedies, calculated commercial projects. Nothing moved me. Nothing felt essential. But Baahubali – this is epic storytelling at the highest level. Mythological grandeur combined with emotional depth. The kind of project that defines generations of cinema."
Ronnie could hear the passion in Anant's voice, the certainty. In two years of working together, he'd learned to trust Anant's instincts about stories. "Tell me about the project. Details."
"Two-part epic. Minimum 700 crore budget, possibly more. Shooting both parts back-to-back over eighteen months. Six months of intensive training before that. Total commitment: approximately two and a half years. Release schedule: Part one in next 2 years, part two six months later."
"Two and a half years on one project," Ronnie said, his business mind calculating. "Anant, do you understand the opportunity cost? You could make four or five films in that time. Earn 100+ crores easily. Build diverse portfolio. Instead, you're putting all resources into one gamble."
"It's not a gamble," Anant corrected firmly. "I've analyzed the script systematically. The story architecture is sound. The character arcs are compelling. Rajamouli's vision is clear and achievable. This will work, sir. Not might work – will work."
"You've never been this certain about anything," Ronnie observed. "Not even Uri or Dhoni. What's different?"
Anant paused, organizing his thoughts. "Sir, Uri and Dhoni were important films that I was honored to be part of. But they were existing projects I joined. Baahubali is different. This is a vision I can help shape from the ground up. A project where my technical knowledge, my dedication, my commitment to authenticity – all of it can contribute to creating something unprecedented."
"You said yes without negotiating payment, didn't you?" Ronnie guessed as he know about Anant antics which he both loves and hate.
"Payment is irrelevant," Anant confirmed. "This is about legacy, not transaction. But sir, this is why I'm calling. I told Rajamouli that Maya VFX would co-produce. That you'd be interested in partnering on this."
Ronnie leaned back in his chair, processing the implications. "You committed Maya VFX without consulting me?"
"I know you, Sir," Anant replied confidently. "You've said repeatedly you want Maya VFX associated with ambitious, groundbreaking projects. Baahubali is exactly that. And our technical capabilities – the filters, compression, VFX integration, Dolby partnership – everything we've developed is perfect for a project of this scale."
"What's the projected budget?" Ronnie asked, his tone shifting to business mode.
"Rajamouli estimates 250-300 crores for both parts. But with my involvement, Maya VFX co-production, and expanded scope, I'd estimate closer to 400-500 crores."
"That's enormous," Ronnie said, though his tone suggested intrigue rather than rejection. "Who else is backing it?"
"Nobody yet. Just Rajamouli's home production. But sir, with my name attached and Maya VFX partnership, we can bring in Fox Star, major distributors, potentially international co-production. This becomes pan-Indian event, not regional film."
"You've thought this through," Ronnie observed.
"I've thought about nothing else for the past six hours," Anant admitted. "Sir, I need you to trust me on this. The way you trusted me with Uri when I was unknown. I'm asking for that faith again."
Ronnie was quiet for a long moment. Finally: "Send me the script. Let me read it myself. If it's as good as you say, we'll discuss Maya VFX involvement. But Anant, you need to understand – committing to one project for two and a half years is career-defining. There's no backup plan if this fails."
"It won't fail," Anant said simply. "But I understand the concern. I'll send the script tonight."
"And Anant? The fact that you said yes – actually said yes to a project – that tells me more than any script could. In two years, this is the first time you've been genuinely excited about anything beyond Uri and Dhoni. That means something."
After disconnecting with Ronnie, Anant immediately called Vijay Oberoi at Fox Star. The executive answered quickly, his voice curious.
"Anant? Twice in one month you're calling me directly? This must be important."
"Sir, I've committed to my next project. I wanted you to know before the official announcement."
"Finally!" Vijay's relief was audible. "Every studio in Mumbai has been trying to sign you. Who did you choose? Dharma? YRF? I heard Karan was developing something( not weird thought haha) specifically for you."
"None of them," Anant replied. "I'm doing a Telugu film. Two-part mythological epic directed by SS Rajamouli. It's called Baahubali."
Silence. Then: "I'm sorry, did you say Telugu film? Regional cinema?"
"It's not regional," Anant corrected. "It's pan-Indian mythology. Telugu-origin, yes, but the story transcends language and region. Think Lord of the Rings-scale epic, but rooted in Indian mythology."
"SS Rajamouli," Vijay repeated, his mind clearly working. "I've heard the name. Good director regionally. But Anant, you're the biggest star in India right now. MS Dhoni crossed 1,200 crores worldwide. Your next film is the most anticipated project in the industry. And you're choosing a regional director's mythological film?"
"I'm choosing the best script I've read," Anant said firmly. "Sir, you've worked with me on Dhoni. You know I don't make decisions based on politics or perceptions. I choose stories. This story is extraordinary."
"What's the commercial potential?" Vijay asked, his producer instincts engaging.
"Massive. If executed properly, this could be the first Indian film to cross 1,500-2,000 crores worldwide. But more importantly, it establishes new paradigm for Indian spectacle filmmaking. We're not copying Hollywood. We're creating Indian equivalent using our own mythology and cultural foundation."
"Budget?"
"Approximately 400-500 crores for both parts. Possibly higher with expanded scope."
Vijay whistled low. "That's substantial risk."
"Risk implies uncertainty," Anant countered. "I'm certain about this, sir. The way I was certain about Dhoni. That certainty translated to 1,200 crores. This certainty will translate to even more."
"You're asking Fox Star to back this?" Vijay guessed.
"I'm informing Fox Star of an opportunity," Anant corrected. "Maya VFX is co-producing. But we'll need distribution partnership, possibly co-production support, definitely marketing muscle. Fox Star has all of that and the track record of backing ambitious projects."
"Let me see the script," Vijay said. "And let me speak with Ronnie and this SS Rajamouli. If the project is as strong as you say, Fox Star will be interested. But Anant, you understand this changes everything? Your next film was supposed to solidify your Bollywood dominance. Instead, you're betting on cross-regional collaboration."
"I'm not betting," Anant said. "I'm building. Bollywood versus regional is outdated thinking. This is about creating Indian cinema that competes globally. Baahubali is the vehicle for that vision."
"You've become very strategic very quickly," Vijay observed with amusement.
"I had good teachers," Anant replied. "You and Ronnie sir showed me how to think beyond individual films to industry impact. I'm applying those lessons."
After both calls concluded, Anant sat in the quiet room, feeling the weight and excitement of what he'd set in motion. Two phone calls. Two commitments. The machinery of India's biggest entertainment project was beginning to turn.
And at the center of it all was a 22-year-old who'd learned to trust his instincts completely.
Part II: The Triangle of Power
Three days later, Ronnie Screwvala and Vijay Oberoi sat in Ronnie's Mumbai office, the Baahubali script spread between them. They'd both read it – all 700 pages – and were now processing the implications.
"It's good," Vijay admitted. "Very good. Epic scope, emotional depth, clear character arcs. Rajamouli knows how to structure mythology for modern audiences."
"It's more than good," Ronnie corrected. "It's potentially transformative. If executed at the level this script demands, we're looking at a cultural phenomenon. India's answer to Lord of the Rings or Star Wars – home-grown mythology presented with international-level spectacle."
"But the risk," Vijay countered. "700 crore budget. Two and a half year production. Unproven at this scale. Yes, Rajamouli is successful regionally, but this is exponentially bigger than anything he's done."
"Which is why Anant's involvement is crucial," Ronnie replied. "His name guarantees audience interest pan-India. His technical knowledge through Maya VFX ensures production quality. And his dedication – that's the insurance policy. If Anant commits fully, he won't let it fail."
"He's that important to the equation?" Vijay questioned.
"He's everything to the equation," Ronnie said bluntly. "Without Anant, this is risky regional epic. With Anant, it's must-see event. His involvement transforms perception from 'Telugu film with big budget' to 'Indian cinema's most ambitious project.'"
"The MS Dhoni numbers support that theory," Vijay acknowledged. "We crossed 1,200 crores largely on his drawing power and performance quality. If he brings same dedication to Baahubali..."
"We're looking at potentially 2,000 crores," Ronnie completed. "Maybe more if we execute international distribution properly."
They sat in silence for a moment, both calculating risks and rewards.
"What's Maya VFX's exposure?" Vijay asked finally.
"I'm proposing we co-produce at 40% equity stake," Ronnie replied. "Approximately 280-300 crores investment for both films. Fox Star could take another 30%, with Rajamouli's home banner holding remaining 30%."
"That's substantial commitment for unproven scale," Vijay observed.
"But hedged by Anant's involvement," Ronnie countered. "Vijay, the boy has never led us wrong. Uri exceeded all projections. Dhoni shattered records. His judgment on projects has been flawless. If he believes in Baahubali enough to commit two and a half years, that's the strongest endorsement possible."
"You trust him that completely?"
"I've watched him work for two years," Ronnie said. "Seen his preparation, his dedication, his systematic approach to every aspect of filmmaking. He doesn't just act – he engineers success through meticulous planning and total commitment. Yes, I trust him completely."
Vijay nodded slowly. "Then Fox Star will partner. But I want to meet Rajamouli personally. Understand his vision, assess his capability to deliver at this scale. Can you arrange that?"
"Already did," Ronnie smiled. "We're traveling to Hyderabad in four days. You, me, Anant, and our respective legal teams. Full production meeting with Rajamouli and his team. We'll formalize partnership, finalize budget, establish timelines, resolve all outstanding questions."
"Anant will be there?" Vijay asked.
"Insists on it. Says he wants to be involved in all major decisions, not just performance aspects. He views this as collaborative creation, not just acting job."
"He's evolved quickly from student actor to industry player," Vijay observed.
"He's operating at level most people take decades to reach," Ronnie agreed. "Part natural intelligence, part IIT analytical training, part genuine love for filmmaking process. Whatever the source, we benefit from having him as partner rather than just talent."
"What about the Telugu language aspect?" Vijay raised a practical concern. "Hindi audiences are his base. Will they accept him in Telugu film?"
"We're releasing in all languages simultaneously," Ronnie explained. "Telugu, Hindi, Tamil, Malayalam, Kannada. Possibly international English version too. Anant will shoot in Telugu but also dub in Hindi but we'll have top-tier Hindi dubbing for that market. Best of both worlds."
"And Anant's learning Telugu?" Vijay confirmed.
"Already started apparently. Hired language coach, studying four hours daily. He's approaching it like he approached cricket for Dhoni – total immersion, systematic mastery."
"Of course he is," Vijay said with affectionate exasperation. "The boy doesn't know how to do anything halfway."
"Which is exactly why this will work," Ronnie concluded. "Now let's prepare for Hyderabad meeting. We're not just investing money. We're committing to vision. I want everyone aligned before cameras roll."
Part III: The Journey South
Four days later, a small convoy arrived at Hyderabad's Rajiv Gandhi International Airport. Anant emerged first, dressed casually in jeans and kurta, his height immediately distinguishing him. Behind him came Ronnie Screwvala and Vijay Oberoi, both in business formal, followed by their respective legal teams carrying briefcases of contracts and production documents.
"First time in Hyderabad?" Vijay asked Anant as they collected baggage.
"Second," Anant replied. "Came briefly during Dhoni promotion. But first time for actual business meeting. I'm nervous."
"You? Nervous?" Ronnie laughed. "The boy who faced down MS Dhoni himself is nervous about production meeting?"
"Different kind of pressure," Anant admitted. "Rajamouli is entrusting me with his dream. You both are investing massive capital based on my judgment. If I'm wrong, I'm not just failing myself – I'm failing everyone who believed in me."
"Then don't be wrong," Vijay said simply. "Anant, trust your instincts. They've been proven correct repeatedly. This will be no different."
The drive to SS Rajamouli's production office took forty minutes through Hyderabad's Film Nagar district. The building was modest compared to Mumbai's grand studio complexes – three stories, functional rather than flashy, bearing the simple nameplate "Arka Media Works."
Inside, SS Rajamouli waited in the main conference room along with his wife and costume designer Rama Rajamouli, his father and screenwriter KV Vijayendra Prasad, and Sudheer Babu, the newly cast antagonist.
When Anant entered the room, he immediately greeted them in Telugu: "Namaskaram. Miru andaru ela unnaru? Nenu ikkada undatam chala santosham." (Greetings. How are you all? I'm very happy to be here.)
The Telugu was accented but grammatically correct, delivered with evident effort to honor the local language. Rajamouli's eyes widened with surprise and pleasure.
"Your Telugu!" he exclaimed, switching to English for the benefit of the Mumbai team. "Anant, you've been studying. That's excellent pronunciation for such short time."
"I'm practicing four hours daily with language coach," Anant replied, also switching to English. "Want to be comfortable in Telugu before shooting begins. Respect for the language, respect for the culture."
"This boy," Rajamouli said to Ronnie and Vijay with genuine warmth, "he continuously surprises me. Most Hindi actors wouldn't bother learning regional language. But Anant treats it as essential preparation."
"Anant treats everything as essential," Ronnie replied. "It's simultaneously his greatest strength and his greatest source of stress."
The formal introductions took several minutes. Rama Rajamouli embraced Anant warmly, already envisioning him in the elaborate costumes she'd been designing. KV Vijayendra Prasad, the legendary screenwriter, studied Anant with the assessing gaze of someone evaluating whether actor could embody his written words.
But it was Sudheer Babu's reaction that was most moving.
The Telugu actor approached Anant with visible nervousness, hands folded in respectful namaste. "Sir, I wanted to thank you personally. You recommended me to Rajamouli sir when you didn't know me, had never worked with me, had no obligation to help my career. That generosity – I'll never forget it."
"Please, don't call me sir and you are my senior," Anant replied, grasping Sudheer's hands warmly. "We're colleagues, partners in this project. And I didn't recommend you out of generosity – I recommended you because your villain work in Baaghi was exceptional. You earned this role through talent. I just pointed Rajamouli sir in your direction."
"But that pointing changed my life," Sudheer insisted. "This is the opportunity I've been working toward for years. And it came through your advocacy."
"Then justify my faith by being the most formidable antagonist possible," Anant said with a smile. "Give me a villain I have to genuinely struggle against. Make me work for Baahubali's victory."
"I will," Sudheer promised solemnly. "You'll have an opponent worthy of your hero."
Watching this exchange, Rajamouli felt renewed confidence in his casting. This wasn't typical film industry politics or competitive posturing. This was genuine mutual respect and collaborative spirit. The foundation for creating something special.
"Shall we begin?" Rajamouli suggested, gesturing to the conference table. "We have much to discuss."
Part IV: The Vision Expanded
The conference table was large enough to accommodate twelve people comfortably. Production charts, character designs, and technical specifications covered the walls. At the head of the table, Rajamouli pulled up a presentation on a large screen.
"Before we discuss contracts and budgets," he began, "I want to ensure everyone understands the scope of what we're attempting. This is not a typical film production. This is creating a new standard for Indian cinema."
The presentation began with concept art – massive waterfalls, ancient kingdoms, epic battle sequences, mythological grandeur rendered in stunning detail. The images were breathtaking, combining traditional Indian architectural aesthetics with fantasy epic scale.
"Baahubali is set in fictional ancient India," Rajamouli narrated. "The kingdom of Mahishmati, the most powerful in the land. The story spans two generations, showing rise and fall, betrayal and redemption, exploring themes of power, duty, family, and sacrifice."
More images appeared – character designs showing Anant's Baahubali in various stages: warrior prince, exiled hero, triumphant king. Each iteration showed progressive narrative evolution.
"The role demands complete physical and psychological transformation," Rajamouli continued, looking at Anant. "You'll age from late teens to early thirties across both films. Each stage requires different physicality, different emotional register, different bearing."
"I understand," Anant confirmed. "Six months preparation time allows for that transformation. We'll build the physicality systematically, develop the character psychology deeply."
Rajamouli nodded and continued. "Now, technical requirements. This is where Maya VFX becomes crucial."
He pulled up VFX requirement charts – thousands of shots needing digital enhancement, environments requiring complete creation, battle sequences with thousands of digital warriors. The scale was staggering.
"Traditional Indian VFX capabilities couldn't handle this volume at required quality level," Rajamouli admitted. "We'd need to outsource internationally, which would balloon costs. But Maya VFX's proprietary technology – the compression algorithms, the rendering optimization – you can handle this domestically?"
Anant leaned forward, his engineering mind engaging. "Not just handle it – excel at it. Sir, the filters I've developed are optimized specifically for Indian lighting, skin tones, aesthetic preferences. For mythological content, we can create distinctive visual language that feels authentically Indian rather than westernized. And the compression technology means we can maintain theatrical quality while processing massive file volumes efficiently."
"But the scale," Vijay interjected. "You're talking about thousands of VFX shots. Even with advanced technology, that requires enormous team, significant time, substantial cost."
"Which is why Maya VFX is co-producing," Ronnie replied. "We're not just providing services – we're investing in the project. Our VFX team will be dedicated to Baahubali for the entire production and post-production period. Full commitment, shared risk, shared reward."
"There's another element," Anant added. "Dolby partnership. They're very interested in this project. Not just Atmos sound design, but introducing Dolby Vision camera technology for cinematography."
"Dolby Vision?" Rajamouli repeated, his interest piqued. "That's cutting-edge HDR imaging technology. Available in India now?"
"Available through Maya VFX partnership," Anant clarified. "I've been working with Dolby's technical team to optimize their Vision cameras for Indian cinematography requirements. The cameras are calibrated specifically for our skin tones, our lighting conditions, our aesthetic preferences. For Baahubali's mythological setting, Dolby Vision will capture color and detail impossible with standard equipment."
"This is beyond my technical understanding," Rajamouli admitted. "But it sounds transformative."
"It is," Vijay confirmed. "Fox Star has been following Dolby-Maya VFX partnership closely. The technology is legitimate, world-class, potentially industry-changing. Having it dedicated to Baahubali gives you competitive advantage no other Indian production could match."
"What does this do to budget?" Rajamouli asked, the practical concern surfacing.
Ronnie pulled out detailed budget projections. "With expanded technical scope, international-standard VFX, Dolby Vision cinematography, and comprehensive marketing campaign for pan-Indian release, we're estimating 750 crores total for both films."
The room fell silent. Rajamouli stood up slowly, his face showing shock. His father and wife exchanged stunned glances. Sudheer looked like he'd stopped breathing.
"Seven hundred and fifty crores?" Rajamouli repeated faintly. "That's... that's more than three times my initial estimate. That's the largest budget in Indian film history. By massive margin."
"It would be even higher," Vijay interjected, "except Anant's strategy of shooting both films simultaneously saves approximately 250 crores in redundant costs. Sets built once, teams mobilized once, locations secured for continuous use. Very efficient approach."
"But 750 crores," Rajamouli continued, still processing. "How do we justify that investment? How do we ensure return?"
"Through quality and scale," Anant said firmly. "Sir, if we're creating India's answer to international epics, we need international-level investment. Lord of the Rings trilogy cost approximately 1,500 crores in current conversion. We're attempting similar scope at half the budget, which is only possible because of Maya VFX efficiency and Dolby partnership."
"And the return?" Rajamouli pressed.
"Conservatively, 2,000 crores worldwide," Ronnie stated. "That's assuming both films perform well but not spectacularly. If they become cultural phenomena – which Anant's track record suggests is likely – we could see 2,500-3,000 crores combined."
"You're betting 750 crores on that assumption?" Rajamouli looked between Ronnie and Vijay with disbelief.
"We're not betting," Vijay corrected. "We're investing strategically. Anant's involvement guarantees baseline audience interest. Your directorial vision ensures quality execution. Maya VFX and Dolby technology provide competitive differentiation. The mythology appeals to fundamental Indian cultural identity. Every factor supports commercial success."
"We trust your vision," Ronnie added, looking directly at Rajamouli. "But more importantly, Anant trusts your vision. And we trust Anant's judgment. That's the real foundation of this investment."
"You're all trusting me because Anant trusts me," Rajamouli said slowly, the weight of that responsibility settling on him.
"Yes," Anant confirmed simply. "I read your script. I heard your vision. I saw your previous work. You're capable of this, sir. More than capable. You'll not just meet these expectations – you'll exceed them."
The confidence in Anant's voice, the absolute conviction, was strangely reassuring despite the staggering numbers being discussed.
"Then I'll justify that faith," Rajamouli declared, finding his resolve. "All of you are investing in my dream. I'll ensure that dream becomes reality that succeeds beyond all projections."
Part V: The Details Crystallize
The remainder of the meeting focused on practical details. Legal teams distributed contracts. Production schedules were refined. Casting requirements for supporting roles were discussed. Every aspect of the massive undertaking was examined, questioned, and resolved.
"Release strategy?" Vijay asked, his distribution expertise focusing on commercial planning.
"Part One in January ," Rajamouli proposed. "Gives us time for comprehensive post-production and marketing buildup. Part Two in July . Six-month gap maintains anticipation while momentum stays strong."
"Simultaneous release in all Indian languages?" Ronnie confirmed.
"Yes. Telugu, Hindi, Tamil, Malayalam, Kannada. Professional dubbing for each, not cheap translations. We're also considering international English version for non-Indian markets."
"Good thinking," Vijay approved. "And beyond India?"
"Every market with significant Indian diaspora," Rajamouli replied. "USA, UK, Canada, Australia, Middle East, Southeast Asia. This is global Indian film, not just domestic release."
"We should also consider non-diaspora markets," Anant suggested. "Japan has affinity for epic storytelling. China's market is enormous and growing. Latin America loves melodrama and spectacle. If we position this correctly as universal mythology rather than specifically Indian, we could access audiences beyond typical Bollywood reach."
"That's thinking very big," Rajamouli observed.
"Why think small?" Anant countered. "Sir, you're creating something unprecedented in Indian cinema. Why limit its reach to predictable markets? Let's be ambitious about audience scope as well as production scope."
"Japanese and Mandarin dubbing would require additional investment," Vijay calculated. "But potential returns could justify it. Let me explore those markets."
"What about festival circuit?" Rama Rajamouli suggested. "Premiere at major international festivals, build critical credibility alongside commercial appeal?"
"Excellent idea," Ronnie agreed. "Target Cannes, Toronto, possibly Venice for prestige. Won't affect box office but elevates perception from commercial to artistic achievement."
The strategic planning continued for hours, each detail refined, each possibility explored. By evening, comprehensive production and distribution framework had been established.
"Training schedule," Rajamouli finally addressed, looking at Anant. "You mentioned six months preparation. Let me outline what that entails."
He pulled up a punishing schedule:
Month 1-2: Intensive weight training, muscle development, nutritional restructuring Month 3-4: Combat choreography, weapon training, physical movement coaching Month 5-6: Character development, language refinement, costume and makeup tests
"Four to six hours daily, six days per week," Rajamouli specified. "Plus Telugu language study, script analysis, historical research. Essentially full-time commitment before cameras even roll."
"I'm ready," Anant confirmed without hesitation. "When does training begin?"
"One week from today. Training facility in Hyderabad. You'll relocate here for the duration."
"I'll arrange accommodations and support staff," Ronnie offered. "Make sure Anant has everything needed for focus."
"Actually," Anant interjected, "I'd prefer to stay in modest accommodation. Hotel feels too isolated. Maybe apartment or house where I can maintain some normalcy? Cook my own meals, maintain routines? Training will be intense enough without adding luxury stress."
"This boy rejects luxury accommodations," Vijay laughed. "Anant, you could demand five-star penthouse. Instead, you want simple apartment?"
"Simplicity helps me focus," Anant explained. "Less distraction, more discipline. I need to be athlete-monk for six months, not pampered star."
"We'll find appropriate housing," Rajamouli assured him. "Simple but comfortable. Supporting your discipline rather than undermining it."
Part VI: The Evening of Understanding
After the formal meeting concluded, Rajamouli insisted everyone stay for dinner. "Business is done," he declared. "Now we eat as family, as partners, as collaborators."
The meal was elaborate – traditional Hyderabadi biryani, multiple vegetarian dishes for Anant's dietary restrictions, and the warm hospitality Telugu culture was famous for. The formal business atmosphere dissolved into genuine camaraderie.
Sudheer found himself sitting beside Anant, the two actors naturally gravitating toward each other.
"Can I ask something personal?" Sudheer ventured.
"Of course," Anant encouraged.
"Why did you recommend me? Really? We've never met. You had no reason to help my career. Why risk your credibility on unknown quantity?"
Anant considered his answer carefully. "When I watched Baaghi, I wasn't looking for actors to recommend. I was studying performances analytically – what worked, what didn't, why certain choices succeeded. Your villain portrayal stood out because you brought layers to what could have been one-dimensional role. The physicality was impressive, yes, but more importantly, you showed intelligence behind the menace and the most important you know how to fight. That's rare."
"But recommending me to Rajamouli sir," Sudheer pressed. "That's enormous leap from 'this actor is good' to 'cast him as lead antagonist in 750 crore epic.'"
"Not really," Anant disagreed. "I saw raw talent that needed right opportunity. You have the physical capability for large-scale action. You have the acting skill for emotional complexity. You needed the platform to demonstrate both simultaneously. Baahubali provides that platform."
"What if I fail?" Sudheer asked quietly. "What if I'm not good enough for this scale?"
"Then we fail together," Anant replied simply. "Sudheer, understand something – I'm not some established veteran who can afford miscalculation. I'm two films into my career. If Baahubali fails, I go down too. So I'm not recommending you out of charitable impulse. I'm recommending you because I genuinely believe you're right for this role and will deliver performance that makes my Baahubali stronger."
"That's... that's a lot of faith," Sudheer managed.
"Then justify it," Anant smiled. "We're both athletes, right? You from badminton and also know Kalari, me from cricket and Kalari also. We understand discipline, training, pushing past limits. Bring that athletic mindset to acting. Train as hard for this role as you did for competitive badminton. That dedication will show on screen."
"I will," Sudheer promised. "Anant, I want you to know – whatever we create together, I'm giving absolutely everything. You took a risk on me. I'll honor that risk with the performance of my lifetime."
"I'm counting on it," Anant replied warmly. "Also, expect me to push you during scenes. I want our confrontations to feel real, dangerous, consequential. That requires both of us operating at maximum intensity."
"You won't hold back?" Sudheer asked.
"Never. That would disrespect you and the story. We go full intensity or we fail our audience."
"Then we'll bring war," Sudheer declared with fierce grin.
Their conversation was interrupted by Rajamouli calling for attention. "I want to make a toast," he announced, raising his glass. "To partnerships built on trust. To vision supported by commitment. To the film that will change Indian cinema forever. To Baahubali!"
"To Baahubali!" everyone chorused.
As the evening wound down and people began departing, Anant pulled Rajamouli aside for private conversation.
"Sir, when does Kalari training begin specifically?" he asked seriously.
"One week," Rajamouli confirmed. "We have master trainer coming from Kerala. Traditional Kalari lineage, trained fighters for multiple films. He'll work with you and Sudheer intensively."
"I'm already Kalari practitioner," Anant noted. "But I want to push beyond current level. Baahubali's physicality needs to be legendary, not just competent."
"Then we'll make it legendary," Rajamouli assured him. "Anant, I'm going to push you harder than you've ever been pushed. Six months of brutal training, then eighteen months of demanding shoots. This will be the most difficult thing you've ever attempted."
"Good," Anant replied with intensity. "I don't want easy. I want transformative. Make me earn Baahubali. Make me worthy of the role."
"You're already worthy," Rajamouli said with certainty. "But I'll make you immortal( Of course he will)."
Part VII: The Departure and The Promise
The next morning, Anant, Ronnie, and Vijay prepared to return to Mumbai. The contracts were signed. The partnership was formalized. The greatest gamble in Indian cinema history was officially underway.
At the airport, saying farewell to Rajamouli and Sudheer, Anant felt the weight of what was coming.
"One week until training starts," Rajamouli reminded him. "Relocate to Hyderabad. Six months of transformation. Then we make history."
"I'll be ready," Anant confirmed. "Sir, thank you for trusting me with your dream. I won't let you down."
"I know you won't," Rajamouli replied, embracing him warmly. "Anant, you're not just actor I've hired. You're partner in creating something that will outlive us both. That's sacred responsibility. We carry it together."
On the flight back to Mumbai, Ronnie and Vijay discussed the magnitude of what they'd committed to.
"750 crores," Vijay said, still processing. "That's enormous. Frightening, actually."
"But strategic," Ronnie countered. "We're not gambling. We're investing in proven talent, clear vision, and technical superiority. All factors point to success."
"What if we're wrong?" Vijay asked.
"Then we lose significant money but learn valuable lessons," Ronnie replied philosophically. "But I don't think we're wrong. Watch Anant."
They both looked at the young actor, who sat with script on his lap, already making notes in margins, mind clearly working through character development and performance choices.
"He's been preparing since the moment he said yes," Vijay observed. "Most actors would wait until training officially starts. He's already deep in character exploration."
"That's why this will work," Ronnie said with confidence. "Because while we're discussing budgets and strategies, he's focused on the only thing that truly matters – delivering performance that justifies every rupee, every risk, every bit of faith we're investing."
Anant looked up, noticing their observation. "Sorry, did you ask something?"
"Just commenting on your dedication," Ronnie replied.
"It's not dedication," Anant corrected. "It's necessity. Baahubali isn't role you can wing or fake. Every frame demands complete authenticity. I'm just doing minimum preparation required."
"Your minimum exceeds most people's maximum," Vijay observed.
"Then most people aren't trying hard enough," Anant replied simply, returning to his script.
Ronnie and Vijay exchanged glances, both thinking the same thing: they'd just bet 750 crores on a 22-year-old who treated impossible standards as basic expectations.
And somehow, watching him work, they both felt completely confident they'd made the right decision.
The plane touched down in Mumbai as evening fell. Anant would have one week to settle affairs, inform family and friends, prepare for six-month relocation to Hyderabad.
One week before the transformation began.
One week before Anant Sharma started becoming Baahubali.
One week before the most ambitious project in Indian cinema history officially commenced.
And as Anant stepped off the plane, script still in hand, mind already in ancient Mahishmati rather than modern Mumbai, he felt no fear. Only certainty.
This would work.
This would be extraordinary.
This would change everything.
The dream was no longer just Rajamouli's.
It belonged to all of them now.
And together, they would make the impossible inevitable.
Chapter End