Toaster actors Archana Puran Singh and Abhishek Banerjee also slam producers ‘not providing dignity’ and meals to crew members on a film set to save time and ‘very little money’
When I first read about Rajkummar Rao and Patralekhaa’s debut production venture, Toaster, dropping on Netflix, I thought it would just be another fun comedy. But then the actors started talking about something far beyond the script the way some producers treat their crews. Honestly, it felt like a real behind‑the‑scenes diary entry, and I could relate it to the little quirks I’ve seen while helping a friend on a small shoot in Delhi.
Why the actors felt the need to speak up
Archana Puran Singh, who’s been around the industry for decades, shared a story that many of us who have worked on any film set can nod along to. She said, “We’ve experienced this a lot. There was a very big production house, which I don’t want to name.” She went on to describe how the crew was often called ‘Ek boti, do roti’ essentially “one pot, two rotis”, a phrase that immediately conjures an image of scarcity.
She added, “If you ask a crew member about them, they would say, ‘Achcha, yeh toh ek boti, do roti waale hai.’ At the lunch table, the non‑vegetarian food served would be very limited. Crew members would be told to only have a certain number of rotis and one serving of the non‑veg item.” Imagine being on a set for 10‑12 hours and getting a tiny portion of chicken or fish it’s not just about food, it’s about being seen and respected.
This kind of ‘kanjoosi’ sparked a lot of “what happened next is interesting” moments in the interview. Sanya Malhotra chimed in, saying that on some productions, lunch breaks are completely skipped. “Some production houses don’t even give us lunch breaks. Not just actors but crew members also bear the brunt of it,” she said. She emphasized that on the Toaster set, nothing of that happened. “Both Patra and Raj are really good. It’s a plus when a producer is also an actor.” The simple truth is, when a director or producer has walked the actor’s path, they tend to understand the needs of the whole crew a little better.
Rajkummar Rao himself questioned the logic. “I wonder why lunch breaks are not given. If the shoot begins at 12:30 pm, they expect us to keep at it till maybe 3:30 pm. They can instead let everyone have their lunches and start the shoot at 1:30 pm. They should think about crew members as well.” He highlighted that while actors can sometimes have assistants bring them food, the crew often doesn’t have that luxury.
Personal observations the everyday reality on Indian film sets
Speaking from personal experience, I once helped a friend who was a lighting technician on a regional shoot in Pune. The production promised “full meals”, but what we got was a single plate of rice and a tiny portion of dal, enough for one person. The crew had to share, and the lighting crew who were standing under a scorching sun for hours had to survive on that. It felt like the producers were trying to “save very little money” but at the cost of morale.
When I later heard about Rajkummar and Patralekhaa’s stance, it resonated deeply. Their comment, “Even then, they expect us to extend our work hours by 13‑14 hours and skip lunch breaks. This is a kind of kanjoosi only. Kanjoosi is a mentality. Phir aap har cheez mein kanjoosi karte ho,” hits home for anyone who has ever juggled a tight schedule on set. The phrase captures a broader cultural issue: when the mindset is to cut corners on basic human comforts, it leaks into everything else from lighting to sound to the very creative spirit.
Abhishek Banerjee added another layer, saying, “Chhoti chhoti cheezon mein na, samajh mein aa jaata hai kanjoosi. Their idea is, isko kyun khilaaye? To save very little money, you’re depriving people.” He reminded us that these are not just “small gestures”; they affect the overall quality of work and the health of the industry.
These anecdotes have become this week’s viral news on social media. A lot of people were surprised by this candid revelation from well‑known actors and started sharing their own stories under hashtags like #FilmSetKanjoosi and #RespectCrew. It’s turning into trending news India, sparking conversations on platforms where the community demands better work conditions.
How ‘Toaster’ set a different tone
One of the most refreshing parts of the whole interview is how the cast praised the environment on the Toaster set. Sanya mentioned that neither she nor the crew had to compromise on meals or breaks. “Both Patra and Raj are really good. It’s a plus when a producer is also an actor,” she said. This reinforces the idea that leadership matters when a producer understands the daily grind, they can shape policies that respect everyone.
Rajkummar even suggested a simple schedule tweak: start filming after the lunch break instead of before. “If the shoot begins at 12:30 pm, they expect us to keep at it till maybe 3:30 pm. They can instead let everyone have their lunches and start the shoot at 1:30 pm.” It’s a tiny change, but for a crew that might be working 12‑hour days, that half‑hour can mean the difference between feeling valued and feeling dismissed.
A quick look at the Toaster crew list shows a balanced mix of fresh talent and seasoned professionals. The fact that the cast openly praised the production’s approach has turned into some of the latest news India is following closely. It’s also a reminder that good practices on one set can ripple out to the entire industry a true case of positive breaking news that could set a new norm.
Why this matters the broader industry impact
Beyond the personal stories, the bigger picture here is the way these discussions intersect with larger labour rights movements in Indian cinema. When popular actors put a spotlight on pantry‑line inequities, it amplifies the voice of thousands of unsung workers make‑up artists, lighting technicians, set designers, and the countless hands that keep a film rolling.
It’s also directly linked to India updates on workers’ welfare. If a production can afford a decent meal for its crew, it shows that budgeting doesn’t always have to be about cutting corners. In many cases, it’s about re‑allocating saved costs from other trivial expenses. The conversation is now being picked up by trade unions and even some film schools, turning a personal gripe into a structural dialogue.
Adding a curiosity hook, many readers have been asking, “What happens if a crew refuses to work under such conditions?” So far, most larger studios still rely on the power of the ‘big name’ factor to push crews to accept. But the more these stories go viral, the stronger the collective bargaining power becomes. This is why the actors’ candidness feels like a turning point think of it as a small spark that could ignite a bigger fire of reform in Bollywood’s working culture.
What can be done small steps for big change
From what I gathered, the solutions don’t need to be revolutionary they can start with simple, actionable steps. For instance, producers could schedule mandatory 30‑minute lunch breaks, ensure that non‑veg dishes are not just a token portion, and provide water and fruits for the crew throughout the day. Archana summed it up well: “They want to pack in as much work as possible. We would’ve 9‑6 and 2‑10 shifts. These days, shifts span over 12 hours.” The key is to recognise that a well‑fed crew is a more productive crew.
Another practical move is to give crew members a point of contact a welfare officer of sorts who can flag any issues in real time. This can prevent the “kanjoosi” mindset from seeping into day‑to‑day decisions. As Rajkummar said, “If the shoot begins at 12:30 pm, they expect us to keep at it till maybe 3:30 pm. They can instead let everyone have their lunches and start the shoot at 1:30 pm.” A tiny scheduling tweak, but with huge morale benefits.
Finally, the industry could benefit from a transparent “crew welfare charter” that all production houses sign onto. It would set a clear baseline minimum meal portions, break times, and respectful communication. Such a charter could become part of the “latest news India” beats, driving both public awareness and institutional accountability.
Conclusion hope for a kinder set
Reading about Rajkummar Rao, Sanya Malhotra, Archana Puran Singh and Abhishek Banerjee calling out stingy producers felt like a fresh breath of air amid the usual glam‑glam stories we see daily. Their honesty, combined with real examples of how crew members are often denied basic dignity, turned a simple film promotion into a conversation that’s already becoming trending news India.
It reminded me of the countless unsung heroes who work behind the camera, often on an empty stomach, and how a little empathy can go a long way. As more actors and crew members start sharing their experiences, the chance of seeing better policies on set becomes higher. It’s a classic case of breaking news that could become a lasting, positive shift for the whole industry.
So next time you watch a Netflix comedy like Toaster, remember there’s a whole crew that helped bring it to life and hopefully, they’ll all get a decent meal and a proper break. After all, good cinema starts with good people, and good people deserve more than “ek boti, do roti”.
