Known for her unforgettable performances in horror hits like Haunted 3D and 1920: Evil Returns, Tia Bajpai is returning to her roots with an international supernatural thriller, Lilly Rose - Chapter 1. In an exclusive interview with The Free Press Journal, she opens up about her comeback, her struggles, and the lessons learned over two decades in the industry.
Q: How does it feel to return with this international project?
Honestly, I’m so excited. I don’t have words because horror is something I’ve always enjoyed, and people have loved me in that space. I was just waiting for the right project, and Lilly Rose felt perfect as a comeback in the horror genre.
Q: How did this film come your way? What convinced you to take it up?
The film is directed by Omid Romal, who earlier made the Danish film Dense Melody. I got connected with him through my talent agency, Maximum Risk Entertainment, which also produces my music and is producing Lilly Rose. The project was planned earlier, but delayed due to COVID-19. Later, we felt this was the right film to begin with, especially since fans kept asking me for another horror film.
Q: What can you tell us about Lilly Rose and your character in it?
It’s a supernatural thriller, but my character is very different from anything I’ve done before. People have always seen me in sweet, soft roles; this one changes that. I wouldn’t say it’s the scariest film I’ve done, but it definitely takes me a step higher in my career.
Q: Horror films demand a lot of psychological intensity. How do you disconnect after pack-up?
I actually don’t disconnect until the film is done. When I’m shooting, I completely isolate myself, no phone calls, no socialising. During our 22-day schedule, the only person I spoke to was my mother, just once a day. I like to stay focused and live with the character till the shoot wraps up.
Q: Do you believe in the supernatural yourself, or is it just cinematic for you?
I do believe. If there is God, there’s also Satan. I believe in energy, good and bad. Sometimes people die with unfulfilled desires, and that restless energy stays behind. That’s where I think “reckless spirits” come from.
Q: You’ve worked in both Hindi cinema and international setups. What’s the difference in the creative process?
Honestly, it’s 95% the same. The main difference is language. Hindi comes naturally to me, but for English projects, I had to train for the accent. I moved to London, took lessons, and also trained in Western music. The work culture is similar, only the language changes.
Q: What struggles did you face in your Bollywood journey?
My biggest struggle was my television background. People often underestimate TV actors, which is unfair because an artist is an artist. Another challenge was that I had no connections. I didn’t know anyone in the industry.
Q: You began as Twinkle Bajpai in Sa Re Ga Ma Pa Challenge 2005. How do you see that young girl today?
Back then, I was a fearless and full-of-energy child. I didn’t know how the business worked; I just wanted to perform. Now I understand the industry better, and I’ve grown calmer. I’ve learned that producers invest where they see potential, and that’s okay. Growth teaches you patience.
Q: From TV and playback singing to international cinema, what’s the biggest lesson?
Have patience, believe in yourself, and never let one failure define your journey.
Q: Your album Upgrade showed a bold side of you. Are you returning to music soon?
Yes! My new album, Love Mafia, is also being released in December. It has songs in Hindi, English, Korean, Latin, and French. I’m very excited about it.
Q: Horror has clearly been lucky for you. Would you call it your defining genre?
Yes, it definitely has been my lucky genre.
Q: What’s next after Lilly Rose?
Right now, I’m focused on Love Mafia and Lilly Rose, which will release on June 6, 2026. After that, I’ll start shooting for Love on a Distant BPM, a musical romantic film.
Q: How would you describe this phase of your life?
Serene and grateful. From Lucknow to international cinema, I’ve received more than I dreamed.
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