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Q: Mr Refugee.
A: (Grufly) I'm an Effigy, not a Refugee.
Q: Whatever. Mr Effigy, sir, let me begin by asking you.
A: You don't happen to have a light, do you?
Q: You mean you smoke?
A: All the time.
Q: Isn't that, like, dangerous in your line of work?
A: I know I'm playing with fire, but what would you do in my place? It's a stressful job.
Q: Um.
A: Here is a country going down the tubes, but there are still thousands of tyres waiting to be immolated, and there is a huge backlog of us effigies. When are we going to give everyone a chance? Isn't this a social volcano?
Q: Wait a minute. I'm the one supposed to ask questions around here.
A: Then do it, I have a cremation to attend, an illegal torch rally at three o'clock and tomorrow they are burning me at the stake.
Q: (Shuffles through notes) Yes, how does being an Effigy of Regression compare with, say, being an Effigy of Vajpayee?
A: It's got a lot to do with how well you get into the persona of the part you are playing. As an Effigy of Regression, I try to immerse myself totally in my role and, once I get into character then I really feel like I have regressed in a major way. You get the feeling nothing anyone says will affect the way you make decisions, and you just do it.
With Vajpayee, I have only played that part once, and I must say it didn't carry the same oomph. I have met some effigy colleagues from India who regularly play Vajpayee, and there it seems to be much more fun because the straw is drier, and kerosene is not adulterated.
Q: You have been playing increasingly demanding roles of late, what would you say is your greatest dramatic challenge?
A: I'd say without hesitation, it is playing the role of Regression on a rainy winter afternoon while a fire truck approaches you menacingly. You have to take versatility to the extreme, reinvent yourself all the time, and keep everyone guessing about your next move.
Q: Thank you, Mr Regression, for your time and let me on behalf of the Nepali people wish you best of luck in your future career.