For multi-talented Varin Sachdev, the passion for media and entertainment runs deep.

There are those among us, from the early ages of adolescence, who show shimmering signs of their exceptional talents yet to be brought to the fore. Then, at the sudden point of realisation, their true calling presents itself as a comet racing through the night sky of a galaxy of stars. And no matter what life tosses in the way of their eventual destination, they are determined to overcome any hurdle and navigate every winding road just to manifest their dreams. I had the pleasure of conversing with one of these remarkable personalities, who can captivate a crowd in more ways than one. Varin Sachdev, a thespian, voiceover artist, radio jockey, talk show host, master of ceremony, and university lecturer, has had the world of media coursing through his veins. This natural born entertainer takes us through his illustrious journey through media with no signs of slowing down.

You mentioned you’re from afinance background; how did you find yourself in the media?

I did my undergrad at Thammasat University, Faculty of Economics, and then immediately after graduation, I did my MBA at Chulalongkorn University, which was in 1994. But I quickly realised corporate life was definitely not for me, and that’s when I decided to transition into media in 1995. I quit my full-time job as a financial analyst with Procter & Gamble because it didn’t fit well with what I was looking for after graduation. It didn’t serve my calling, sort of speak. So, I started off moonlighting on the weekend for Nation Radio, and then one thing led to another. Once they knew that I was available and doing a good job, they offered me the weekend slot at first, which eventually led to weekday slots. Then, from radio, the TV opportunity came around a few months later.

Essentially, the network was searching for someone who could host a business talk show. And I had a background in economics and an MBA in finance. It couldn’t just be anyone with a journalism background; someone had to have the business acumen and mindset to take the reins of the show.

Life takes sudden twists.

Yes, you wouldn’t know, right? Until you’ve actually lived through it. You go to school, choose your subject, and then you realise that this is not meant for you. Even though you’ve done very well in school, it doesn’t mean that this is what you’ll do for the rest of your life. Your calling, your true calling, I think, comes at a certain stage in your life when you feel the need to hold on to it.

Growing up, I’ve been engaged with extracurricular activities, such as school plays when I was at Bharat Vidyalaya School. I would also emcee events, or take the role as vocal lead for the weekly Buddhism Prayers in front of the entire school after flag hoisting. I’ve been training since childhood. I hadn’t pursued journalism, but the skills were already there.

However, I grew up in a family where my grandmother and father were great storytellers in their time. So, it’s been in the DNA as well. I remember whenever my friends used to come over, my dad would tell the story of how he came from Peshawar, Pakistan, and then settled in Thailand. He would repeat the story with the same zeal each time! It used to amaze me. When I tried to analyse why I was doing what I was doing, I simply had to look back and realise that my family was one of the biggest influence in storytelling and beyond.

You’ve worn many hats throughout your career. How has this evolution been for you?

I had been freelancing for quite some time, assignments changed often, and I never had to commit myself to any particular contract for life. I started off as a business talk show host. Then, came the opportunity to become a radio jockey. The station was looking for Thai nationals who could speak fluent English. Being born with Thai as my first language, English being the second, followed by Hindi and Punjabi—it was, a natural fit for me.

Would you consider that the turning point in your career?

As an RJ, an MC, an actor, and now a lecturer, it would have to be when I first appeared on Thai television in 1996, shortly before I left for my second master’s degree. After working as a freelancer in the industry, I realised I needed another degree that was media-related; it only made sense. So, I applied for the Fulbright scholarship, which is the bi-national scholarship funded by both the home country’s and the USA’s governments. It took me about a year to complete.

Fortunately, at the time, Channel 9 was looking for someone with my qualifications in economics, who could easily approach CEOs, pose the right questions, and truly understand the topics.

Your parents must have been proud.

You have to remember, this was back in the 90s. It was a big deal to be seen on television. I made my dad very proud. We own this shop, Sachdev Grocery in Phahurat, and everyone used to come to him bragging about how they saw his son on television.

It seems like you transitioned from radio to TV flawlessly. How did this affect your communication style?

It’s mainly because I was laser-focused on my assignments, which was to deliver the business knowledge and movements to the business community. The show’s direction was already shaped by the organisation, and I knew how to speak the language and all the industry jargon that comes with it. However, my style was a bit outside the box—I actually used music in my storytelling! The executives at Nation Radio at the time used to complain about why I kept using music in a talk show. But the audience loved it, and the executives eventually caved. You can’t take life too seriously all the time. There has to be a balance.

And music is a very big part of my life. Growing up in my family, we listened to music nearly all the time. I would always find myself humming songs at random moments subconsciously. I would have no idea I was doing it until someone would point it out. It was only natural that I, 2000s, too, use music in my storytelling.

The power of storytelling will always be captivating. Did you find it to be a similar experience to your voiceover projects, when giving each character or brand a personality?

Well, it depends on the assignment and the job. I’ve given my voice to certain characters in several movies. I played with my voice all the time growing up. So, it’s a bit more like acting. You’re still putting on a performance, even though you don’t see the face. For example, I once voiced the character of Bupkus, one of the ‘Monstars’ in 1994’s Space Jam. These types of characters make you experiment with different kinds of voices, tones, and sounds, etc.

On the other hand, I was also chosen to narrate the reality show Amazing Race (2001–current), which was live commentary from seasons 2 to 28. I would say it was my most challenging assignment. Thankfully, the audience loved it because as you can imagine, doing simultaneous translation in little to no time seems nearly impossible. You really don’t have that much time to think. This is similar to my job narrating the Academy Awards,Golden Globes, and the Emmy Awards while it’s live on air. Many in the industry auditioned for the role but found it to be no easy task.

It seems like it came so naturally to you.

I grew up as a thespian, honing my skills from my early school days. I’ve been involved in many stage plays, which is where I worked on my craft and fell in love with it. And those early years of training, I believe, really helped my voice to become as flexible and dynamic as it is now.

It’s also brought you to the big screen. You landed Netflix’s Mad Unicorn (2025). What drew you to this project? How did this differ from other projects?

Well, I’ve been in Thai movies since the early 2000s, such as Angulimala (2003) and The Adventure of the Iron Pussy (2003). But I have always been typecast, so I think my name is already in the database. When Mad Unicorn came along, the casting just called me for the audition for the character of Navin, the CEO of Fly Bangkok and owner of a cigar bar. I think it’s based on an Indian airline mogul, who comes off as very wealthy, spoiled, sort of nepo-baby businessman. He’s the type of character who hasn’t seen or experienced real trouble in his life, and some of that dialogue resonated with many of the younger Indian audiences who still have much in life to discover.

Streaming has changed the way we consume media drastically, and you’ve managed to adapt seamlessly. But do you ever reminisce about the movies and songs of old?

Most of them are from Bollywood movies and Lata Mangeshkar songs. Even now, well into my fifties, I still go back and listen to all the songs from the black and white era. Back then, I would sing along as my dad would play cassette tapes on car rides, and at home, there were countless listens to LPs from our record collection. For me, it was all about the movies from the 70s and 80s, such as Kranti (1981), Dharam Veer (1977), Shaan (1980), and Satyam Shivam Sundaram (1978), which was actually the first film we watched on the video player at home. Then, there was The Great Gambler (1979; starring Amitabh Bachchan and Zeenat Aman), which was immensely influential on my life because it was shot in Venice; I wanted to travel and see the world because of it.

But it wasn’t just Bollywood. On the Hollywood side, I loved the film Amadeus (1984), which was later adapted for a stage play in the Bangkok theatre scene, and I had the privilege to play one of the characters in that adaptation back in 1996. Then in the early 2000s, I participated in a production of Better Return Home at the Patravadi Theatre, now better known as the Theatre Residence. I’ve only been in two Thai films, but the stage is where I belonged; acting and performing have always been my passion.

You were simply destined for the stage.

[Laughs] Stage play is the highest form of performance art. Not only do you have to remember your lines, you have to remember everyone else’s as well. Every round is different because the reactions of the audience vary from night to night. Shooting movies and shows is different, as you can imagine. For example, in the Mad Unicorn series, I was there for a single day for a single scene. There were multiple takes because the director was trying to capture many angles and everyone’s reactions. And I have to admit, I got a little tipsy, not from the rum, though, which was actually tea, but from the cigar! I digress. But what I’m trying to say is you don’t get to do that on stage; there are no second takes in a live performance.

On and off the stage, you’ve also managed to take your expertise and experience into the classrooms of Thammasat University, Chulalongkorn University and Siam University. How has it been as a lecturer in media?

The universities approached me to teach this course for senior year students. It’s called Mass Media and Society, which is more like a seminar class. This was back in 2011, but the textbook they gave me was published in 1970! Fortunately, practicality prevailed, and they gave me the freedom to design my own curriculum. And the curriculum changes every year because media, like technology, evolves. You can’t teach this particular subject through a single textbook; it doesn’t work that way. So, every week we discuss relevant topics that are hot and trending in the media. I think what is missing in Thai education is critical thinking, which is crucial in media. My intention was not to go into the classroom as a teacher, instructor, or professor, but more like a recruiter or an usher bringing in the future generation of media into the world and industry I love. I want to use my experience of enduring prejudices and the out-dated ways of doing things to create an environment of diversity and inclusivity. I cannot change the past, but I can surely invest in the future generation in the right way.

How can the new gen stay on the correct course?

It’s unfortunate that the younger generation wasn’t able to live during our time in media, where authenticity was more apparent and we didn’t have to worry about damaging our critical thinking. With shorter attention spans, the way people consume media, and become slaves of the algorithm, makes it all more challenging to be authentic. I think they are lucky enough to be surrounded by a wealth of information, but they still need guidance from those who have more experience. At the risk of sounding too preachy, they should value the experience of their predecessors before making life-altering decisions. Respect is a given, but equally important is valuing the wisdom that surrounds you and incorporating that into your decision-making. I truly believe education starts at home, and you never stop learning outside of it.