A Quote by Ajay Mehta
My father was a very special human being. He was brilliant in academics, sports and the arts. He wrote, performed and directed plays in English and Hindi/Urdu at his regiment.
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I used to do a lot of plays in English, Hindi, and Urdu. I wanted to be an actor since I was three and a half.
A few words of Hindi appear here or there, but it's all Urdu. I feel that if the popular culture, which is what Hindi films are, uses Urdu, it's not going to diminish.
I have a funny relationship to language. When I came to California when I was three I spoke Urdu fluently and I didn't speak a word of English. Within a few months I lost all my Urdu and spoke only English and then I learned Urdu all over again when I was nine. Urdu is my first language but it's not as good as my English and it's sort of become my third language. English is my best language but was the second language I learned.
During the making of 'Abdullah' I asked the assistant director to teach me Hindi; he taught me to read the script too. He also taught me Urdu. Now I can sign autographs in Hindi, Urdu and can write my name in Tamil.
The director, Moisés Kaufman, just received the national medal of the arts from President [Barack] Obama . He wrote and directed The Laramie Project and he has directed several Pulitzer prize-winning plays. He's a pretty profound director in the theater.
Given a chance, I would love to host a television show as I have good communication skills and am fluent in Hindi, English and Urdu.
I speak Hindi fluently because my mother speaks only in Hindi and Urdu.
Now I know Hindi, and I can read and write Hindi, but the problem is that I can't improvise when I am acting because I think in English, so I have to translate my thinking from English to Hindi, and therefore, I speak slowly.
I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.
When I was a young lad just out of college at the North Carolina School of the Arts, I directed several plays that I wrote. It was essential theater, meaning we had no money, so our set may be six stools and two chairs and eight cream pies.
My mother enjoyed acting as well with my father, who used to direct her in plays at his regiment. My sister is an excellent singer. However, it was only me who decided to pursue acting as a career.
The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.
Of course you cannot compare my Hindi with a Hindi-speaking person, but I am confident enough to hold a conversation in mixed Hindi-English.
I went to university in the north of England at University of Birmingham to do an English literature degree, and I knew I could do extracurricular stuff with theater and drama. I started a theater company, called Article 19, and I did it with a bunch of friends. I wrote and directed plays. I had a radio show.
Though my father was Norwegian, he always wrote his diaries in perfect English.
The psychoanalysis of individual human beings, however, teaches us with quite special insistence that the god of each of them is formed in the likeness of his father, that his personal relation to God depends on his relation to his father in the flesh and oscillates and changes along with that relation, and that at bottom God is nothing other than an exalted father.
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