A Quote by Bob Christo

I know people know me as the 'white baddie' of Hindi cinema. — © Bob Christo
I know people know me as the 'white baddie' of Hindi cinema.
When people ask me to describe my journey in Hindi cinema post-'Barfi!' I actually don't know what to say.
While Bollywood still remains my priority, I always wanted to do regional cinema. There are so many people who don't know Hindi, so I decided to do regional films wherein even those who don't know me can see my work.
I remember breaking the news to both my parents that I wanted to be a director, and they both looked very doubtful. They didn't know what a closet Hindi film buff I was. I used to dance to old Hindi films songs on the sly, so my decision to be a part of Hindi cinema was shocking even for my parents.
'Black cinema' I don't even know what that means. It's just cinema. When Paul Thomas Anderson makes a movie, we don't just say it's 'white cinema.'
I do not want to be a part of Hindi cinema's rat race. But yes, if I get offers and characters which I feel would suit me as well as make some difference to me, I will do a Hindi film.
When you're a person of color in white America, you know white people. You know why you know white people? Because you can't enjoy any kind of entertainment if you are not able to humanize white people. If you watch a film and are like, "Oh, this has white people in it? Then I'm not interested," then you can't enjoy anything in America!
Dubbing for myself in Hindi is a big task. I know Hindi. I can read and write Hindi, but I dont normally speak the language, and that is very important.
Ever since I was a little kid, the only thing that fascinated me, excited me, and engaged me was Hindi films. I didn't know anything beyond Hindi films. I was a 'filmi bachcha.'
I don't know what to say to people. It's become so big. It's become part of the cultural environment. For the first and second Twiglight, I knew exactly what to say to people. If you don't know what the story is by now, then you've probably never been to the cinema before. How about, "Why not go to the cinema for once?" I don't know.
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.
People know that I have a great love for cinema. Not just for commercial cinema, but for the “cinema d’auteur.” But to me, two of the great “auteurs” are actually actors and they both happen to be French. One is Alain Delon and the other is Jean-Paul Belmondo.
Bachchan is the luckiest man on earth. No one knows the nuance of the Hindi language or can incorporate elements from stage on to the Hindi cinema the way he does.
I believe in cinema! Unfortunately, 90 per cent of Hindi cinema is non-cinema. Only marketing works here. Even the item songs in these films are an extension of marketing.
I would never try and play like Harry James, because I don't like his tone - for me. It's just white. You know what I mean? He has what we black trumpet players call a white sound. But it's for white music ... I can tell a white trumpet player, just listening to a record. There'll be something he'll do that'll let me know that he's white.
You know, comics were created at the same time as the cinema. And the cinema very quickly became a major art. Cartooning didn't become a major art. There's a reason for that. People don't know how to deal with drawings.
In Hindi cinema, the cabaret dancers were eased out when the heroines imbibed their mannerisms. This could happen in Malayalam cinema too.
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