A Quote by Deepti Naval
I vividly remember my first meeting with Farooque Shaikh. It was in 1975. I had just returned from New York after completing my graduation and was looking for opportunities to begin a career as an actor.
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Yeah, I was only in New York from the age of six months until five years old. But my very first memories are all of New York. I remember my first rainbow on a beach in New York. I remember jumping on a bed in New York.
Farooque Shaikh was not sick at all. In fact, when we were working together during 'Listen... Amaya,' I was sick but he was totally fit and very energetic and enthusiastic. Nobody had slightest hint that such a calamity can happen to him. His death was such a shattering news, first thing in the morning.
I have the cliche 'struggling actor' story. I was waiting tables in New York, went out to L.A. soon after graduation to get some jobs, but it didn't work out. I wanted to cut my teeth in professional theater, so I came back to New York. It made my journey a longer one, but I really wanted to excel in the theater.
I am doing an interesting film called 'Club 60' where I share the screen with many superb actors like Satish Shah, Farooque Shaikh, Tinu Anand, and some more. It's one film I am looking forward to as it has been made very differently.
In actor's career, I had a fair amount of denial, which I think is possibly in the genes, where I just couldn't go to, "Maybe this won't work out." I just couldn't do it. My mind just refused to go there. I don't mean there weren't low periods. There were plenty. But I remember arriving in New York and I was maybe 32, and I didn't have an agent. I came from Chicago, where I had gone to school and worked and got my sea legs, so to speak, and I remember walking out of the subway, walking the streets, standing in front of the theater and saying, "I will work in this theater."
I thought New York had it coming, that it needed a kick in the balls. When I returned to New York, I wanted to get even. Now I had a weapon, photography.
In 1964, when we first arrived in New York City, I remember vividly seeing the skyline of Manhattan, and our first proposal of 1964 was to wrap two lower Manhattan buildings. We never got permission.
The first time I went to New York, I went with my first boyfriend, Clark. His dad had just bought an apartment in New York, and my dad dropped us off, and we were there for a week on our own. I must have been 15 or 16. I remember I went to Harlem and bought a goose jacket. That was the hip, hot thing.
I always thought I would move to New York after graduation, but, instead, I moved to Los Angeles. I realized I was more scared of that choice than I was of New York, and I thought, at 22, I should get it over with.
I began to write poetry again in 1975, when I fell in love with another woman. I returned to poetry not because I had “become a lesbian”—but because I had returned to my own body after years of alienation. The sensual details of life are the raw materials of a poet—and with that falling-in-love I was able to return to living fully in my own fleshly self.
There [is] a feeling of recognition, as of meeting an old friend, which comes to us all in the face of great artistic experiences. I had the same experience when I first heard an English folksong, when I first saw Michelangelo's Day and Night, when I suddenly came upon Stonehenge or had my first sight of New York City - the intuition that I had been there already.
I went to the London Academy Of Music and Dramatic Art and returned to New York where I started my career.
I did not move to New York with a plan. The first time I moved to New York, I just popped up. My sister was living here in New York. I just popped up. She had her baby and a husband, and I just popped up. 'Hey, what's up? I got $200 and dreams. Let's do this.'
At graduation, I assumed I'd be in publishing, but first I went to England and got a master's degree in English Literature. And then I came back to New York and had a series of publishing jobs, the way one does.
You never have a consistent job as an actor, so you're always looking for the next thing. It's defined by the opportunities that come across your doorstep at the time. A career is totally in the hands of fate, in terms of how those opportunities arise.
I went to Europe in '52 or '53, and when I came back, I stopped in New York. I remember looking out of a window on a glorious October morning and there was New York. And I thought, 'I'm coming here. This is for me.'
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