A Quote by Arbaaz Khan

I began as an assistant director to Mahesh Bhatt sahab on films like 'Zulm,' 'Kabza' and 'Aawargi' during the '80s. Then I got an opportunity to act and I took it up thinking direction was something which I could always pursue later.
I would love to make a documentary on my father, Mahesh Bhatt. What is interesting about Bhatt sahab is that he became more interesting personality after he left work.
During the late 1980s, I was in Delhi finishing my college and modeling. After reading an article that my mother wrote for a fashion glossy, Mahesh Bhatt sahab expressed the desire meet her. That's when he saw my pictures and asked whether I would want to work in Hindi films.
Whatever little films I did, I got to work with big names like Aditya Chopra, Mohit Suri and Mahesh Bhatt.
From Alia Bhatt to Pooja Bhatt and Mahesh Bhatt, everyone was involved with me in the making of 'Tum se hi.'
Mahesh Bhatt introduced me to the world of films.
When my father was, you know, a very big artist in the 1970s and then later up through the '80s. And then I began playing guitar with him in the road in the late '80s until he retired in 1997. So I traveled the world with them for years, you know, and all around the world and got to meet some great people.
In school, when I got into upper-level math, there would be times when I would wake up from a dream and have - not an answer, exactly, but a direction to pursue. My writing has always been like that. I wake up from dreams knowing which direction to go in.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
Especially when you work with people like Mahesh Bhatt, you can't go wrong.
I have always taken up films that I like. And in the process if I have done films which bring out something that could do society good, I think it's great.
My first Hindi film as a leading man was Mahesh Bhatt's 'Saaransh,' which immediately established me as someone who knows the craft.
It was Vikram Bhatt and 'Raaz' that got me interested in the medium of cinema. Before that, I was like any other youngster dabbling with various things - modelling, films - without a definite direction or focus. Now that I'm working with all of them, life has come full circle for me.
People think of time as a continuum composed of points which is stretched out at a line, and even if you add a direction to it and say one direction on the line is past and the other direction is future, or better, one direction is "earlier than" and the other direction is "later than", you're still thinking of it as like a geometrical line which is stretched out rather than as a dynamic process of becoming.
I was an actor when I was a teenager and it could have been the direction that I headed in. But music and my relationship with music is quite deep, and it really is the nucleus of my creativity. So I gave up acting so I could pursue music fully, and I never thought about really going back. And then [director] Lee Daniels met me and wanted to work with me, and that's how it started.
Opportunity could be defined in so many ways. There's one way of defining it, equality of opportunity, which is in fact the equality of capability, but the libertarians got there first and they have - like the Americans getting onto the moon, naming every crater after something like an astronaut - they have got there and named "opportunity" in a way that we cannot get ownership of now.
You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that's good.
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