sanjeev bhaskar quotes


The worst moment in my life was when I was seven years old and I discovered that there was a thing such as racism. You don't know you're different until someone lets you know.


Alan Alda and his wife Arlene are two of the most life-affirming people I've ever met. He espoused equal rights for women while producing, writing, acting in and directing 'M*A*S*H'; he used to commute between the set and home because he didn't want to disrupt his kids' schooling.


I've always saved. I believe in keeping money back for a rainy day and living within my means. I don't buy expensive clothes; I have a 10-year-old car I'm hoping to replace when a big job comes in. I suppose when we do go on family holidays, I am quite happy to spend when we are there.


My mum thought my TV and film addiction was laziness. If you're an immigrant, you know you'll never be an accepted part of society, but you hope your children will be, and you try to make them essential to the community in a practical way - being a doctor or a lawyer. Acting was beyond their comprehension.


Because of my Asian-ness, I couldn't be anonymous - what I said, what I ate, what I did at the weekend were startlingly different to what everyone else did. I was also a performer, quick and chameleon-like, good at accents, so that made me stand out.


I think family, friends and a sense of community give you greater happiness than money. But, of course, one has to have a minimum on which to live. The joy I get from sitting around and having a laugh is immeasurable - much greater than anything that I have ever bought.


When we created 'Goodness Gracious Me,' it was quoting 'Python' and Woody Allen lines that really bonded the writers, and the 'Spamalot' material is so utterly, wonderfully surreal that it hasn't dated.


With 'Mumbai Calling,' I was surprised it was ITV that went for it because it didn't traditionally seem like the kind of programme they would make.


Both my parents were migrant workers who came to the U.K. in the Fifties to better themselves. The culture I grew up in was to work hard, save hard and to look after your family.


During an early performance of 'Spamalot,' I left my regal gloves in the fridge to cool down and didn't remember them until I was on stage. They needed to be thawed overnight.


I have issues with inheritance tax, particularly coming from a migrant family. My dad has worked incredibly hard all his life, so it seems odd to me that someone who has gone through that experience and has managed to save then gets taxed for dying.


It always interested me that 'Goodness Gracious Me' and 'The Kumars,' when shown around the world, were referred to as British comedy. It was only here that they were referred to as Asian comedy, even though I always felt it was very British in its humour and structure.


I was greatly influenced by 'The Goons' and 'Monty Python' reconstituting what comedy was - it could come from a funny word, not just a set up and a pay-off. I liked the zaniness; they were satirical, slightly saucy and very literary in their references.


I was far too embarrassed to share the experience of Indian food at school. As a kid, you're desperate to fit in, to assimilate in some way, and everything about me stood out.


Good diet and exercise are key, but abject fear has its own rewards. And arriving on the first day for rehearsals for 'Spamalot' and seeing all these much younger, much fitter people, who I was going to be on stage with, became a catalyst for cutting out the more unhealthy aspects of my life.


We lived above my father's launderette. Both my parents ran the launderette, but my father was also a factory supervisor, and my mum worked part-time in an accounts office.


I started working myself from about 14, really, so I wasn't a burden on my family. I did a paper round and a milk round. When I was 15 or 16, I worked in a supermarket on Saturdays stacking shelves, and then every summer I temped, right through university until my working days started.


I sense a kind of fear of writing black or Asian characters from non-ethnic writers, who perhaps feel that they don't know the culture and therefore can't write about it. By and large, if there's an Asian character, I might get a call. But if the character is called 'Philip,' the chances are I won't.


Casting me as King Arthur was quite bold of 'Spamalot's producers, although it has been historically proved Arthur was Asian, and that Sunday trading started with Asians in 11th-century Britain.


I'm sure I went through a stage when I resented being Indian because in every other manner, in terms of cultural reference points and vocabulary and all the rest of it, I was way ahead of everybody else - so the one thing that set me back was being Indian. And I couldn't do anything about it.


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