Two Nation Theory by Historian Romila Thapar with Karan Thapar 1

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وہی بھارتی سازشی عناصر کا رونا روتا بیانیہ جو احمقانہ طور پر ہر اُس سیاستدان کے حِصے میں آیا ہے جو اِن کی مرضی پر نہیں چلا ، وُہ بھٹو ہو یا کارگل کے بعد والا نواز شریف یا اب عمران خان ہو. copy

“power corrupts” is often traced back to Lord Acton’s famous line: “Power tends to corrupt, and absolute power corrupts absolutely.”

screenplay that she practically threw at me. “Read that thing. This is your film.”

The Silence Breakers

to express myself in that environment of businesspeople and those who engage in that sphere. That’s all alien to me. I returned to New York empty-handed. Out of nowhere, Diane made a discovery for me. She’s an industrious person, and she had found a

eyes. You know how some people have a way of saying things without saying a word. But to be totally honest, I knew this wasn’t going to go well the moment I walked into his office. That was the first and last time I ever took a meeting like that. I never found the language

based on his exploits, and I’d be happy to get them to the exec so he could better understand how wild Edmund Kean’s talent and life were. The exec remained silent and was looking at me like I was some sort of recovering leper who was about to turn contagious in front of his 20

I then started to pitch an idea about Edmund Kean, the legendary British actor of the early 1800s, his insane life and everything that had happened to him. I thought it could make an interesting, funny, and tragic film. I explained there were biographies of Kean and plays 19

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I thought it had the makings of a great adventure picture. That got me a vague look in response. I said to him, “I was thinking maybe I could star with Dennis Quaid.” “No, no, stop there,” he answered. He was very firm and direct. “His plate is full.” 18

I started to tell the studio head about some ideas I had. But I could feel the condescension and disdain emanating from the cloud above me on which he sat. I said that I wanted to do a film based on the play K2, a moving and wonderful story about two mountain climbers. 17

before he made an appearance. I had been nominated for five Oscars at this point, but my agent was acting like I was looking for a handout. I wanted to ask him, did you happen to bring your hat so you could pass it around? Once we got past the introductions and pleasantries, 16

magnificent security gates and onto the lot and were brought into his offices. You could already tell what a great effort it was for this guy to deign to meet with me; he was running late and kept us waiting in an outer chamber—not even his inner room—for forty-five minutes 15

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been rich too long.” with diane’s prompting, i began to reengage with the film industry. I got myself an agent who couldn’t do much for me, but he did at least try. He brought me out to Los Angeles to meet with one of the heads of the studios there. We drove past one of those 14

you going to do, mope around all day? You’re going to go back to the Village and live in a room and do your little art pieces? Is that what you think you’re going to do? Come on, Al, you’re not in the sixties anymore. Who do you think you are? There’s no going back. You’ve 13

And I don’t have to be rich or successful or famous. I know I have this. It’s the appetite to do this. It will serve me regardless. When you have an appetite, you’ll find a way. I’ll wait, and I’ll find my people. Diane was even more encouraging. She said to me, “What are 12

stayed away from films. The thing that had stayed with me and propelled me was a beeline I could trace all the way back to that night I stepped onto the stage of the Actors Gallery to perform in Strindberg’s Creditors. That moment when I said to myself, I can do anything now. 11

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didn’t speak. So what was I going to do now? It didn’t matter to me if I had to put it all back together again. I had support. I had my friends. I had Charlie. I always knew that I had the power to go back to work because I had been getting offers for the four years that I 10

you’ve got to take care of him.” She meant when it came to my finances—what I’d come from, my upbringing, my early life, right through until then. And she was right. I didn’t understand how money worked, any more than I understood how a career worked. It was a language I just 9

grabbing him by the lapels: “No, tell me who he is.” He started to speak, but Diane jumped in again: “Yeah, you’re going to tell me, ‘Oh, he’s an artist.’ No. He. Is. An idiot.” I just stood there. What could I say? Diane went on: “He’s an ignoramus. When it comes to this, 8

He was hemming and hawing, well, you know, this and that. She just exploded. She went up to Arthur and was now face-toface with him. She backed him into a corner of his office, pointed at me, and said, “Do you know who he is?” He said, “Well, you know.” She was practically 7

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