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Remakes do not excite John Abraham

If there is one actor who has cleared the misconception that models cannot act, it has to be none other than John Abraham. After having a successful career in modelling, John made a transition to Bollywood with Pooja Bhatt’s musical hit Jism (2003) and has delivered a number of box-office hits over the years.

The actor is currently riding high on the success of his recent film Batla House (2019) which, despite facing a stiff competition from Akshay Kumar’s Mission Mangal (2019), set the box-office on fire and made a lot of moolah. Even as filmmakers have started looking at him as a ‘bankable star’, John says that his motivation lies in solid content.


“To me, being bankable is all about cutting the cloth according to its length, so that it (a film) can work for everyone,” says the actor, adding that since he cannot afford making big budgets films, “So, I focus on creating very strong content. And when I create that kind of content, no amount of money can match the guts that I have. You know, my ideas are usually bigger than my budgets (laughs).”

John adds that he will never follow the trend of remaking South Indian films. “After Kabir Singh’s success, I am sure there will be whole lot of flights that will go towards south India (laughs). But I don’t think I would follow that trend. I would rather do something different. In fact, the minute people ask me, ‘Why are you doing this (different) film?’, I know in my mind that I am going to do it,” the actor says in conclusion.

John Abraham has his plate full with a number of interesting projects. He will next be seen in filmmaker Anees Bazmee’s much-awaited comic-caper Pagalpanti, followed by Sanjay Gupta’s gangster drama Mumbai Saga. He also produces and stars in an action entertainer titled Attack. He will also headline Satyamev Jayate 2.

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Zaidi’s relationship with creativity began well before he ever stepped onto a set. “As a child, I was fascinated by small, fleeting things — the way people spoke, the silences between arguments, the patterns of light on the walls,” he reflects. He didn’t yet have the vocabulary for what he was absorbing, but the instinct was already in place. At 13, he turned to poetry, sensing that the act of shaping emotions into words offered a kind of clarity he couldn’t find elsewhere. “I realised creativity wasn’t something external I had to chase; it was a way of processing the world,” he says. “Whether it was writing or filmmaking, it came from the same impulse: to make sense of what I didn’t fully understand.”

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