Tuesday, 26 July 2011
Friday, 22 July 2011
Monday, 18 July 2011
Sunday, 17 July 2011
Friday, 15 July 2011
article on imaginary enertainment
Imagine a blend of TV heroes Dr. Kildare, Ironside and Gil Grissom. Now throw in Monty Python and Mick Jagger.
"You can't always get what you want," runs the Rolling Stones riff heard in the pilot of "House," but in this mad mix of a medical mystery series, Fox executives got more than they needed or even dreamed. One hundred episodes later, "House" remains a network mainstay.
"This is one of our crown jewels," says Fox Entertainment president Kevin Reilly. "It's the fall linchpin that I'm building the schedule around" until "American Idol" relaunches each winter.
Not only did "House" finish the 2007-08 season as one of primetime's most-watched dramas, but its ascendance since its November 2004 debut sped Fox's evolution from insurgent youth to steady maturity.
"'House,' along with '24,' really established (Fox Broadcasting Co.) as a place for high-quality dramas," says Peter Liguori, who rose alongside "House" from his position as programming president 2004-2007 to Fox Entertainment chairman. "It allowed us to become a home for the creative community to come to for episodic character-driven shows."
And all Fox wanted back in 2004 was a reliable procedural, recalls series creator and executive producer David Shore.
"They were trying to get their 'Law & Order,' their 'CSI,'" says Shore, who was coming off CBS' "Family Law" and futuristic legal drama "Century City" to craft the hospital-based whatdunit.
"The more I worked on it, the less able I was to make it work as a procedural," Shore says, "but the more the character started to come alive for me."
The title diagnostician of the show would be as smart a physician as Dr. Kildare and as sharp a sleuth as Gil Grissom of "CSI," but, as Shore says, "it was important to us that he be damaged, both emotionally and physically."
Like '60s cop Ironside, Gregory House was designed to solve crimes from a wheelchair. "But I thank (then Fox program chief) Gail Berman to this day for bristling at the fact that we had him in a wheelchair," says fellow executive producer Katie Jacobs. Having star Hugh Laurie instead use a cane to cope with House's dead leg muscles imparted the character a larger physical presence.
Pilot director and executive producer Bryan Singer actually introduced House by focusing on his legs and cane before panning up to his face -- defining him by the disability, for which House continually gobbles painkillers.
"I came at it as a person who's had chronic back problems, and I know that kind of pain and how it can inform all your behavior," says the "X-Men" feature director. "His Vicodin addiction can also be a catalyst for changes in his character."
Yet disabled drug-taker House emerged as a dynamic, sardonic, scruffy rule breaker who appeals tremendously to young viewers.
"There's something about his brutal honesty, his flirtations with women, his drug abuse and its permissibility," Singer says. "And his energy -- Hugh in his wardrobe and in his eyes carries a youthful energy."
Well-educated British wit Laurie, coming from TV comedies "Jeeves and Wooster" and "Blackadder," sketch comedy "A Bit of Fry and Laurie" and character roles in movies like "Flight of the Phoenix," emerged late in the game as the show's go-to star.
"The genius of Hugh is we can write anything for him," Shore says.
And House can be nasty indeed. An unabashed misanthrope, he loves diagnosing rare diseases but loathes their human hosts.
"The title of the pilot was 'Everybody Lies,' and that's the premise of the show," director Singer says, pointing out the episode had House declare he became a doctor to treat illnesses, not patients.
"He enjoys pursuing the truth," Shore adds, "and he knows we all see the world through our own lenses. He's constantly trying to strip himself of those biases, to get a clean, objective view of things."
Taking House full-strength was made easier by the robust foils Shore created to challenge his antihero at the character's fictional teaching hospital. TV veteran Lisa Edelstein, as House's exasperated yet enabling boss Dr. Lisa Cuddy, and stage actor Robert Sean Leonard as his accommodating oncologist pal Dr. James Wilson, have provided consistently rich antagonism/support.
Leonard and Laurie's rapport fuels yet another of the series' offbeat pleasures, the prankish byplay of their Holmes-and-Watson friendship. (They aren't named House and Wilson for nothing. House has a Sherlock Holmes-like drug dependence, and his New Jersey townhouse number is the detective's own 221B.)
Like the timelessly intriguing Holmes, House now seems an enduring character. Though "House" debuted to weak ratings in 2004 behind Richard Branson's long-forgotten "Rebel Billionaire," the ratings started climbing just weeks later when "American Idol" became its lead-in and have remained strong. (The show's Nielsen season rank in total viewers, first season to last: 24, 10, 8, 8.)
And "House" isn't only an American hit. "It's shocking how well 'House' does internationally," says Angela Bromstad, president of primetime entertainment for the series' production company, NBC Universal Media Studios. "It's one of our most valuable assets, without question."
Universal DVDs sell well, and "House" repeats a dozen times a week on NBC-owned USA cable, where "they're developing a companion piece ("Royal Pains") for it," says Bromstad.
Relying on future seasons of "House" seems a solid bet, considering the original production team led by Shore and Jacobs has remained intact.
"This is the kind of relationship networks dream about," Reilly says, "a show that brands the network, delivers commercially and is a collaborative effort with the original creative team."
Jacobs, noting Laurie is signed to star through eight seasons, is optimistic viewers will stick around.
"It's kind of a happy accident that the show did not come on the scene and sort of announce itself as a hit," she says. "The viewers discovered it. And I think our audience still goes through the process of discovery watching every episode."
from SAYYAM HAIDER
"You can't always get what you want," runs the Rolling Stones riff heard in the pilot of "House," but in this mad mix of a medical mystery series, Fox executives got more than they needed or even dreamed. One hundred episodes later, "House" remains a network mainstay.
"This is one of our crown jewels," says Fox Entertainment president Kevin Reilly. "It's the fall linchpin that I'm building the schedule around" until "American Idol" relaunches each winter.
Not only did "House" finish the 2007-08 season as one of primetime's most-watched dramas, but its ascendance since its November 2004 debut sped Fox's evolution from insurgent youth to steady maturity.
"'House,' along with '24,' really established (Fox Broadcasting Co.) as a place for high-quality dramas," says Peter Liguori, who rose alongside "House" from his position as programming president 2004-2007 to Fox Entertainment chairman. "It allowed us to become a home for the creative community to come to for episodic character-driven shows."
And all Fox wanted back in 2004 was a reliable procedural, recalls series creator and executive producer David Shore.
"They were trying to get their 'Law & Order,' their 'CSI,'" says Shore, who was coming off CBS' "Family Law" and futuristic legal drama "Century City" to craft the hospital-based whatdunit.
"The more I worked on it, the less able I was to make it work as a procedural," Shore says, "but the more the character started to come alive for me."
The title diagnostician of the show would be as smart a physician as Dr. Kildare and as sharp a sleuth as Gil Grissom of "CSI," but, as Shore says, "it was important to us that he be damaged, both emotionally and physically."
Like '60s cop Ironside, Gregory House was designed to solve crimes from a wheelchair. "But I thank (then Fox program chief) Gail Berman to this day for bristling at the fact that we had him in a wheelchair," says fellow executive producer Katie Jacobs. Having star Hugh Laurie instead use a cane to cope with House's dead leg muscles imparted the character a larger physical presence.
Pilot director and executive producer Bryan Singer actually introduced House by focusing on his legs and cane before panning up to his face -- defining him by the disability, for which House continually gobbles painkillers.
"I came at it as a person who's had chronic back problems, and I know that kind of pain and how it can inform all your behavior," says the "X-Men" feature director. "His Vicodin addiction can also be a catalyst for changes in his character."
Yet disabled drug-taker House emerged as a dynamic, sardonic, scruffy rule breaker who appeals tremendously to young viewers.
"There's something about his brutal honesty, his flirtations with women, his drug abuse and its permissibility," Singer says. "And his energy -- Hugh in his wardrobe and in his eyes carries a youthful energy."
Well-educated British wit Laurie, coming from TV comedies "Jeeves and Wooster" and "Blackadder," sketch comedy "A Bit of Fry and Laurie" and character roles in movies like "Flight of the Phoenix," emerged late in the game as the show's go-to star.
"The genius of Hugh is we can write anything for him," Shore says.
And House can be nasty indeed. An unabashed misanthrope, he loves diagnosing rare diseases but loathes their human hosts.
"The title of the pilot was 'Everybody Lies,' and that's the premise of the show," director Singer says, pointing out the episode had House declare he became a doctor to treat illnesses, not patients.
"He enjoys pursuing the truth," Shore adds, "and he knows we all see the world through our own lenses. He's constantly trying to strip himself of those biases, to get a clean, objective view of things."
Taking House full-strength was made easier by the robust foils Shore created to challenge his antihero at the character's fictional teaching hospital. TV veteran Lisa Edelstein, as House's exasperated yet enabling boss Dr. Lisa Cuddy, and stage actor Robert Sean Leonard as his accommodating oncologist pal Dr. James Wilson, have provided consistently rich antagonism/support.
Leonard and Laurie's rapport fuels yet another of the series' offbeat pleasures, the prankish byplay of their Holmes-and-Watson friendship. (They aren't named House and Wilson for nothing. House has a Sherlock Holmes-like drug dependence, and his New Jersey townhouse number is the detective's own 221B.)
Like the timelessly intriguing Holmes, House now seems an enduring character. Though "House" debuted to weak ratings in 2004 behind Richard Branson's long-forgotten "Rebel Billionaire," the ratings started climbing just weeks later when "American Idol" became its lead-in and have remained strong. (The show's Nielsen season rank in total viewers, first season to last: 24, 10, 8, 8.)
And "House" isn't only an American hit. "It's shocking how well 'House' does internationally," says Angela Bromstad, president of primetime entertainment for the series' production company, NBC Universal Media Studios. "It's one of our most valuable assets, without question."
Universal DVDs sell well, and "House" repeats a dozen times a week on NBC-owned USA cable, where "they're developing a companion piece ("Royal Pains") for it," says Bromstad.
Relying on future seasons of "House" seems a solid bet, considering the original production team led by Shore and Jacobs has remained intact.
"This is the kind of relationship networks dream about," Reilly says, "a show that brands the network, delivers commercially and is a collaborative effort with the original creative team."
Jacobs, noting Laurie is signed to star through eight seasons, is optimistic viewers will stick around.
"It's kind of a happy accident that the show did not come on the scene and sort of announce itself as a hit," she says. "The viewers discovered it. And I think our audience still goes through the process of discovery watching every episode."
from SAYYAM HAIDER
Thursday, 14 July 2011
Women at the top of entertainment industry
Women at the top in the entertainment industry - includes related article on entertainment publicists
by Lynn Norment
Comments
12Next
THE multibillion-dollar entertainment industry is still a mans world. Talented Black women occasionally dominate the music charts, get top television ratings and great movie reviews, but behind the scenes the movers and shakers are almost always male and White.
In recent years, a handful of dynamic Black women have maneuvered past obstacles to land in decision-making positions in an industry that is trendy and unpredictable.
Oprah Winfrey, CEO of Harpo Entertainment Group, has built an entertainment empire anchored by her popular talk show. Forbes magazine listed her as the world's second highest-paid entertainer, behind Bill Cosby, with earnings of $88 million in 1991-92. And her show doesn't appear to be affected by the talkshow competition that has emerged in the past year.
At the same time, Sylvia Rhone has worked her way through the ranks of the recording industry to the position of CEO/chairman of East West Records America, whose parent company is the giant Atlantic Records. Rhone has the final word concerning a growing roster of artists, including En Vogue and Gerald Levert. And there's Suzanne De Passe, one of the most respected executives in the entertainment industry. After 20 years with Motown and Berry Gordy, the savvy writer/producer has molded De Passe Entertainment into a notable production company and is now expanding into artist management.
While their jobs require more creativity and pizzazz than most positions in corporate America, female entertainment bosses emphasize that when it comes to the executive suites, show business can be stereotypically conservative.
When asked what obstacles face Black women in corporate entertainment, Winifred Hervey-Stallworth, executive producer of The Fresh Prince of Bel-Air, says: "Sexism, racism and the lack of creative freedom." Her professional colleagues echo these sentiments; several mentioned that sexism often is more of a problem than racism.
Lisa Jackson, executive vice president/general manager of Spike Lees 40 Acres 'And A Mule Musicworks, says White men are still the decision makers. "But there are and there have always been intelligent, dedicated, creative women making integral contributions to this growing industry," she adds, "many who have managed to do so while meeting the demands of both careers and families." However, says Jackson, too few Black women are in positions to actually make decisions that affect company budgets, priorities, policies and commitments.
Jackson is one of those, and so is June M. Baldwin, senior vice president, business affairs, for Quincy Jones Entertainment in Los Angeles. Baldwin says that while show business is a tough field to get into on any level, it is most difficult to obtain executive programming and business positions. She points out that while White women appear to be faring quite well on the creative side, they, too, continue to encounter the "glass ceiling" and few actually "break through." It's much more difficult for minority women to "break through," she says, adding that there are many more Black women in creative positions than business positions. She adds: "As hard as it is for minority women, the establishment still finds us less threatening, and things are even harder for Black men."
Debra Langford, vice president/current programming for Warner Brothers Television who is responsible for shows such as Murphy Brown, Life Goes On, and Night Court, says success demands professional savvy and understanding the intense complexities and unwritten rules of the business. "Success requires patience, tenacity and flexibility," adds Langford. "And just getting the opportunity is not enough; what you do when you get there is key."
Cassandra Mills epitomizes that point. Starting as Stephanie Mills' secretary and then manager, Cassandra Mills had built a thriving personal management agency when she was offered the chance to oversee the Black Music Division of Giant Records. She seized the opportunity and has built an impressive track record with hit releases from Miki Howard, Color Me Badd and the New lack City soundtrack. "Being female, being Black and having been in business for myself for 10 years, I got used to dealing with obstacles," says Mills. "I never bothered to categorize them. Instead, I focus on how to overcome them." Fresh Prince producer Winifred Hervey-Stallworth advises women pursuing careers in the entertainment field "to get an education and enter the business because you love it and have something to say," not just because of fame and money. "Be patient and take the time to learn," she says. "Listen to people who have more experience than you. Remember that Hollywood is not the whole world. And watch your back."
June Baldwin and others also emphasize how important it is for Black women in entertainment to be attuned to corporate politics. 'The politics are as important as your intellectual contributions," says Baldwin. "And if you are not in sync with your company's politics, more likely you will not be successful."
On these pages we feature a representative sampling of dynamic Black women who are in powerful decisionmaking positions in the entertainment industry, beginning with those who hold positions of chief executive officer, president and executive or senior vice president. These women have proven they have what it takes to succeed in the glorious world of show business.
TOP ENTERTAINMENT PUBLICISTS
IN corporate America in general and the entertainment industry in particular, image and perception are valuable commodities. Consequently, publicists, promotions executives and marketing experts are considered crucial to the success or failure of a company that derives its revenue from the trendy, topsy-turvy world of entertainment. Marketing professionals are responsible for making sure the media, and consequently the public, know about their artists, recordings, movies and other products. And they are involved in shaping a new talent's image from concept to hyping the product to minimizing negative information when necessary. This far-reaching task falls to public relations, media relations, corporate communications, marketing and promotions specialists. On this page we feature a sampling of the entertainment industry's premiere female public relations and marketing executives who hold a corporate position of vice president or higher.
by Lynn Norment
Comments
12Next
THE multibillion-dollar entertainment industry is still a mans world. Talented Black women occasionally dominate the music charts, get top television ratings and great movie reviews, but behind the scenes the movers and shakers are almost always male and White.
In recent years, a handful of dynamic Black women have maneuvered past obstacles to land in decision-making positions in an industry that is trendy and unpredictable.
Oprah Winfrey, CEO of Harpo Entertainment Group, has built an entertainment empire anchored by her popular talk show. Forbes magazine listed her as the world's second highest-paid entertainer, behind Bill Cosby, with earnings of $88 million in 1991-92. And her show doesn't appear to be affected by the talkshow competition that has emerged in the past year.
At the same time, Sylvia Rhone has worked her way through the ranks of the recording industry to the position of CEO/chairman of East West Records America, whose parent company is the giant Atlantic Records. Rhone has the final word concerning a growing roster of artists, including En Vogue and Gerald Levert. And there's Suzanne De Passe, one of the most respected executives in the entertainment industry. After 20 years with Motown and Berry Gordy, the savvy writer/producer has molded De Passe Entertainment into a notable production company and is now expanding into artist management.
While their jobs require more creativity and pizzazz than most positions in corporate America, female entertainment bosses emphasize that when it comes to the executive suites, show business can be stereotypically conservative.
When asked what obstacles face Black women in corporate entertainment, Winifred Hervey-Stallworth, executive producer of The Fresh Prince of Bel-Air, says: "Sexism, racism and the lack of creative freedom." Her professional colleagues echo these sentiments; several mentioned that sexism often is more of a problem than racism.
Lisa Jackson, executive vice president/general manager of Spike Lees 40 Acres 'And A Mule Musicworks, says White men are still the decision makers. "But there are and there have always been intelligent, dedicated, creative women making integral contributions to this growing industry," she adds, "many who have managed to do so while meeting the demands of both careers and families." However, says Jackson, too few Black women are in positions to actually make decisions that affect company budgets, priorities, policies and commitments.
Jackson is one of those, and so is June M. Baldwin, senior vice president, business affairs, for Quincy Jones Entertainment in Los Angeles. Baldwin says that while show business is a tough field to get into on any level, it is most difficult to obtain executive programming and business positions. She points out that while White women appear to be faring quite well on the creative side, they, too, continue to encounter the "glass ceiling" and few actually "break through." It's much more difficult for minority women to "break through," she says, adding that there are many more Black women in creative positions than business positions. She adds: "As hard as it is for minority women, the establishment still finds us less threatening, and things are even harder for Black men."
Debra Langford, vice president/current programming for Warner Brothers Television who is responsible for shows such as Murphy Brown, Life Goes On, and Night Court, says success demands professional savvy and understanding the intense complexities and unwritten rules of the business. "Success requires patience, tenacity and flexibility," adds Langford. "And just getting the opportunity is not enough; what you do when you get there is key."
Cassandra Mills epitomizes that point. Starting as Stephanie Mills' secretary and then manager, Cassandra Mills had built a thriving personal management agency when she was offered the chance to oversee the Black Music Division of Giant Records. She seized the opportunity and has built an impressive track record with hit releases from Miki Howard, Color Me Badd and the New lack City soundtrack. "Being female, being Black and having been in business for myself for 10 years, I got used to dealing with obstacles," says Mills. "I never bothered to categorize them. Instead, I focus on how to overcome them." Fresh Prince producer Winifred Hervey-Stallworth advises women pursuing careers in the entertainment field "to get an education and enter the business because you love it and have something to say," not just because of fame and money. "Be patient and take the time to learn," she says. "Listen to people who have more experience than you. Remember that Hollywood is not the whole world. And watch your back."
June Baldwin and others also emphasize how important it is for Black women in entertainment to be attuned to corporate politics. 'The politics are as important as your intellectual contributions," says Baldwin. "And if you are not in sync with your company's politics, more likely you will not be successful."
On these pages we feature a representative sampling of dynamic Black women who are in powerful decisionmaking positions in the entertainment industry, beginning with those who hold positions of chief executive officer, president and executive or senior vice president. These women have proven they have what it takes to succeed in the glorious world of show business.
TOP ENTERTAINMENT PUBLICISTS
IN corporate America in general and the entertainment industry in particular, image and perception are valuable commodities. Consequently, publicists, promotions executives and marketing experts are considered crucial to the success or failure of a company that derives its revenue from the trendy, topsy-turvy world of entertainment. Marketing professionals are responsible for making sure the media, and consequently the public, know about their artists, recordings, movies and other products. And they are involved in shaping a new talent's image from concept to hyping the product to minimizing negative information when necessary. This far-reaching task falls to public relations, media relations, corporate communications, marketing and promotions specialists. On this page we feature a sampling of the entertainment industry's premiere female public relations and marketing executives who hold a corporate position of vice president or higher.
Wednesday, 13 July 2011
salman khan biography
Biography forSalman Khan (I) More at IMDbPro »
Date of Birth
27 December 1965, Indore, Madhya Pradesh, IndiaBirth Name
Abdul Rashid Salim Salman KhanNickname
SalluHeight
5' 8" (1.73 m)Mini Biography
Often known as Bollywood's Bad boy, his knack of walking into trouble has overshadowed people's perception of him as an actor. He may have been featured as the bad guy of the industry several times over. But many-a-common-man claims that this macho hunk has a heart made of pure gold.
Born on December 27, 1965 Salman Khan is the son of the legendary writer Salim Khan, who penned many super-hits in the yesteryear's like Sholay, Deewar, and Don. Salman started his acting carrier in 1988 by doing a supporting role in the movie "Biwi Ho To Aisi". The following year he came up with his leading role in the box office romantic hit Maine Pyar Kiya (1989). From there he became the heart throb of Indian cinema.
Following with other box office hits he showed his terrific performance in Saajan (1991), Andaz Apna Apna (1994), Hum Aapke Hain Koun...!(1994), Karan Arjun (1995), Khamoshi: The Musical (1996), Kuch Kuch Hota Hai (1998). His transformations can be sensitive, vulnerable, funny, aggressive and charming as his role demands.
In 1998 he was arrested by the local police from the shooting location of the film Hum Saath-Saath Hain: We Stand United (1999), for killing protected wild animals and spent about a week behind the bars. The actor is facing trial in three cases of killing black bucks and chinkaras and another of illegal possession of arms. In September 2002, Salman Khan had hit the headlines after he crashed his Land Cruiser near the American Express bakery in Bandra, killing one man and injuring others.
Being in those roguish behaviors he tried to balance his troubled life with his carrier. In 2003 he gave his emotionally charged performance as playing an obsessed lover in "Tere Naam" that translated into good reviews and a good run at the box office. He has not only managed to revive his career, but also to restore the confidence of his producers and distributors alike.
His work was noticed internationally in the movie Phir Milenge (2004) where he played the role of an AIDS patient. It was well appreciated by the World Health Organization (WHO) for presenting the problems of AIDS patient in today's world.
IMDb Mini Biography By: The Old Fox {by_oldfox@yahoo.com}Born on December 27, 1965 Salman Khan is the son of the legendary writer Salim Khan, who penned many super-hits in the yesteryear's like Sholay, Deewar, and Don. Salman started his acting carrier in 1988 by doing a supporting role in the movie "Biwi Ho To Aisi". The following year he came up with his leading role in the box office romantic hit Maine Pyar Kiya (1989). From there he became the heart throb of Indian cinema.
Following with other box office hits he showed his terrific performance in Saajan (1991), Andaz Apna Apna (1994), Hum Aapke Hain Koun...!(1994), Karan Arjun (1995), Khamoshi: The Musical (1996), Kuch Kuch Hota Hai (1998). His transformations can be sensitive, vulnerable, funny, aggressive and charming as his role demands.
In 1998 he was arrested by the local police from the shooting location of the film Hum Saath-Saath Hain: We Stand United (1999), for killing protected wild animals and spent about a week behind the bars. The actor is facing trial in three cases of killing black bucks and chinkaras and another of illegal possession of arms. In September 2002, Salman Khan had hit the headlines after he crashed his Land Cruiser near the American Express bakery in Bandra, killing one man and injuring others.
Being in those roguish behaviors he tried to balance his troubled life with his carrier. In 2003 he gave his emotionally charged performance as playing an obsessed lover in "Tere Naam" that translated into good reviews and a good run at the box office. He has not only managed to revive his career, but also to restore the confidence of his producers and distributors alike.
His work was noticed internationally in the movie Phir Milenge (2004) where he played the role of an AIDS patient. It was well appreciated by the World Health Organization (WHO) for presenting the problems of AIDS patient in today's world.
Trade Mark
His dancing style
His Smile
Trivia
Arrested and jailed for poaching endangered wild animals after allegedly shooting a rare black antelope near Jodhpur. [12 October 1998]
Frequently gets rid of his T-Shirt in his films to show his muscles.
Hindi megastar
Arrested by police under the charge of having connection with underworld mafia. He was also questioned about Bharat S. Shah, a producer ofChori Chori Chupke Chupke (2001) since Shah has also been linked with underworld mafia. [2000]
One of the four Khans that ruled Bollywood from the 1990s onwards. The other three are Saif Ali Khan, Shah Rukh Khan and Aamir Khan.
Son of Salim Khan, half of the famed Salim-Javed writing team.
Frequently visits sick children in hospitals, and also goes often to donate blood.
Exercises daily. Feels the day was incomplete without a workout.
Loves visiting London.
Was voted 7th best-looking man in the world by People Magazine.
Arrested for culpable homicide following the death of a man in a car accident in Bombay. Mr Khan was involved in an incident in which several homeless people were hit by a car in an area of north Bombay. The film star has been charged with "culpable homicide not amounting to murder". He also faces charges of drunk driving and not having a valid licence. If convicted, he could be jailed for up to 10 years. [October 2002]
Had a well publicised affair with Aishwarya Rai which lasted 2 years. Apparently his endless tantrums traumatized her enough to give a press conference in spring 2003 where she declared that she would never work with him again for personal reasons.
Was accused in another press conference in spring 2003 by Vivek Oberoi (who was reportedly seeing Aishwarya Rai at the time) to have called the latter 41 times during one night and threatened him with death as well. Vivek Oberoi has later apologized to Salman and his family multiple times publicly for his actions.
Brother of Sohail Khan, Arbaaz Khan, Alvira Khan and Arpita Khan.
Not only is he a health freak, he also loves to initiate people who aren't as health-conscious as himself into workouts. He forced co-star Anil Kapoor to work out at the gymnasium every day. While Saif Ali Khan and Hrithik Roshan are his early trainees.
His favorite actor is Sylvester Stallone.
Model turned actress Malaika Arora is his sister-in-law. Actor turned director Atul Agnihotri is his brother-in-law.
He was an excellent swimmer in his school days and was even tipped for representing the country one day.
In his early days as a struggling actor he never used his father's name and influence like many other heroes with relatives in the industry. He used to visit producers on his own and audition for roles.
Always believes in giving newcomers a chance. So he spares time in between shots to listen to their script ideas and credits this to his memory of when he was a newcomer.
Has a mannequin of himself in Madam Tussaud's Museum in England. Along with Amitabh Bachchan, Shah Rukh Khan, Hrithik Roshan andAishwarya Rai.
Has his own charitable organization known as Being Human Foundations.
All time favorite actress is Hema Malini.
Highest paid Bollywood Star.
Was the first Bollywood Star to work in the Hollywood film industry and his debut film was Marigold: An Adventure In India.
All time favorite actors are Dharmendra and Amitabh Bachchan.
Brother-in-law of Malaika Arora and Seema Sachdev Khan.
Was working as a model before he became a successful actor and television host.
Fond of Luxury Cars like BMW, Mercedes-Benz and Toyota Land Cruiser, owns a number of them including the latest models. His current list includes a BMW M5, BMW X6, BMW 5 Series, Audi A8, Range Rover Vogue, Lexus LX470, Toyota Land Cruiser, Audi Q7 and etc. He is also fond of Luxury Motorbikes and has a good collection of them.
He is an excellent painter.
Father's name is Salim Khan, mother's name is Salma Khan and stepmother's name is Helen.
Has 3 nephews, Nirvaan, Arhaan, Aydan, and 1 niece, Alizeh.
Has his own non-profit charitable foundation, Being human - The Salman Khan Foundation, whose emphasis is on health care and education. Proceeds from the sale of watches he has designed, paintings he has done, and the Being human t-shirts go to the foundation.
Works frequently with brothers Arbaaz and Sohail Khan, and brother in-law Atul Agnilhotri.
Personal Quotes
The only person I have hurt is myself.
For me acting, comes straight from the heart. In that sense I don't act at all. I think that to feel the character's pain I have to be myself. Somewhere audiences see that.
On his childhood problems and his father's second marriage to Helen: It was very difficult in the beginning, when everybody was talking about it. My mother just couldn't take it. It hurt her terribly. She used to worry all the time, go in to depression frequently. When she cried, we children used to cry with her.
In life go straight and turn right.
(From a TV-interview) I can get caught in many things but there is one thing I will never get caught in, and that is acting - because I don't act. On screen I am like I am in real life.
Why should I marry? One marries to have children, but I already have children! My nieces and nephews are my children. I wanted to marry to make babies, but now I have them, so marriage isn't that important, is it?
Salary
| Dabangg (2010) | INR 150,000,000 |
| Mujhse Shaadi Karogi (2004) | INR 30,000,000 |
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