“I believe that I have more to offer than just good looks.”

An Interview with

Aamina Sheikh

by

Ally Adnan

A highly successful model, a well-known actor and a famous media personality, Aamina Sheikh is

one of Pakistan’s biggest stars today. Aamina is one of the few female actors who is known as

much for her looks as she is for her talent. The young actor, made a name for herself in the

industry by successfully portraying complex women, with complicated personalities, both on

television and in film. A highly regarded fashion models, Aamina is sought after by some of the

best designers, photographers and stylists in the industry. Aamina won the Best Emerging Talent

award at the Lux Style Awards in 2009 and was nominated as the Best Model in 2010. She was

selected the Brand Ambassador of Clear Shampoo in 2009 and as the Regional Face of Emirates

Airlines in 2009 and 2010. Aamina was declared the Face of the Year by the Daily Times in 2010

and became the spokesperson for of L’Oréal Paris in Pakistan in 2011. Aamina’s performance in

the feature film Seedlings and won her the New York Film Festival Award for Best Actress and the

SAARC Film Festival Award for Best Actress. She has since appeared in a number of successful

films, including Josh, Armaan, and Good Morning Karachi, and popular television plays, including

Mera Saaien, Silvatain, Mirat Ul Uroos, and Jackson Heights.

In an exclusive interview for the Friday Times, Aamina Sheikh talks to Ally Adnan about her

personal and professional life, television and cinema, and the class system that exists in the world

of show business in Pakistan.

1. How has Pakistan’s television industry changed during the last couple of decades?

The television industry has both grown and evolved during the last twenty years.

We had only two channels, PTV and STN, up until about the year 2000. Now, there are more than

one hundred. As a result, the field has become highly competitive. This has been good for both

viewers, who now have greater entertainment choices than they have had in the past, and those

in the industry, who now have significantly more opportunities and prospects than they did

twenty years ago. The quality of programming has also gone up due to increased competition

between the channels.

Television used to be a state-run business in Pakistan. That is no longer the case. It is now a proper

business that makes good money and is able to pay well. Careers in television have become both

viable and desirable. A meritocracy exists in the industry and talent is the one guarantee of

success in the field. This is not true for many other industries in Pakistan. As a result, television is

able to attract intelligent, educated and ambitious people who want to have successful careers

in show business.

In the past, education and career choices for young Pakistanis used to be limited to engineering,

medicine and government services. This has changed. A number of very talented Pakistanis now

study acting, direction, and production both in Pakistan and overseas. The quality and quantity

of people available to work in televisions has, therefore, gone up.

Television in Pakistan has always had good writers. Anwar Maqsood, Ashfaq Ahmed, Bano Qudsia

and several others used to write intellectually stimulating plays for television. This has not

changed and the quality of writing on television continues to be good. Most of the improvement

has been on the technical front. Our productions, today, are more polished and refined than they

ever were in the past. We are able to produce world-class television nowadays.

2. You majored in film video and production at the Hampshire College, Amherst,

Massachusetts. Did your American education help you in the field of show business in Pakistan?

I used to intern in production houses in the United States during my education. Once I had my

degree, I moved to New York to work for Curious Pictures, an animation studio and a multi-media

company. While working those jobs, I realized that the industry was full of people like me. There

were many people who had a similar education and resume. I was one of many talented and

educated people. The opportunities to stand out and get on the fast track were almost non-

existent. It seemed that I was destined to have the same career as hundreds of others in the field.

When I moved to Pakistan, I was able to stand out because of my American education and

experience. I had an edge over other who did not have the education. I found a lot of

opportunities to prove myself and to make a unique success out of my career.

3. Did your US work experience help you in Pakistan?

Yes, it did.

I was able to experiment with and apply the theoretical knowledge and practical experience that

I had gained in the States. At Hampshire College, I studied with a very diverse and interesting set

of people at the Hampshire College. The students came from all walks of life from all over the

world. As a result, my thinking no longer remained limited to Pakistani sensibilities and my

horizons grew wider. I was exposed to some great cinema and television in the United States. I

had studied techniques, practices and methods employed in cinema all over the world. This

knowledge was of immense use to me in Pakistan. Some of what I knew was already being applied

in Pakistan, albeit sporadically and without proper discipline. Since I had a proper education and

practical experience in cinema, I found myself more adept at applying modern approaches and

techniques to my work in Pakistan. The truth is that good, solid experience always helps, not just

in film and television but in all industries. When I returned to Pakistan, we did not have many

people with international experience, in the industry. I had the experience, a little more

knowledge, if you will, and consequently more confidence. This helped me get considerable

attention and respect in Pakistan. It also helped me secure projects that would have otherwise

not been available to me.

4. Things are done differently, and at a different pace, in Pakistan. Was it easy to adapt to

the Pakistani style of working?

No. It was difficult and, occasionally, a little frustrating.

The ability to get things done in Pakistan is both an art and a science; and obscure art and science,

actually. It takes a lot to learn how to get things done here. This was the most important and

most difficult thing I had to learn after my move to Pakistan. Pakistanis do not do things just

because they are supposed to; their motivation to work is based on feelings and mood. I had to

learn how to motivate people into doing what I needed them to do. Pakistan is multilingual. I had

to learn how to converse in multiple languages to communicate effectively. Women and men are

treated differently in Pakistan. I had to adapt to the gender divide. Show business attracts people

from all strata of society, the rich and the poor, the well-connected and the regular folks, and the

educated and the illiterate. I had to learn how to deal with each and every one effectively. Once

I had this down, the rest was easy and quite enjoyable actually. Once Pakistanis are motivated,

they are creative, industrious, resourceful, cooperative and a lot of fun. I was happy to be back

in Pakistan.

5. Women have been the most popular subject of television plays, serials and series in

Pakistan.

Yes, they have. It is ironic that, in a country where they are often denied the most basic of rights,

women are feature prominently on television.

6. They sure are but the portrayals almost always depict women who suffer at the hands of

their families, society and tradition. How come women like yourself – smart, educated, confident

and successful – are not shown in television plays?

I think that is because there are very few such women in Pakistan even today. Our women

continue to be subjugated and denied basic rights. The lives of the vast majority of women in

Pakistan are sorry and sad. That is what television shows.

Television viewership in Pakistan is largely comprised of women who lead miserable lives. They

cannot identify with the liberated woman but empathize with the suffering woman shown on

television. They understand her trials and tribulations. They identify with her and tune in each

week to see how she deals with adversity and unfairness. The suffering woman, therefore, has

always been, and continues to be, ubiquitous on television in Pakistan. This is really unfortunate

for female actors who are forced to play the same character over and over again. I wish it would

change but in reality, our society will need to change before this happens on television.

7. Do you feel that there is a lack of creativity amongst television writers?

Yes, I do.

8. Could this be another reason for the protracted reign of the suffering woman as a subject

of television plays?

Yes. In fact, it most certainly is one of the reasons.

A while ago, I acted in a serial two sisters who had very different personalities and values but

lived in the same environment. The serial was very successful but, unfortunately, started a trend

of having two sisters in serials. I was offered numerous roles as one of two sisters after the serial

and found myself saying no very often. I had already played the role once and did not want to do

it again. The reason was not only a lack of creativity but also an unwillingness to take risks. Using

a tried and tested formula is considered to be a tacit guarantee of success.

That being said, I must say that every few years, and sometimes months, one sees new subjects

on television; subjects that are daring, risky and avant-garde. No one can deny that. One just

wishes it would happen more frequently.

9. Both you and your husband, Mohib Mirza, work as actors. Is acting a viable career in

Pakistan today?

Absolutely. Mohib and I are blessed to be in show business at a time when there is a lot of money

and an abundance of opportunities in the field. I am aware that, in the days of PTV and STN,

actors were paid very little and couldn’t possibly make their living as actors. That has changed

completely. A career in show business is not just attractive but is desirable and lucrative, today.

10. A lot of Pakistani female actors give up show business when they get married and when

they have children. What are your plans?

I am in it for the long haul. I studied to be in show business. I married an actor. I plan to continue

to be in the field for a very long time. I have no plans to give up a career that has been one of the

wisest choices of my life. As television and cinema evolve in Pakistan, there will be more and

more roles for female actors of all ages. The days where female actors were objectified as pretty

faces and had careers that spanned no more than ten years will soon be behind us. I feel that I

will have more and more opportunities to act in the future. I plan to be acting even when I am in

my sixties and seventies. A life in show business is the one I wanted and the one that I enjoy.

11. A lot of characters that you play on television and in films are of very plain women and

some are decidedly unglamorous. Why is that?

It is a conscious choice. I believe that I have more to offer than just good looks. Glamour is good

but histrionic ability is more important for an actor.

During the first two years of my career, I focused on tele-films and individual plays. These have

significantly smaller budgets than serials and series; so there is a greater willingness to take risks

since possible losses are relatively small. I got some very good roles in these small projects; roles

which were not flashy or glamorous but challenging. They afforded me an opportunity to prove

my mettle as an actor. I have since played some very glamorous roles but don’t feel the need to

do so in every project I undertake. I am a serious actor and will hopefully play a lot of very

different characters in my career. Some will be glamorous while others would be plain.

12. You made your debut on television with the film, Gurmukh Singh Ki Wasiyat, which was

based on Saadat Hassan Manto’s work. You grew up in the United States and in Saudi Arabia.

Manto’s story is set in a world and a time that must have been unfamiliar for you. Did you face

any difficulties while actin in the film?

I was totally unfamiliar with the world portrayed in Gurmukh Singh Ki Wasiyat but was

determined to work hard and prepare honestly and properly for my role. I was lucky to have

studied Urdu in my O-Levels and A-Levels and, therefore, able to read the original story in Urdu.

This was the start first step in my long and arduous preparation for the film. Both the producer,

Khalid Ahmed, and the director, Sharjeel Baloch, gave me a lot of time and attention. The

explained the character and the story to me in great detail and highlighted the subtle nuances of

the story. We had many discussion sessions and an inordinate number of rehearsals. I spent time

with people who were knowledgeable about Manto and his work, and who understood the

emotional and personal costs of partition. The preparation was a lot of hard work but very

reward. I think my performance in the film was good.

13. Do you put that amount of effort into preparing for all of your roles?

Yes, I do. Acting is not a hobby for me. It is my passion and my career. I take it very seriously.

14. There is a lot of talk about the resurgence of Pakistani cinema, these days. A few good

films have been produced in the last couple of years. Do you think this is the start of something

big?

Pakistani cinema is certainly experiencing a revival. There is no doubt that we have seen some

very good films in recent years. In fact, I have starred in a few of those films. But, it is too soon to

be celebrating the birth of good cinema in Pakistan. This may or may not be the start of something

big. The momentum that has been achieved needs to be sustained for us to be able to say that

Pakistani cinema has arrived and is here to stay.

15. What do you think

needs to be done to

sustain the momentum?

A lot.

Any industry, and not just

cinema, that is young

needs support for proper

and sustained growth. The

support needs to come

from both the public and

the private sector. The

government needs

facilitate the import of

equipment needed by the

industry; import duties

should be eliminated for a

few years. Tax credits

should be issued for those

who invest in cinema.

Festivals should be

organized to allow

Pakistan to claim its due

space in the international

landscape of cinema.

Public and private

institutions should start

offering courses and

degrees in the field. Good

films from all over the

world should be available

in libraries and other institutions for people to see and study. Unions should be established to

safeguard the interests of those working in the field of cinema. The industry should be groomed

so that it attracts well educated, promising and talented people. Pakistani cinema is off to a good

start but will fizzle out if the required support is not made available.

16. A class system

seems to exist in show

business. It can be

seen on the set and on

location. It is certainly

on vulgar display at

award shows and

other events where

people from the same

industry are seated

separately based on a

royally unfair but

pervasive class

system. What do you

think of this class

system?

It exists. It certainly

does. I do not like it.

Let us talk some more

about it.

I see three classes in

the world show

business. There are

those who have

money, social and

political clout, and

connections in the

industry. There is the

class of people that

come from dubious backgrounds and are thought to come from families of nautch girls. And we

have a third class of people who are poor - very poor – but want to join show business. They are

deemed to be mailaa (unclean, َمیال). This is a sad division of people that must be eliminated for

the sake of show business and for the sake of humanity. Fortunately, we have a few directors

and producers who work with people irrespective of class. They base their choices on merit and

not on a sad class system. Their work, consequently, is of superior quality and much better than

that of people who like to work exclusively with the beautiful, the rich and the powerful.

While the class system is appalling and deplorable, and it really is, we should not forget an

individual’s responsibility to stand up for himself and his rights. People who are not treated well

because they have been relegated to a “lower class” should protest, fight back, and demand

proper respect. It is difficult to do – very, very difficult – but they must do it. People who create

classes should not be allowed to get away with their behavior. The oppressed need to fight back.

They owe it to themselves if not to anyone else.

17. How did you meet

Mohib Mirza?

I first came to know of

Mohib while a student at

the Lyceum in Karachi.

Mohib and I were both very

active in school plays at the

time. I used to see him in

plays frequently. We had

some friends in common as

well but, somehow, never

developed a friendship with

each other. We became

friends when I returned to

Pakistan from the United

States and took over the

directing GEO’s program

Bachay Mann Kay Sachay.

Mohib was the host of the

program. We did more than

fifty episodes of the

program together. The

close working relationship

afforded me the

opportunity to learn more

about Mohib and become

very fond of him.

18. What attracted you to Mohib?

His passion, energy and drive.

Mohib is a very attractive man. He does not let society, or friends, or even family dictate the

terms on which he leads his life. He operates under his own belief and value system. He never

pretends to be someone that he is not and is not afraid of being himself. His originality makes

him very desirable.

I view Mohib more as a partner and less as a husband. He brings out the best in me. He reinforces

and strengthens my beliefs, principles and opinions. He understands what is important to me. I

think achieving my goals in life is going to be easier because of having Mohib by my side.

19. Does Mohib do anything that drives you insane?

Of course, he does. Sometimes he becomes the stereotypical male which is very annoying.

20. What is a stereotypical male?

A man who is very laid back; a bit too laid back for comfort. He is someone who can sit in front

of the television all day and do nothing meaningful. He is messy and disorganized. He is not

communicative and emotionally distant.

21. Mohib is a good looking and, as you say, an attractive man. He is in show business and

works with some very beautiful ladies. Are you ever concerned that someone might steal him

from you?

No, never. I am good looking and attractive as well. If anything, Mohib should be concerned about

someone stealing me away from him. On a serious note, we are not just in love but enjoy being

with each other. We have similar careers and similar goals. We share a common belief system.

There is a lot of confidence and trust in our relationship. I do not worry about Mohib being

unfaithful.

22. Who is the better actor, you or Mohib?

Mohib.

23. Did you face any abuse or mistreatment when you started out in the industry?

No, I did not.

24. Is that typical of the industry in Pakistan?

No, it is not. A lot of people, especially newcomers, are treated horribly in show business.

25. Why is it that you did not face any abuse in a field known for its exploitation of

newcomers?

I am a strong and confident person. I do not seem vulnerable to people who like to take

advantage of others. I am also fortunate to not be financially dependent on my career in show

business. I do not have dozens of people to feed with the money I make. Sadly, quite a few

women in show business do. They cannot afford not to make money and not to do well in show

business. This makes them dependent on their careers and vulnerable to abuse. It is sad but it is

the unfortunate truth for a lot of women in show business. Need, and not a desire for the

glamorous life, brings a lot of women to show business.

Ally Adnan lives in Dallas where he works in the field of telecommunications. He can be reached

at allyadnan@outlook.com.