Lights, camera, action! The magic of cinema knows no boundaries, engaging fans globally. But beneath the glittering spectacle, the motors that power movie making in various parts of the world quite often use very different fuels. Few actors straddle the divide between Bollywood and Hollywood’s titanic dream factories as skillfully as Ali Fazal. From the dearth of order in Mirzapur to gracing the screen alongside Hollywood royalty in such films as Victoria & Abdul and Death on the Nile, Fazal has a rare, street-level perspective on the differing work cultures defining these industries.
Recently, in an intimate and revealing interview with Bollywood Bubble, Ali Fazal pulled back the curtain, sharing compelling insights gleaned straight from his experiences working on sets on different continents. His observations were not merely about budget or size, but delved deep into the daily rhythms, the unwritten rules, and the core philosophies that characterize a workday in Mumbai compared to Los Angeles (or London). It’s a comparison everyone guesses about, but no one is able to describe with such firsthand veracity.
So, what are the actual, physical differences when you walk onto a Hollywood set as opposed to a Bollywood one? Ali Fazal says the answer frequently begins with the clock. While both professions require immeasurable commitment and long hours, the attitude toward time itself shows a discernible cultural divergence. This isn’t solely regarding star tantrums; it’s about systemic workflow and group discipline. Fazal’s experiences underscore the way this single factor can flow through every department, affecting efficiency, energy, and ultimately, the creative product.
Ali Fazal Compares Working in Bollywood and Hollywood: The Punctuality Paradigm
If one thing Ali Fazal drives home with sharp emphasis, it’s the dramatic difference in the way time is viewed and respected. Describing his Hollywood experiences, Fazal sketched a picture of near-military precision. “The day we began turning up on time, perhaps, yeah,” he reflected, suggesting a possible development he longs to see in the Indian context. His account of a classic Hollywood morning is revealing: “I remember, like, I have all my schedules from America and anything outside, and it’s very specific. It’s not just an actor thing; it’s about how you plan your departments—everyone is on the ball.”
Picture this scene: It’s 4:30 AM. Fazal is halfway through his shave. Just fifteen minutes down the line, at 4:45 AM, rehearsals are already underway on set. The requirement? Utter presence. “I could be in my robe, half-shaven, or whatever, but I still have to be there. And we’re all there, we rehearse, and then we go and change, whatever’s needed.” This is not a recommendation; it’s the non-negotiable norm. Each department, from camera to lighting to sound to makeup, works this synchronized schedule, so that when the official shooting call time arrives, the foundation is already in place, optimizing hours of production.
Picture this scene: It’s 4:30 AM. Fazal is halfway through his shave. Just fifteen minutes down the line, at 4:45 AM, rehearsals are already underway on set. The requirement? Utter presence. “I could be in my robe, half-shaven, or whatever, but I still have to be there. And we’re all there, we rehearse, and then we go and change, whatever’s needed.” This is not a recommendation; it’s the non-negotiable norm. Each department, from camera to lighting to sound to makeup, works this synchronized schedule, so that when the official shooting call time arrives, the foundation is already in place, optimizing hours of production.
From Fashionably Late to Fundamentally Punctual: A Personal Awakening
Ali Fazal’s candor regarding his own personal struggles with being on time adds a personal touch to his insights. He freely admits that he used to be one of those responsible for perpetuating the “fashionably late” syndrome, even going as far as to tell a strategy common to many: “Earlier, I would park my vehicle 500 meters away and then arrive fashionably late.” It was a deliberate act, maybe motivated by an excess of image or just old habit. His Hollywood experience was a wake-up call, though.
Having worked in that environment of strict punctuality, he learned the practical worth of being on time – not merely as a personal trait, but as a basic postulate of professional effectiveness and mutual respect. “I learned that, I think, yeah, maybe that’s not the best idea… not very late at least,” he admitted. This change indicates a wider realization earned from moving across industries: wasted time waiting is creative capital and fiscal resource lost. His musing implies a wish to witness this discipline adopted more broadly in his home country.
Departmental Discipline: Hollywood's Engine Room for Efficiency
If Ali Fazal juxtaposes working in Hollywood versus Bollywood, the contrast goes far beyond individual actors being on time. He consistently emphasizes the refrain, “It’s not just an actor thing.” The secret, he notes, is the careful planning and coordination among departments. In Hollywood, he explains a process in which each department – camera, grips, electrics, art department, costumes, hair and makeup – operates with a high level of independence and responsibility, but is still precisely synchronized with the overall shooting schedule.
This “on the ball” attitude is such that when the call is at 4:45 AM for rehearsal, the crew needed for that rehearsal is there and ready to go. There is no standing around waiting for some key crew member or desperate scrabbling because a department wasn’t ready. The systems provide the punctuality. Schedules are explicit, communicated clearly, and respected as commitments. This organization keeps downtime to a minimum, momentum high, and makes complex productions operate smoothly in spite of their enormity. It’s a well-oiled machine in which every cog knows its place and timing exactly.
The Human Element: Friendship and Transient Connections in Film
Aside from the logistical variations, Ali Fazal describes working in Bollywood and Hollywood based on the human relations aspect. The fleeting nature of film productions, wherever they may be, sets particularly acute problems for achieving lasting connections. In speaking specifically of friendship cultures, Fazal provided a view colored with both realism and an appreciation for true connection. “It’s just that sometimes the sense of permanence isn’t there,” he said, recognizing the built-in temporariness of cast and crew assembling for weeks or months to then disperse.
This fleetingness, Fazal implies, only makes discovering and retaining true connections all the more important. “So, the good people—you really hold on to them, truly hold on,” he underscored. He divulged that he holds onto a small, intentionally close circle: “I have very few friends, maybe 5 or 6 close ones.” It is this selectivity that appears to be the product of experience and awareness that meaningful bonds are precious jewels in the frenetic, often shallow world of show business.
He also related a touching recent anecdote illustrating this vulnerability: “And even within them, two fought recently after like five years. So I thought, ‘Great, now that group is gone too.’ They’ve also broken up, so you have to deal with that.” This experience illustrates how even the strongest core groups are not beyond fracture. But despite all such detours, Fazal derives power from selectivity: “But yeah, I mean, eventually, you know, now my core unit is really strong.” His path demonstrates an intention to build quality rather than quantity of relationships, a tactic no doubt refined by having traversed the social worlds of both large industries.
Bridging the Gap: Lessons Learned and the Path Forward
Ali Fazal’s observations are not about saying that one is inherently better than the other on a grand scale. Bollywood and Hollywood both make amazing movies, with both its own special energy, passion, and artistic spirit. Bollywood tends to be praised for its versatility, its sentimentalism, and the strong familial relationships that can be established on extended productions. The plain passion behind Indian film is something that cannot be denied and underlines its popularity across the world.
Yet, his comparison highlights where cross-pollination of practice would be useful. The discipline, the punctuality, the departmental coordination he observed in Hollywood is a model which can be used for optimizing efficiency and resource management in any large-scale creative enterprise, including Bollywood. Implementing a more rigorous approach to timetables is not about muzzling creativity; it’s about establishing a system where creativity can be expressed more creatively, with less wasted energy on unnecessary delays and disorganization.
Alternatively, the spontaneous warmth and rich emotional connection that consistently exist on Bollywood sets are all attributes that certainly make the film-making process a richer one. Perhaps the challenge lies in balancing the synthesis – taking the coordinating strengths witnessed in Hollywood while maintaining the individualistic intensity and energy that characterizes Bollywood. Fazal himself is that bridge, bringing ideas gained from punctuality and organization back to his work in India, but certainly bringing the typical Indian heart he applies to all roles to his international endeavors.
Bridging the Gap: Lessons Learned and the Path Forward
Alternatively, the spontaneous warmth and rich emotional connection that consistently exist on Bollywood sets are all attributes that certainly make the film-making process a richer one. Perhaps the challenge lies in balancing the synthesis – taking the coordinating strengths witnessed in Hollywood while maintaining the individualistic intensity and energy that characterizes Bollywood. Fazal himself is that bridge, bringing ideas gained from punctuality and organization back to his work in India, but certainly bringing the typical Indian heart he applies to all roles to his international endeavors.
Yet, his comparison highlights where cross-pollination of practice would be useful. The discipline, the punctuality, the departmental coordination he observed in Hollywood is a model which can be used for optimizing efficiency and resource management in any large-scale creative enterprise, including Bollywood. Implementing a more rigorous approach to timetables is not about muzzling creativity; it’s about establishing a system where creativity can be expressed more creatively, with less wasted energy on unnecessary delays and disorganization.
More Than Just Showbiz – A Cultural Reflection
When Ali Fazal describes doing business in Bollywood versus Hollywood, he not only sketches various workplace cultures. He unintentionally holds up a mirror to larger cultural perceptions of time, professionalism, and relationship-building. India’s “fashionably late” trend reflects an inherently more flexible relationship with time, deeply entrenched in society. Hollywood’s hyper-punctuality mirrors a culture highly attuned to efficiency and quantifiable production.
When Ali Fazal describes doing business in Bollywood versus Hollywood, he not only sketches various workplace cultures. He unintentionally holds up a mirror to larger cultural perceptions of time, professionalism, and relationship-building. India’s “fashionably late” trend reflects an inherently more flexible relationship with time, deeply entrenched in society. Hollywood’s hyper-punctuality mirrors a culture highly attuned to efficiency and quantifiable production.
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