India Post Q&A

by Srirekha NC
November 14, 2003

1. How, why and when did you get into making films
(your background)?

Both my parents are physicians, but my dad has been my biggest influence because of his love of music and movies. Because of him, I have always been interested in music since a kid and moved out after highschool to Cali from Texas because of it. It didn't work out the way I wanted to intially, so I spent the mid-90s persuing an undergraduate degree in physiology & neuroscience at U of California at San Diego in hopes of going to medschool. However, as I was applying to medical school, I came to a realization that that was not for me. I loved theory, but didn't like clinical. So, I gave it up got some odd jobs (day trading, personal training, teaching science parttime, etc) while trying to regenerate my music.

I've always loved film and kept on becoming disappointed with the ending of some films and said to myself that I could do it better. I saw Life is Beautiful and realized how wonderful a film you can make without big stars, effects, or a huge budget. I was immediately hooked and called up a local film festival in San Diego. I worked as one of the programming directors in 2001 and started hanging out with filmmakers. I never went to film-school. I just jumped in and started doing it. Immediately after the festival ended, I met with Vikram Yashpal and Atul Suri and they asked me if I was interested in working on Trade Offs as a composer. I had always been doing music, so I told them that I wanted to audition for a role and I got the part. Then with my festival experience and contacts that I had made, I knew I could really help the film out if I were to produce it as well. I didn't do any exec. producing (dealing with the finances of the film), but rather the logistics and getting talents such as the composer and the crew.

When that film was wrapping up, I immediately jumped to Master and Commander: The Far Side of the World starring Russell Crowe which opens today. I worked on it as a Specialist - trained to swordfight, pike, hand-to-hand combat, sailing, etc. It was a lot of fun and a huge contrast in budget from Trade Offs.

Then during the world premiere of Trade Offs in Toronto, my first festival as a filmmaker, I knew that this is what I want to do. Even now, during the most tedious phase of filmmaking (marketing, distribution, etc), I'm still enjoying it. Sure, I'd rather be acting, writing, and directing, but I know pushing this film will help me in the long run for my future projects.

2. Your choice of subjects, format and budgets are
obviously not mainstream -- what goes into making
films such as these?

We've had nearly 1000 people view our film in the last two months or so. The most interesting part about it is that I'd say that 60-70% of them have been non-South Asians. After the film is over, everyone is still waiting around for the Q&A session to learn more about the film. The film relates to everyone across cultural boundries and especially with the female population. So, to answer your question about subject matter, I think this film transcends cultural boundry lines and it could just as well have been about two people from Nebraska.

In terms of budget, the revolution of miniDV filmmaking is leveling the playing field. Before, miniDV existed, it was nearly impossible to make a feature film for less than $100,000.

The advantage to making a film in San Diego is the sexiness of it. There are tons of films being shot daily in LA, so it's not that sexy over there. Therefore, it's hard to get people to work on it for free or deferred pay. This film was made on passion and not much money. When all these people come together and put their effort into it, everyone wins. Everyone gets a killer film on their resume or demoreel - which is priceless. You can't buy that kind of credit (unless you put up tons of money as an investor).

3. While talent and creativity maybe in plenty, funds
and exposure seem to be the biggest constraint -- how
do you manage?

We did a lot of deferred pay during the production phase of this film. I'd say about 90% of the people were not paid and they still haven't been paid because the film has not made any money yet. However, that's not a big deal because if you want to make money go into another field. You should only do this as a passion.

In terms of marketing, we don't have it in our budget to drop a few hundred dollars here and there for getting ads in newspapers for every screening that we have. So instead, we make cheap flyers about $20 worth and I've been sending out tons and tons of press releases which is free but time-consuming. We've had really good results thus far (see press articles).

4. What exactly do we mean when we say a cross over film?

It means that white people will like it and it makes it big at the box office <tongue in cheek>. I don't know if we really consider Lagaan a crossover just because it was nominated for an Oscar because I think it only made about US$25K over here. That's the cynical side of me talking.

Seriously though, during the opening ceremony at IAAC, Mira Nair spoke and she stated something which made me think. She said something along the lines of hoping that there is no such thing as a crossover film. My interpretation of that is that people are accepting of all films which are true to themselves without ulterior motives of trying to make it a box office hit by trying for "Crossover Appeal".

I think a true crossover film would be something that is in a different language such as Life is Beautiful, Cinema Paradiso, etc. I don't think a cross-over film should be labeled as such just because it's in English while the actors are not white. I'm American, I was born and raised here. I wouldn't want to be known as a crossover filmmaker, because that's not who I am. I'm an American. However, I know the general consensus is probably not that. I don't think anyone would call Shymalan a crossover filmmaker. I think if the topic deals with such then it could have the possibility of becoming labelled as one. Should we consider Denzel or Halle Berry films a crossover films?

5. Cross over subjects were handled by veterans like
Pamela Rooks but they were not popular until films
like Hyd Blues (Nagesh Kukunoor) and more recently
till a Monsoon Wedding happened. What do you think
changed the trend?

I haven't seen Hyd. Blues and don't know if it really crossed over. I know it did really well in the Indian scene and it allowed Nagesh to flourish. His new film 3 Walls is excellent. I keep wishing that a distributor would pick it up and put it in theaters around here and get a 'cross over' hit. It was at the same festival as our world premiere in Toronto (www.filmi.org). The response I heard from all the non-South Asians was that it was a very impressive film.

I want to say that the reason for crossover success is content and I frequently say that the best films will rise to the top. However, I seem to be wrong at times. City of Gods is probably my favorite film of this year. It's from Brazil and it's all in Portuguese. I don't think it did very well at the box office and no one has heard of it; or if they have, they haven't seen it. When I see films like COG not doing well, I think about going into the distribution side of this business. It's very frustrating to see good ones fall through the cracks.

I think you have to market it long and hard to make it accessible to the general audience. Track the box office progress of these films and you'll see that they have been in theaters for a year or so because it takes a while for it to grow. The reason, I'm spending so much time with Trade Offs is because of the response we've been getting after the screenings. If majority of the people didn't come up to me after the screening and tell me that they loved it, I wouldn't waste my time. I'd move on to another project.

6. What can be said of cinema goers tastes -- among
mainstream audiences a)in the US and b)in India?

I saw a panel with Christopher Nolan (dir. Memento). He said that films are becoming more and more dense because people are buying DVDs and watching them over and over and expect to be challenged after the second and third time viewing it. I've seen Memento about five times and I still have a need to keep watching it to see what I've missed. The success of intelligent films like Sixth Sense, Fight Club, Memento, are proof that people want to be challenged and to see a puzzle within a movie.

I think in the late ninties is when the cinema goers' taste changed to include more indie films. Some do it to make themselves seem more cultured or whatever. However, I don't go for that. I can't stand film-snobs. I love watching a Bruckheimer flick just as much as a Fellini flick and I'm not afraid to admit it as a lot of people are. I see films similiar to eating a buffet - it's not fun just having the same thing over and over. You gotta have variety.

In India, I think the trend is changing as well. There have been some great films of late which are doing well. Dil Chahta Hai is written very well as is Mr & Mrs Iyer.

7. How much have the successes of Monsoon Wedding /
Bend It Like Beckham helped filmmakers on this genre?

I think when Indo-Western filmmakers see films like that breaking through, it's a lot easier to tell mom and dad that hey, it is possible and that I don't have to be a doctor or engineer. Of course, we all use those two films to our benefit and laden our press releases and synopses on DVD covers with those two titles to entice distributors, press, audiences, etc. However, the main thing we should focus on is just putting out quality films. The film should speak for itself. I am glad that there are not very many of these films out there because I do want to be known as a pioneer for putting out the first generation of non-stereotypiccal characters who happen to be Indian in films. The film may or may not be about Indian related topics. Denzel is an excellent actor, but will his accomplishments ever compare to Sidney Poitier?