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  • About GNGM

    Reviews

    “A cerebral joyride”
    Karan Johar, filmmaker on REDIFF

    “Among the most charming and creative Indian independent films”
    J Hurtado, TWITCH

    ★★★★✩
    “You don’t really need a big star cast… you don’t even need a big budget to get the techniques of filmmaking bang on…”
    Allen O Brien, TIMES OF INDIA

    ★★★★✩
    “An outstanding experience that doesn’t come by too often out of Indian cinema!”
    Shakti Salgaokar, DNA

    ★★★
    “This film can reach out the young, urban, upwardly mobile, but lonely, disconnected souls living anywhere in the world, not just India.”
    Namrata Joshi, OUTLOOK

    “I was blown away!”
    Aseem Chhabra, MUMBAI MIRROR

    “Good Night Good Morning is brilliant!”
    Rohit Vats, IBN-LIVE

    ★★★✩✩
    “Watch it because it’s a smart film.”
    Shubha Shetty Saha, MIDDAY

    ★★★✩✩
    “A small gem of a movie.”
    Sonia Chopra, SIFY

    ★★★✩✩
    “A charming flirtation to watch.”
    Shalini Langer, INDIAN EXPRESS

    “Interesting, intelligent & innovative”
    Pragya Tiwari, TEHELKA

    “Beyond good. Original, engrossing and entertaining”
    Roshni Mulchandani, BOLLYSPICE

    * * * * *
    Synopsis

    ‘Good Night Good Morning’ is a black and white, split-screen, conversation film about two strangers sharing an all-night phone call on New Year's night.

    Writer-Director Sudhish Kamath attempts to discover good old-fashioned romance in a technology-driven mobile world as the boy Turiya, driving from New York to Philadelphia with buddies, calls the enigmatic girl staying alone in her hotel room, after a brief encounter at the bar earlier in the night.

    The boy has his baggage of an eight-year-old failed relationship and the girl has her own demons to fight. Scarred by unpleasant memories, she prefers to travel on New Year's Eve.

    Anonymity could be comforting and such a situation could lead to an almost romance as two strangers go through the eight stages of a relationship – The Icebreaker, The Honeymoon, The Reality Check, The Break-up, The Patch-up, The Confiding, The Great Friendship, The Killing Confusion - all over one phone conversation.

    As they get closer to each other over the phone, they find themselves miles apart geographically when the film ends and it is time for her to board her flight. Will they just let it be a night they would cherish for the rest of their lives or do they want more?

    Good Night | Good Morning, starring Manu Narayan (Bombay Dreams, The Love Guru, Quarter Life Crisis) and Seema Rahmani (Loins of Punjab, Sins and Missed Call) also features New York based theatre actor Vasanth Santosham (Bhopal: A Prayer for Rain), screenwriter and film critic Raja Sen and adman Abhishek D Shah.

    Shot in black and white as a tribute to the era of talkies of the fifties, the film set to a jazzy score by musicians from UK (Jazz composer Ray Guntrip and singer Tina May collaborated for the song ‘Out of the Blue), the US (Manu Narayan and his creative partner Radovan scored two songs for the film – All That’s Beautiful Must Die and Fire while Gregory Generet provided his versions of two popular jazz standards – Once You’ve Been In Love and Moon Dance) and India (Sudeep and Jerry came up with a new live version of Strangers in the Night) was met with rave reviews from leading film critics.

    The film was released under the PVR Director’s Rare banner on January 20, 2012.

    Festivals & Screenings

    Mumbai Film Festival (MAMI), Mumbai 2010 World Premiere
    South Asian Intl Film Festival, New York, 2010 Intl Premiere
    Goa Film Alliance-IFFI, Goa, 2010 Spl Screening
    Chennai Intl Film Festival, Chennai, 2010 Official Selection
    Habitat Film Festival, New Delhi, 2011 Official Selection
    Transilvania Intl Film Festival, Cluj, 2011 Official Selection, 3.97/5 Audience Barometer
    International Film Festival, Delhi, 2011 Official Selection
    Noordelijk Film Festival, Netherlands, 2011 Official Selection, 7.11/10 Audience Barometer
    Mumbai Film Mart, Mumbai 2011, Market Screening
    Film Bazaar, IFFI-Goa, 2011, Market Screening
    Saarang Film Festival, IIT-Madras, 2012, Official Selection, 7.7/10 Audience Barometer

    Theatrical Release, January 20, 2012 through PVR

    Mumbai
    Delhi
    Gurgaon
    Ahmedabad
    Bangalore
    Chennai
    Hyderabad (January 27)

    * * * * *

    More information: IMDB | Facebook | Youtube | Wikipedia | Website

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Why do we not want what we want?

September 19, 2017 · by sudhishkamath

What do we all want from a partner? 

Someone who gives us all the attention and love in the world.

What is the biggest turn off when you are looking for one?

Someone who gives us all the attention and love in the world.

What we want is what also turns us off because we don’t want too much of it in the beginning.

When you like someone, you show interest. Unfortunately though, there is no universally accepted right amount of interest.

If it’s too little, the other doesn’t even know.

If it’s too much, then it becomes a turn off.

If it’s moderated & calculated, it becomes a game.

Nobody likes to play games. Yet everybody ends up moderating, calculating and procrastinating when they find someone who makes them nervous.

But the only way to do it right is be yourself.

If they don’t want someone who shows too much interest or too little interest, then it’s obvious they don’t want it. Whatever be the reason. 

You don’t want to get your heart broken over a silly power game. There’s no way anything that begins as a game would end well. 

People who like the chase will stop when the conquest is done. Yet, we encourage the chase. 

I have found myself guilty of this too. The end of conflict is the end of the story. 

This modern dating/gaming system is designed to get hearts broken. 

So what do you do? It has nothing to do with how good or bad you look. Don’t take it personally. It’s just not your size. 

Go back to the beginning & repeat till you find the right one. The extra large heart. 

The best part of being a storyteller is that I always find a story to tell at the end of the day. 

As artists, we are intrepid. 

We know that the heart soldiers on. It needs no armour. Because the more it breaks, the stronger it gets.

You don’t complete me

September 19, 2017 · by sudhishkamath

Have seen people fall in love because they feel the need for someone to complete them.  

You don’t fall for someone because you are running out of time or options. You fall for someone when you feel you have all the options and the time in the world. You can be with anyone but you choose to be with this one person. 

Not because he/she is perfect but because he/she makes you happy in ways nobody else does. 

This clarity only comes from self awareness, independence and freedom of being single and not feeling incomplete.  
Broken people finding other people to fix them will fall apart once the purpose is fulfilled.

“You complete me” sounds cute in a movie but in real life, we need to complete ourselves first. And unless we are our complete selves, we cannot expect to find happiness through another person. 

I think I became a complete person only over the last year after I set myself free and lived out of a suitcase. 

When you go around the world, you realise the value of a home. 

Yes, the grass is always greener on the other side but being complete means not ever worrying about having to pick a side. 

Only a life without regrets will set you free.

We don’t communicate any more?

September 19, 2017 · by sudhishkamath

I did my M.S in Communication. But I still don’t understand what it has become with the multitude of universes that have opened up with social media… where we are simultaneously denizens of Whatsapp, Facebook, Twitter, Instagram, YouTube among other worlds. And each ecosystem has its own beasts. 

“Treat people as you expect to be treated” is a thought that I’m still trying to fully understand. 

When we go to meet people who are always late, we go easy on the clock too. 

When we make plans with serial flakers/cloud planners, we make back up plans. 

When we don’t get respect, at some point we stop respecting. 

Because all healthy relationships are grounded in equality. And toxic ones happen because of inequality and gaming – where players of the game try to score over the other. 

I do this exercise – on a lighter note, of course – when I meet people I’m getting to know where I dare them to show me how many Unread (hence unanswered) messages they have on whatsapp. (I don’t want to read them but make them tell me/ show the number) And that number tells me a lot about that person. 

Some people have over a 100 unread messages (not including group messages). 

Going by “the treat people as you expect to be treated” logic, they should be replying to all those messages if they expect people to reply to their messages. 

Yet, they don’t. I understand why. Some are unwanted messages (girls get a lot of these), some promotional and some where they have no desire to know let alone communicate with the person. Also, the more busy we become and get caught up in our own lives and troubles, it becomes difficult to respond to every person. 

So then we filter, prioritise and respond only to those who matter. 

When we SeenZone people, we expect them to understand we are busy and yet, don’t understand when the same is done to us. 

It’s after all the virtual equivalent of looking through someone who just waved at you and pretend that you didn’t see them.

Online relationships are now operating like market forces based on demand and supply. When there is too much demand, you hike your price and when there’s none, you drop everything and take what you get. 

I want to live in a world where relationships are non transactional, unconditional and equal but when time is limited, goals increasing by the day, how can we possibly treat people exactly the way we want to be treated? 

We are always going to prioritise those who matter. But then, we only crave for attention most from where we don’t get it from. Or try to come up with our own sense of fairness to cope with the injustice we think is done to us.

So we unwittingly create this vicious cycle of doing to others what has been done to us. 

“Someone broke my heart, so why should I care about someone’s heart. Or someone gave me a counterfeit note, I just passed it around.”

In an ideal world, relationships should be unconditional and honest but we live in a world that isn’t exactly nice to those who don’t expect anything.

So as a student of communication, what do I do? I communicate. To the best of my ability. As much as I can. Even if it’s something the other person does not want to hear. As honestly as I can. The courtesy of response always makes me feel like I’ve treated people right. 

Communication solves everything. It’s fairly simple too. But we are forgetting how to. Maybe because are too distracted and confused by the clutter of all the windows open. On our phones and laptops. 

It’s as simple as a file you are working on. 

File – Save – Exit works better than turning off the machine in haste and later, realising that you lost it all. 

When we want closure, we need to close some of these windows. And open a few doors in the real world. 

Because there’s no stronger communication than a hug and a kiss. The only kind that makes us truly happy.

Artists are lonely souls 

September 19, 2017 · by sudhishkamath

Why do you do what do despite all this struggle? It’s a difficult question to answer every time I’m asked in an interview. 

To be honest, I don’t know. But that’s a boring answer. So I think hard every time.

I want to share my take on things, my experiences in life and love, observations on people, epiphanies and alternative perspectives, cathartic narratives, deeply personal secrets that I can hide in plain sight… to name a few things I feel strongly about.

But the truth probably is not about what I want to share but the why… I think artists are lonely souls. What we can’t share with a soulmate, we put out into the world as art, as stories, as films… hoping that these thoughts and feelings would reach someone in this world who feels equally passionate about these very things. Some day. In the hope that we would be understood for who we really are. Long after we are gone. 

Beneath convenient labels of appearance, race, age, gender, religion, nationalities or bank balance. We want someone to GET us. For what we truly are. 

We thirst for a connect. Maybe why I don’t GET people who aren’t passionate or have no interest beyond the superficial parameters of success, stability, societal codes, systemic standards or loose definitions of who we are. 

As people. Absolutely little nothings in an infinite expanse of time and space… with something to say. Made of the same thing but defined by our art, stories, film and this mad struggle of life itself.

The irony of finding love from options

September 19, 2017 · by sudhishkamath

What brings you to Tinder/Hinge?

I’m not a fan of the job interview format. 
So I have been meaning to write about this question and answer ritual that sucks the romance out of meet-cutes. 

You have just about managed to break the ice and start a conversation and it’s all fun till the other wants to know: What are you doing on a dating app?

I mean, what are YOU doing?

Some feel the need to clarify: I mean, you are good looking and successful, why would you need a dating app? How are you still single?

And there are some who will decide on the basis of this question and answer based interview if they want to meet you.  That’s fine except that most of the questions aren’t text conversation material. I am sorry I am not discussing relationship histories, my plans to get married or to settle down with someone I haven’t even met. For all I know, I’m being Catfished.

To be absolutely honest, I don’t even know if dating today makes much sense because nobody wants to be an option and the very basis of dating apps is that everyone is an option.

If I were an extrovert, I would walk up to chat with random strangers at pubs but personally, I would come across as damn creepy if I tried though I’m kind (of nice), pretty (smart), quite funny (funny-looking at least), very sexy (inner beauty… mentally, if not physically) and super at exaggerating. 

I don’t date people I work with and am not in school or college or an office space to have a circle. 

Since I’m still an outsider to this city, I don’t have many avenues to meet new and interesting people, let alone date them. The last time someone walked up to me in a bar and complimented me on my jawline, I played it too cool to take her number. And now I don’t even remember her face. 

That’s how much of an introvert I am. 

So I’m on dating apps out of hope to meet someone who is as romantic as I am, someone who isn’t a product of a systemic need to settle down but someone who I can grow (and maybe grow old – not a deal breaker) with, explore the world without a care about stability or societal approval. 

Someone who isn’t thinking or overthinking what’s the appropriate amount or kind or frequency of conversation, someone who doesn’t understand the modern culture of gaming or keeping score, someone who knows that life and love isn’t about choosing someone because there’s no one else available who checks out all the boxes but choosing to be with someone even if the person isn’t perfect when you have all the options in the world. Someone who values love and art over materialistic pursuits. 

Because being with his person makes you so happy that you don’t want anything else in life. Your purpose is her and her’s you. I believe that kind of love is possible to find even if rare.

I’m on dating apps to find this person who gets my idea of madness and romance and sees the connection between the two. You can’t be crazy in love without a bit of madness. 

I want to find the person who can understand the whimsy of a love letter written to a person you have never met.

I want an open mind and a clean slate to be able to say:

Dear love of my life,

I can’t say I come with zero baggage. Nor am I expecting you to. We are not kids to walk away carefree from relationships, after all. We have not been kids in a while.

But we deserve to be young again. We deserve to do stupid things together. We deserve to laugh a lot, make out like teens do and fall in love like it’s for the first time ever. We deserve another chance.

Every time we get our hearts broken, we end up carrying a box full of pieces of our heart.

It’s not a sign of weakness. It’s a sign of our strength. To love fearlessly, recklessly. A sign that we valued something, no matter how bad it ended, no matter how short it was.

It is a sign of our faith and belief in something. Faith that broke. Which is why it hurt. And every reminder would bring back small shoots of pain.

But let’s not be afraid of this pain. Pain is good. Because that’s how we know we love.

The ability to love today is a superpower. A lot of us are afraid to fall in love again because of the weight of these boxes of broken pieces we end up carrying along.

I say, let’s not fear each other’s boxes.

We’ll find a place for them. I’ll keep a closet, you keep yours. They are a treasure we will cherish for life because they are who we were. They are everything that led us to each other.

I heard barefoot running actually makes feet tougher. I’m sure the heart gets tougher too, with time. Every now and then, when we hang with someone we like, the heart starts pumping extra blood and life into our bodies. It makes us feel young again. And a lot less jaded. We lose a few years. It makes us want to hide the boxes we are carrying. At least, it makes me want to keep my hands free. So, even if you have just one hand free, we can make a start.

May I hold your hand? For a while or a longer while.

Texting tips 

September 9, 2017 · by sudhishkamath

Now that most communication has become texting, mutual respect has become quantifiable. 

You can tell when you are taken for granted. Or when someone is texting you only when they are lonely. Or need something. So these guidelines maybe handy. 

Never text someone who has Seen more than three of your messages but hasn’t replied. You don’t want to be the person who is “always texting”.

Never text someone who doesn’t bother replying to you after the third time it happens. (I keep it at three strikes, you can set it a frequency depending on your equation with the person) Let the other take the initiative. You don’t want to be the person who is putting in all the effort all the time.

If someone always replies to you late, they probably have decided that’s the frequency of communication they prefer. Follow the lead. You don’t want to make the person feel you are needy. Or too eager.

Yes, some of us text more and some of us keep it short. So do not read into volume of communication. But always pay attention to expressing genuine interest if you keep it short. Esp. if you keep it short. (When you say K, it is usually reads as Fuck off.)

Nothing lasts like mutual respect. All relationships, especially friendships today, need to be equal to be healthy. 

Don’t be taken advantage of.

Don’t mislead. 

If you are asking someone you have never met for coffee, never ask them more than once. Wait for them to ask you the next time. 

If you don’t keep it at equal, you can’t have a healthy relationship or enjoy mutual respect. 

P.S: None of this applies to the asshole best friends we made when we were too young to know what’s good for us. 😃

40: Looking Forward

February 7, 2017 · by sudhishkamath
Recap: Last July, I gave up my flat in Bombay – home to me for over two years – to hit the road and make my little films. I made Side A Side B, polished two other scripts and came up with at least four other films I want to make, in these last seven months on the road. I travelled. A lot. I clocked in over 20,000 kms around India – About 3500 kms by motorcycle and an equal number of kilometres by bus. I learnt quite a bit, especially, over the last two months. (In fact, there’s a whole series called Suitcase Tales on Wishberry that lead up to this post.)

* * *

Tonight, I turn 40.

I love to take stock of my life at every milestone.

Movies have endings. TV shows have season finales. And life has these milestones.

When it’s time to say Goodbye to a few things… you have to kill off a few people and jaded sub-plots so that you can focus on the larger theme and characters you want to focus on for the next part of your larger-than-movie and more-twists-than-TV franchise of everyday life.

A lot of things happened over the last couple of decades – all part of growing up and coming of age.

The good stuff was great. I fell in love. I fell in love with movies more. And managed to make them out of nothing but love and support from friends and family. I found friends for life who stood by me no matter whether or not I was of any use to them. I travelled the world… and more recently, discovered parts of India I never knew existed.

The bad stuff was good too. I quit the job that fed me for over a decade and a half. Got out of my comfort zone. I left home. Chennai. I met people without a moral bone in their body and then some who made me trust again. Mumbai. I got ripped off; I hit back. I had to give up my flat. Because, I didn’t have a choice. But at least, I could make an adventure out of it.

At some level, I knew that the road would be a great place to find myself.

Was I happy being this drifter? Or was I just like everybody else who wanted a normal life.

Today, I’ve realised I’m both. There’s no changing that.

I am going to be this person who will want to pack my bags and leave to discover another part of the world and meet people I have never met but also, want to be home when I’m out.

I will probably be this person who tries hard not to get attached but also crave to love and be loved again.

I will continue to believe in the feel-good I sell through my films during the day and also, embrace the underlying drama on nights I am wide awake because as a filmmaker, I know that it’s these moments of killing sadness that gives those bursts of happiness a lot more meaning and glory.

I have also been that person who moves on but often looks back to see, remember and celebrate what I have left behind.

Unfortunately though, life isn’t always a straight road. More often than not, we hit a wall.

Bang in the middle of your life, the present becomes that wall between the past and the future. We sit on it as long as possible procrastinating because we are afraid of missing what we would leave behind forever.

Progress, however, will only happen when you do make the jump, turn back and see nothing but the wall. Because now, there’s no reason to look back anymore. There’s nothing there.

I have miles to go, dreams to chase and films to make. In the first 20 years of my working life, I’ve done some very ordinary work with sparks of promise.

The good part is that I know I can do a lot better. I know my best is yet to come. I know because I learn something every day. I know because my mistakes remind me of what not to do.

One of the mistakes I have done all my life is that I have looked back.

I’d take two steps and then take a step back to revisit the past.

This year, I learnt that the time is non-linear. Which is why our thoughts alternate between past, present and future. We stay up when we scan all at the same time.

At 40, I am not sure if the past excites me as much.

Nostalgia is that charming wistful feeling of suddenly, unexpectedly, finding a torn page from a long lost book. For it to be charming, we need to lose the book. Not read it till we get bored of it. I sense that off late, my fascination with the past has become quite that. A tiring re-reading of the same old contents, even if it’s my favourite book.

For the longest time, I thought my constant was a person even if the relationship itself evolved with time. Be it Mom. A girlfriend. Or a best friend.

Today, I know my constant isn’t the person but that feeling I am capable of – the power to love unconditionally. It’s a treasure I truly cherish, one of my greatest strengths, in a world that’s forgotten to love. It’s a superpower I intend sharing again. Life’s too short to not use a superpower.

We live in a world of clutter. We are connected, yet lonely. It’s easy to get distracted, confused and lost in the sea of opinions online. Before we know it, we lose focus on what’s important and what’s not. Who’s important and who’s not. Something that shouldn’t be taking up our mind-space takes over our life.

A fight with a troll. The addiction to phones, our compulsive need to read or reply to every tweet or mention. Memes. Forwards. Outrage. Low battery. And the struggle to get the phone charged so that we can go back to the prison of social networks – the sea of emptiness with trillions of fish you can bait.

Sometimes, you bait. Sometimes, you are the fish.

But the point is – none of this matters. The people, the fights or the jibber-jabber of the online world.

If dwelling in the past was a mistake, spending time sitting on that wall of the present, checking out all this nothingness around at five am feels like a crime. Let’s face it. We live in uninspiring times. There’s nothing exciting about the present. It’s not a gift. We have shitty leaders. Bad news. And some more. Every single day.

I guess that the only way we can make a difference is by looking at what we can do to make our lives more meaningful in the context – of not the world, not the society, not even the family – but ourselves. How can I be a better me tomorrow – to the only people who genuinely care and love?

There are just a handful of people who matter. The rest will make for great nostalgia, some day.

To the ones I’ve been an asshole to. I’m truly sorry. I did a few things that I believed were right at that point in time. Hope you are able to discard all of it as the doings of a self-righteous prick when you sit down to de-clutter and remember just the good times. A lot of you have helped me and I am not the kind to forget that. No matter what our differences may have been. I remain grateful.

If travelling with a backpack has taught me anything, it’s this. Lose everything you can and take only what you need – makes the journey a lot more comfortable. And you can go further than most people can with their baggage.

I’m starting the post interval part of my life tonight. As the second half begins, I’m just glad that real life does not require resolutions. You can just decide – “OK, this is it. We’re done with this. Let’s go some place else.”

As Moira said in Good Night Good Morning: “People change. All it takes is a moment for them to start doing something. All it takes is a moment for them to stop.”

With that wall behind, I’m starting again.

From square one. So many places left to see, so many people to meet, a home to come back to somewhere along the way, a dream factory that will go on forever… and so little time.

So, I’m done looking back.

I’m going to cut down on looking around.

At 40, I’m looking forward.

This part of my life is called The Backpack

June 10, 2016 · by sudhishkamath

15 months ago, I quit my job as a journalist/film critic.

I didn’t give up my two bedroom flat.

It was a huge leap of faith forward.

I knew all my life savings – provident fund, gratuity and insurance – would disappear within a year. I was hopeful that I would get paid for the work I had done over the last three years. Except that the producer disappeared when it was time to write the cheque.

Shit happens. And, Murphy is the plumber who doesn’t show up when your flush is down.

Everyone in this town has stories of struggle. I’m pretty sure I’m not the only one who got taken for a ride. Blame it on my thirst for adventure. I actually don’t mind exploring where the ride has brought me today.

My last film X Past is Present was quite a mad experiment that involved collaborating with ten other intense, crazy, talented storytellers. We had made a film like none other – a serialized anthology – one story that tried to build a bridge between different genres and disparate styles of storytelling. It had taken up almost three years of my life.

I spent the next two months catching up with films at festivals in Goa, Kerala and friends in Chennai. I caught up with three films that reinforced everything I had always believed. Taxi – shot in a car rigged with cameras in a city the filmmaker was banned from filming. Victoria – a single shot film shot in three attempts over three nights. Tangerine – a film shot on an iPhone 5S.

Turning 39 in February, I had to take stock of my life and where I wanted to go.

There were a bunch of movies I wanted to make, stories I couldn’t wait to share with the world. But I hated the wait.

I am not a fan of the “business model” where artists create something for a buck, middlemen price it at 100 and later, crib about the market or the film.

One of the reasons I loved Begin Again was because it was a musical Fuck You to the system and the middlemen.

The talented Anjali Patil, one of the first friends I made in Bombay became a monk. The actress gave up her flat and went to the mountains and the monasteries. When I met her earlier this year, she told me I should try it.

She told me I would save 50,000 a month on rent and could use that money to travel instead. Just a couple of months earlier, my fellow collaborator on Good Night Good Morning, Seema Rahmani who had already planted the idea in my head. Don’t get attached to the house, she said.

Now, I had moved to Bombay two years ago.

Before that, I had spent an average of three lakh rupees and less than a month of shoot in all for three films put together (X was a lot less – I shot my anchor portion of 40 minutes of the 105 min film for 80,000 rupees). Yes, less than 30 days. All films put together. But here, I had spent 10 lakhs on just rent over the last two years.

I was waiting for cheques to come and projects to happen. With just a year to go before I turned 40. I had made only three films in 17 years (since I wrote the first draft of That Four Letter Word, one month before I took up my job at The Hindu).

Considering that I have always written films I could shoot in two or three weeks, it was actually possible to make four feature films in a year with a plan in place.

Dave: But movies cost millions of dollars to make.

Robert K. Bowfinger: That’s after gross net deduction profit percentage deferment ten percent of the nut. Cash, every movie cost $2,184.

I put up that plan in February and drew up a slate of films I could make this year.

Long story short, I’m shooting the first one – a musical – in Shillong, Guwahati and on a train to Bombay between July 4-9. Hopefully, a Hindi adaptation in Chandigarh in September.

I have a silent anti-suicide film planned in Istanbul and Tokyo. Elsa and Allen, we must do it.

I want to shoot a surreal psychological thriller in the desert and highways of Rajasthan.

There’s the long due sci-fi thriller Ek Nayi Duniya that demands a remote island in the middle of the Indian Ocean. Maybe I could crowd-fund it.

I’ve lived with most of these scripts for months. Some, for years. I’m done waiting to make these films happen. I’m going TO them.

I’ve had enough of penny-wise pound-foolish producers who always have a budget for marketing but none to pay the artists. So, if the only way to make films happen is to give up the flat and be a movie monk, so be it.

Hope to find equally mad travellers on the road.

Yes, people. I’m moving out of my comfort zone. My flat. I couldn’t throw a house-warming party but there will be a house burning.

I’m going to live out of a suitcase backpack for the next six months. Or a year.

If I can do 1748 kms across South India on a motorcycle in a week, maybe I can do 10,000 kms over the next year with trains, planes and automobiles. Or so, I hope.

I love the road. I love movies. I love exploring. I love adventure. I love sharing stories.

So watch this space. This blog will be my new home. I promise to be more regular here. I will have a lot to share over the next few months.

I might be in your town. Even otherwise, feel free to invite me. I’m teaching a fiction writing course in Bangalore in the middle of all this. All I need is an excuse to visit a different place.

“Better to go out and do everything you wanted to do at 40 than regret not doing it at 50,” a friend told me earlier this evening. I’m not 40 yet.

But when I do turn 40, the road will be a great place to find myself.

The Hateful Eight: Not just Black & White

January 19, 2016 · by sudhishkamath

Hateful Eight

When Quentin Tarantino’s eighth film begins with a brown wood-sculpted Jesus on a black crucifix, mounted against white snow-clad mountains, we know that the stagecoach trying to get a blizzard off its ass would set the stage for a story about persecution.

The writer-director wastes no time when the white bounty hunter John Ruth, the Hangman (Kurt Russell) who has hired the stagecoach, points a gun and says “Hold it, black fella” when Major Marquis Warren (Samuel L Jackson) a black traveller approaches to ask for a ride to Minnie’s Haberdashery, where they are headed.

The Hangman has a prisoner, Daisy Domergue, who greets the Major with “Howdy, Nigger.” When John Ruth tells her that “darkies don’t like being called niggers… they find it offensive” she says: “I’ve been called worse.”

And right from Scene 1, the politics and the race/gender equations in Tarantino’s cold West Wyoming are clearly defined. A white bounty hunter might even team up with a black one and consider him an equal but the woman is the punching bag.

There’s a reason film criticism needs to be and is taught around all film and journalism schools around the world. Because depiction is not always endorsement and spotting the difference between a character’s beliefs (and this includes misogyny) and the storyteller’s requires some understanding of cinema, politics and closer attention to how the arguments play out, especially in a film that’s designed to be a political commentary on persecution. And discrimination that prevails in America.

The Hateful Eight is a 12 Angry Men-esque narrative that slowly tries to persuade us away from our most hateful judgments. Let’s take a closer look at the Eight and understand their character graphs, just so that we can grasp the politics of the much-hated auteur’s heavily misunderstood complex masterpiece.

Major Marquis Warren: A black trigger-happy bounty hunter who once fought against the confederate army in the Civil War as a part of the Union, is now an outlaw trying to fit in. The character (Tarantino named after Hollywood screenwriter and director known for his Westerns) carries with him the Lincoln Letter now part of legend. Of course, it’s mythical. He wrote it and is protective of the lie he has created. To him, it’s real. He is willing to punch Daisy when she spits on it but later admits it’s not real when he gets called out and explains he made it up because it got him on the stagecoach. He’s willing to trust the most racist of the bunch, the Lost Cause Southerner Chris Mannix, former when it comes to a life and death situation. And by deed and action makes the white supremacist buy his Lincoln letter.

John Ruth, The Hangman: A white misogynistic yet patriotic law abiding bounty hunter who believes in bringing prisoners to justice and lets in a black traveller only because he respects the reputation of the man having heard stories of Marquis being pen-pals with Abraham Lincoln himself. He feels hurt when he finds out that the Lincoln letter he admired was not real. He loses to Daisy. She is the reason he dies.

Daisy Domergue: The strongest and deadliest of the eight if you consider it took all the other men to come together to bring her down. She might get beaten black and blue by both the above men but she’s the one smiling through it all because she’s got a secret. She’s unbreakable even with her hands cuffed almost throughout the film. She is the reason they all die. It’s brilliant subversion. To put a character in chains and make her the supervillain in a universe full of villains. The only thing she dies for is justice. By hanging, as John Ruth would have liked her to.

Chris Mannix: Was on the other side of the law fighting for a rebel renegade as a part of the Southerner’s Lost Cause. His father headed a outlaw gang called the Mannix’s Marauders but now he’s supposed to be the new Sheriff of Red Rock, where they are all headed. Is he lying? Lying or not, he wears his ideology of white supremacy (“When niggers are scared, that’s when white folks feel safe”) as his badge of honour refusing to believe in the Lincoln Letter only to slowly realise that the only one who cares for justice he’s supposed to deliver as the new Sheriff in town now is the black man. Like the Lincoln Letter, it does not matter if he’s the new Sheriff or not, what matters is that he decides to embrace justice and kill Daisy by hanging when it’s just easier to shoot her to death and thereby, also embraces the new world order – or what Lincoln would have liked. He’s the antagonist our anti-hero Marquis has won over by end of the film.

Senor Bob: A Mexican pretending to be the caretaker of Minnie’s Haberdashery but hardly convincing. He turns out to be part of the Domergue gang but within the gang, he’s relegated to subservient duties of attending to horses in the stable and making stew. His character exists just to remind us of the outcasts and how they were treated on an every day basis. Minnie was a black woman facing discrimination herself and yet she despised Mexicans.

Oswaldo Mobray: Whose first lines describe the world as a “White Hell” for a black man (Incidentally, the final chapter is called Black Man, White Hell) and that’s our first clue that this was going to be judgment day. Minnie’s Haberdashery could well be a purgatory where the sinners have to pay for their sins and redeem themselves. Oswaldo claims to be the hangman of Red Rock. Again, we don’t know if he’s lying at first but he sure defines justice in a civilized society as opposed to frontier justice. “The real difference is the hangman… It’s my job… The man who pulls the lever that breaks your neck will be a dispassionate man… that dispassion is the essence of justice. For justice delivered without dispassion is always in danger of being not being justice.” And this could well be Tarantino’s definition of delivering dispassionate justice to Daisy.

Joe Gage: “Looks can be deceiving,” as Gage warns John Ruth about all the characters in the film and we realise that it’s true. Everyone is pretending to play a role. Michael Madsen has the least to do in the film and most of his action is offscreen – like poisoning the coffee. He wants to go home to see his mother for Christmas. And as Senor Bob is playing Silent Night, Joe Gage is poisoning the coffee… in case you thought the Jesus Christ on the crucifix was just some cool image to begin the movie with. This is also probably the weakest character of the bunch because it’s almost an extended cameo.

General Sandy Smithers: Fought the Civil war for the Confederate army opposite Northerners, in the same battle as Major Marquis Warren. And the two have unfinished business… which Warren settles after telling the General how he killed his son with a graphic story that forces the General to point a gun at him. Thus giving him the licence to kill. As if dealing with gender, race, politics, religion and identity wasn’t enough, with Sandy Smithers throws age into the equation to represent old-school white pride and breaks it down with a story about a white man made to suck a black cock. And just like that, Tarantino throws in sexuality into the mix of issues America is facing.

These eight villains will be judged in White Hell that used to be good old Minnie’s Haberdashery – a world in the middle of Wyoming where Americans hung out together and kept Mexicans away. The eight villains get what they deserve. Marquis who forced a white man to suck his cock, gets his dick shot. Daisy gets death by hanging. John Ruth the misogynist gets death and his hand yanked off his corpse. Chris Mannix embraces the Lincoln Letter or the hope it represents and the four passengers die brutal deaths for the cold-blooded massacre they staged at Minnie’s Haberdashery earlier that day.

The film ends with a reading of the contents of the mythical Lincoln Letter. And endings are always the key to read the politics of the film. My critic friend Raja Sen who read the early draft of the script says that the Lincoln Letter was real in the first draft of the script. But here, it had changed. When we first see it, we see it with the glow we saw around the briefcase in Pulp Fiction. It’s seems magical and surreal because it is. That letter is hope.

Tarantino had revised the draft to make it fictional to make it all the more poignant especially after the controversial killing of Michael Brown. Tarantino was among the most vociferous of protestors to call out institutional racism in the police force. And suddenly, the brown Jesus at the beginning of the film could be Michael Brown. Hence, we can assume that Mannix is indeed the new Sheriff.

And what’s most important is that Mannix bleeding to death wants to read the letter he knows is not real.

Here are the contents of the letter:

I hope this letter finds you in good health and stead. I’m doin’ fine. Although I wish there were more hours in the day. There’s just so much to do. Times are changin’ slowly but surely. And it’s men like you that will make a difference. Your military success is a credit not only to you but your race as well. I’m very proud every time I hear news of you. We still have a long way to go. But hand in hand, I know we’ll get there. I just want to let you know you are in my thoughts. Hopefully, our paths will cross in the future. Until then, I remain your friend. Ole Mary Todd is callin’. So I guess it must be time for bed.

Respectfully,

Abraham Lincoln

Mannix likes the ‘Ole Mary Todd’ touch. The most racist of the younger bunch of the eight has been “disarmed”. The scripted Lincoln Letter has spoken to him. It has served its purpose.

As the credits roll to “There won’t be many coming home,” we realise that Hateful Eight is Hollywood’s own cowboy Quentin Tarantino’s scripted Lincoln Letter to white supremacists.

It’s also significant that he has crafted his Lincoln Letter not with classy elitist arthouse idioms but has embraced his love for the widely looked-down upon forms of art – the grindhouse pulp-fiction narrative – that acquired high art status only after he put his stamp all over it.

The big difference between how Robert Rodriguez treated his Grindhouse film Planet Terror and how Quentin Tarantino treated his Death Proof was that while Rodriguez simply recreated the exploitative genre of B-movies, Tarantino embraced it with his sensibility and treated the B-movie a touch of class. He was bringing the untouchables into the mainstream. The perverse, the exploitative, the gory, the violent, the foul-mouthed were given the legitimacy of a celebrated filmmaker’s signature.

If his earlier films tried to borrow from all his influences, The Hateful Eight borrows from his own. He recycles more than one moment here but that will make for an entirely different essay. While most filmmakers choose a white canvas to define black, Tarantino here has chosen a black canvas of all things dark to define white. I’m not talking race here but Tarantino’s spin on noir and contribution in defining neo-noir.

The point I want to leave this piece is simple.

If The Hateful Eight brings out your contempt for gore, tone, violence or language, maybe you are guilty of every thing you accuse the racist, the sexist and the fundamentalists of: Discrimination. Also, persecution.

You don’t become intellectually superior than another class of people just because of what you like to watch. Simply put, if you are an art-Nazi, The Hateful Eight is Quentin Tarantino making you suck his pecker for close to three hours.

“Starting to see pictures, aint ya?”

(This post will be updated after a couple of more viewings in the future given that there’s so much in this film waiting to be discovered. If you liked this piece, you might also like my dissection of Inglourious Basterds)

X – Past is Present XPlained

January 11, 2016 · by sudhishkamath

It’s always tricky making a puzzle film because you assume that the audience is smart and/or care enough for the characters to put it together… but wait, this is not to say we made a perfect film. Far from it. Because the execution sometimes gets in the way. But we will let you judge that after you’ve seen it again.

Right from when we started editing and putting the film together, we decided we didn’t want to use supers to tell you which chapter happened when and in which city because we wanted YOU to put the puzzle together. This is like a Lego narrative but you have to put the chapters together.

However, now that the film is out there for all to see (available legally on Spuul), it’s time to let out a few clues and secrets on how the chapters are all inter-connected and why people who have been seeing/judging them as stand alone “stories” missed the bigger picture.

The difference between X – Past is Present and other non-anthology films made by multiple directors is that this movie employs a serialized narrative, not an episodic one. Which means that the chapters are inter-dependent and inter-connected in more ways than one.

So here are the secrets to put the puzzle together. Trust this would help you enjoy the film all the more the next time you see it. In the order, the secrets unfold:

1. In Hemant Gaba’s 17 Presents, Shireen tells young K he’s late as he gets into the car and follows it up with a question: Where’s the watch I gave you?

This is the watch he loses at Aunty’s place during Nalan Kumarasamy’s Summer Holiday. Hence the quick memory flash of Aunty taking off his watch.

There are more flashes that connect this episode with Nalan’s – especially his “First time” with intimacy during the dance to the pop song ‘Tonight’. And this is the song that’s triggered when K hears the mystery girl call her Mom ‘Shireen’ in the opening scene.

2. In Anu Menon’s Oysters, K pitches to a producer in London the story he was inspired from his days in Kolkata… Pratim D Gupta’s Eight to Eight, where he shared a room with a girl he never met.

There are more flashes that connect this episode with the present day narrative when he walks into a girl changing and she asks him: Never seen a girl change before? Not like this, he says because the last time he saw a stranger change, he was filming her.

3. In Rajshree Ojha’s Biryani, K gets a call he disconnects as he lays the table. We hear his phone beep till the person calls him on the landline confirming his wife’s biggest fear – that he’s cheating on her with Ayesha from Abhinav Shiv Tiwari’s Audition. This is mirrored in Abhinav’s episode with similar imagery with him texting someone else – another actress. Both these women drink wine as does Sanjana from Sandeep Mohan’s Fin. K is constantly replacing the character he wants with a different woman. He loves to make Biryani and little does he know how a secret from his childhood was buried in Biryani in Nalan’s Summer Holiday. Also hinted in this chapter is karma of another deed he did in Suparn Verma’s Yaadein when Rija tells K she got rid of the child.

4. In Pratim D Gupta’s 8 to 8, we see the girl after K leaves and see the whole conversation. Because this is not part of his memory. This is the film he made. We know it’s a film he made because we see the same shots being screened at the beginning of Sandeep Mohan’s Fin. He leaves Kolkata because his father died (something we learnt earlier in Anu Menon’s Oysters as he shares his story with Sophie). He has romanticised his stay and turned it into a movie because of the poems exchanged. One of the lines from the poems exchanged end with: Some relationships are best left in closed books. This is why K keeps his relationships in his books and movies. He reveals to the mystery girl that if he met the girl, he would have settled into the mundane boring routine of life. And films are the What Ifs of the things you never got to or will do in life.

5. In Q’s Ice Maid, we see K is tripping on MDMA after all the women have left him at the end of Abhinav Shiv Tiwari’s Audition. He connects himself to Devdas except that as he’s trying to write he’s realised that Paro and Chandramukhi have become the same person for him. His tendency to replace the mistress type with the wife has gone on too long that they have become the same person. He is truly lost. Hence all girls are played by Rii. Everyone he meets in life are the same person… a realization he shares with the mystery girl in bed when she asks him about Ice Maid, a film she had auditioned for. Ice Maid is also K’s last film. He hasn’t been able to write ever since. He’s trying to find out who is he haunted by. Who is the ghost? Woh Kaun Thi is the script he’s trying to write in the present day timeline but he’s blank. This is also the arthouse climax of X Past is Present. If you stop watching the film here, it’s a story of a filmmaker who lost his mind and can’t tell between fact and fiction or girls in life and movies anymore.

6. In Sandeep Mohan’s Fin lies the Happy Ending to the film most people would have missed. But the key to the secret lies in the opening lines: “Do you believe in God? Science? Time-travel?” These are the exact same lines at the end of the movie when K finally gets the closure. Yes, it did seem like mental time-travel and not physical time-travel but if you want to believe, K would have gone back to the happy person he was when he met Sanjana. As mentioned earlier, the film at the beginning is his first film “Eight to eight” and safe to assume he made this movie because of the London producer from Anu Menon’s Oysters.

7. In Abhinav Shiv Tiwari’s Audition, he sends a text meant for Heena to Ayesha at the end of the episode and we finally understand how he moves on and replaces women with the exact kind he’s used to Rija, Ayesha and now Heena. He doesn’t want to have a baby with Ayesha because of his baby issues in Rajshree Ojha’s Biryani and Suparn Verma’s Yaadein. This is a broken man who is constantly running away from anyone trying to tie him down. When he tells Heena that all Woody Allen movies are the same, she shoots back a question: Love fades? Not because all Woody Allen movies echo that sentiment but because K believes that too. And this is also why he believes that every filmmaker including himself has only one story to tell, something he shares with the mystery girl in the present day timeline.

8. In Suparn Verma’s Yaadein, we see a younger K voiced by Anshuman Jha pleading with Avantika to not leave him. He caused an accident he’s haunted by in the dream within a dream and wakes up with a pregnant Rija lying next to him in bed but this time K is older (voiced by Rajat Kapoor). Hence, it’s easy to deduce that K married Rija because he didn’t want to lose another woman because of his fear of commitment. This was also his longest relationship. We know this because Rija gives him a Patek Phillipe watch on his fourth anniversary, one he never wears until she left him. This is the watch he loses in the swimming pool in the present day timeline. Also, at the end of the chapter, we realise that the last thing Avantika said before the car crash was that she was pregnant. She says: You ll kill OUR baby. He had no idea she was pregnant with his child. Which is why Rija aborting the child makes him feel like a baby killer. He jokes about killing a baby in the present day timeline and instantly regrets having made that Bollywood joke. The owl necklace Avantika wear is the car is the exact same necklace the mystery girl is wearing in the room if you watch carefully.

9. In Raja Sen’s Knot, we understand K’s fear of knots – he had a bad experience in Nalan Kumarasamy’s Summer Holiday when Aunty tied him to the bed. He has spent most of his early adult life obsessing about his past. Vina is the one who made K realise he is not the kind to be tied to a corporate job by breaking him down for wholly different reasons, of course but the power trip made him realise he had to change careers and he took up a job in Kolkata as a sound engineer in Pratim D Gupta’s Eight to Eight. We also see how similar Vina is to Sanjana from Sandeep Mohan’s Fin the way they twirl their hair – identical shots. At some level, he likes women who call the shots but also runs away from them when they try pinning him down.

10. In Nalan Kumarasamy’s Summer Holiday, we realise how he lost the watch given to him by Shireen. At the beginning of the chapter, he realise how he is a motherless child and had a Dad in the army and that’s probably why he’s never really learnt love. An incident in the village had scarred him for life and broken his trust in women. The watch stood for time, faith, trust, innocence and life itself. The film was born out of this episode. When Kumararaja came up with this story, we knew this had to be the climax and we had to create a character who was a product of this chapter. This is also the only chapter apart from the present day narrative where we get to look at K directly. In all other chapters, we look at the world through his eyes, we look at the people around him. All other chapters employ the first person narrative and he himself is blurry or out of frame. But at the beginning of Summer Holiday, we see the young K come into focus from an out of focus frame and he takes his wayfarers off. This is who he was before he became the K behind the wayfarers in the present day timeline.

11. In yours truly’s Past is Present, it’s easy to tell who the woman in the lift is even if you don’t recognise her voice. It’s the woman he has had the longest relationship with, one he calls every few months drunk, the one whose watch he started wearing after missing her. The one who loves him and let him go because she has accepted him for who he is. A nomad. A drifter. She has set him free because she knows he has issues. Luckily for K, he meets someone who makes him believe with a series of co-incidences all in one night. One girl had triggered off memories of all the women in his life. At which point does co-incidence become divine design? At which point does a man of science become a man of faith? When the girl gives him a watch she calls a “time-machine” we can either respond to this as a person of science or a person of faith. If you believe in a larger God, maybe K went back in time (grew younger again mentally or physically, whatever you are comfortable believing) to that place he lost his watch/time/faith/trust/innocence/life and got it back with closure. If you believe in Science, maybe a series of co-incidences were what a man under influence needed to introspect, turn back the car to the place he lost his watch/time/faith/trust/innocence/life and got his closure and the choice to use a younger actor is a mere creative choice to show the boy get his watch back.

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