Monday, 25 June 2018

Interview with filmmaker Nick Faust

I Can't Sleep will be screening at the Straight Jacket Guerrilla Film Festival

*How did you get into making films?
I’ve been trailing behind the movies my entire life. It's mom’s fault. Back in the late fifties, she took me on her arm to see Disney and Jerry Lewis pics. All through high school I reviewed movies with a byline for the Evansville Press, our local paper —  Evansville, Indiana, where I grew up; a medium sized city at the southern tip of Indiana, the middle of the US midwest. 

Before that, around eleven years old, I rode my bike to the University of Evansville every Friday night to attend their foreign film series. My parents thought, since it was the university, why not?  By this point in my development, I’d read all the cinema books at the library. HITCHCOCK/TRUFFAUT, over and over (probably because it had a lot of photos), and a big book by Parker Tyler on foreign films and sex in the cinema, also with photos!  

So, eleven, twelve, thirteen, I was viewing Truffaut, Antonioni, Fellini, Bergman, Kurosawa, Godard, Rossellini, among others; along with the usual: Elvis movies, William Castle, Corman’s Poe series, musicals, roadshow epics, older Hitchcock pics and other classics when I could catch then on TV: everything, really. Loved Tarzan movies - actually, I loved the almost completely naked Boy a lot, even before I understood why. Peter Lorre as Mr. Moto, James Dean in REBEL WITHOUT A CAUSE; THE SEARCHERS, and all sorts of John Wayne war movies were constantly played on television. Mom would not, for some reason, let me watch horror movies on TV. Later, though, I happened upon CURSE OF FRANKENSTEIN and HORROR OF DRACULA in a double feature down town, and that as they say was that.  

Back then, a movie was a movie; I didn’t make a distinction between what I saw at the university and elsewhere: LA DOLCE VITA or KISSIN COUSINS, they were images with sound on the big or little screen. Can’t remember what I thought LA NOTTE was all about at twelve, but I don’t think it really mattered. The images carried me away, hypnotized me. 

By high school, some basic ideas about the movies had formed inside my head. The reviewing gig happened because - late 60s now - so called “youth films” had emerged and the older movie critics in town were at a loss. They couldn’t see any difference between THE WILD ANGLES and EASY RIDER. I loved both and could, in a very elemental way, discuss the difference. So fate made it possible for me to represent the “youth” of Evansville at the movies. 

Today, one can get a film degree in college, but in 1972 a theatre degree was a more practical option for someone like me. Making movies meant buying film, developing costs, equipment. The desire was there, but actually making a movie was not as easy as it is now. Consequently, I received a BFA in Theatre: Acting and Directing at Webster University, and an MFA in Directing at Tulane. Following that, I was a professional theatre director working all over the United States, and have been for nearly forty years. 

Throughout my career, I collaborated with a lot of writers - playwrights. Over time, these playwrights started working on screenplays. I worked with them. 

So years after mom carried me into the Grand Theatre in Evansville, Indiana to see Disney and Jerry Lewis, I was finally able to apply a lifetime of film knowledge and theatre experience to the movies; the work of others, and eventually my own. 

*What inspired you to make your movie?
I CAN’T SLEEP came out of a period when I owned Video Alternatives, a video club on Magazine Street in New Orleans. I had acted in a number of short films made by others, and had been writing with a playwright, screen treatments for a producer of exploitation movies in Hollywood. This producer would send us ideas for different types of violent murders that she thought would sell. No story or characters. Just lists of atrocities. One that made quite an impact was - I kid you not - “What about a killer baby? Audiences love stuff like that. Just don’t make it funny.” Sharing this with the people who worked at Video Alternatives, we began to make up our own list of atrocities, as a sort of joke. When the lists became more and more extravagant, the idea to actually make a movie that was somehow based on this process came about. I conceived the main storyline: a severely depressed screenwriter facing an impossible deadline, unable to work because his wife had left him for another man. Josh Nagel, an employee and friend, and I composed different episodes, then later played around with their order. I got hold of two Canon XL1s, plus other equipment and in a flurry of creative energy shot the film in about six days. 

We shot mainly in my house and around my neighborhood. A few scenes necessitated space bigger than my living room, so I rented a warehouse for two nights. This was August in New Orleans. The warehouse was not air conditioned and we shot there one night for an uninterrupted ten hours. But somehow that contributed to the film’s overall effect. 

*How has your style evolved?
On stage I developed a style that draws mainly from Peter Brook’s THE EMPTY SPACE, where the immediacy of a theatrical event, within the context of particular material, dictates staging and theatrical conventions. Brook warns against choices that follow the excepted way of doing things merely because that's how it’s done. Style, therefore, does not conform to any external rules of craft or tradition. Craft exists to serve our particular need at any given moment. The sky’s the limit. Use the rules to break the rules. 

So any description of style - an overall signature style - becomes difficult because there are so many other factors that go into it. 

Frankly, I don’t think about style as much as I think about what it is I’m trying to do, and how I want to hold an audience’s attention. 

The kinetic effect of montage seems to be a fairly consistent element in what I’ve done so far. But this is not really by design. 

Have always figured, since I’m shooting digital or HD and don’t have to worry about film and its expense, once I start shooting actors in a specific location, a shot list is merely a point of departure. With a specific idea for the scene locked in my head, it makes sense - to me - that I let inspiration motivate what and how I cover a scene. If anything at all hits my eye as unexpected, interesting, unusual, or just odd, I photograph it. Why the fuck not?  Actors tend to relax the more they go through a scene; most enjoy the chance to play things more than just a few times. Instead of waiting around, everyone is up and working. We’re all exploring the material. 

I never concern myself if the unplanned footage will cut together. That’s a problem to be solved later. Besides, with a little effort and ingenuity, one is always able to connect the best bits. 

I can end up with a lot of footage to sift through, that’s true. But as far as choices are concerned, I’d rather have more to choose from than not enough. 

What happens, then, is the editing process really does become the final rewrite of my script. I rediscover what it is I was trying to make or do. From my imagination to the page; words focused and refocused into a script; pages broken down into shots that are photographed. From infinite possibilities in my mind’s eye, to the finite reality of the footage, my ideas evolve and become more focused. This takes time, certainly. But time is often a good thing. Over time, what’s in your head gives way to what’s on the screen in front of your eyes: you begin to see what you meant in the first place.  

This is no doubt why montage appeals to me more than anything else. I write with images; each visual progression, like a sentence, has a subject, verb, and predicate. The montage is a train of thought that, I hope, the viewer is able to follow, from beginning to end. 

Of course, in I CAN’T SLEEP, there’s one long monologue shot from a single angle, continuous, even though I cut to reactions a few times. I shot the monologue this way because there really didn’t seem to be any reason to cut out of that particular point of view. Story-wise, the locked down camera creates a feeling of “real time” that corresponds with the character’s desire at the moment to be taken seriously. So I plant the camera and let the actor do his thing. And I really like that actor and what he does. 

My point is, one does what seems right in the moment. A predetermined concept would not stop me from braking my own conceptual rules if that’s what could better communicate the essence of something to the audience.  I want to reach out to the viewer, and sometimes that means disrupting the rhythmic flow so the viewer doesn’t become complacent. 

The editing rhythms of a film carries the viewer’s interest over and above content.  Watch any movie directed by Terence Fisher, and you see what I mean. 

Am I answering the question? 

*Tell us any strange or funny stories while making the film?
There’s a scene in the movie where a bunch of guys carry a screaming girl into the bushes to rape her, I suppose. We shot that just outside my house, late at night. The actress didn’t actually scream, for obvious reasons. 

Well, it was during this scene when the police drove by. They stopped to watch the guys carry the girl into the bushes, and finally, before I could say “cut," with a mixture of confusion and concern, they stopped the shot to ask what was going on? We told them we were shooting a student short. They laughed and drove off. Never once asking the actress if that was true!  

The night we shot the lengthy scene in the warehouse, it was insanely hot and humid. Actors and crew were edgy, to put it mildly. I shot the scene in sequence, with two cameras; I let the actor with all the physical action figure out his business on camera, without rehearsal. No matter what, we kept rolling. With the two cameras - changing position for each dramatic beat - I wasn’t worried about cutting. What I got was, within the context of shooting, genuine.

The actor taped to the chair, Scott, is someone I’d worked with before. I knew he would be adventurous and not in any way prudish over what happens. He’s a terrific actor. 

So we’ve been shooting for hours and have finally reached a middle point in the scene. The taped up actor is alone, his fate has finally becomes evident; hysteria mounting. Coaching from off camera, I pushed and pushed Scott, yelling, “do it again … AGAIN” and so forth, over and other. Scott’s performance became more and more urgent, gut wrenching, horrifying. Out of the corner of my eye I could see the crew horrified - by me. They clearly thought I was torturing Scott to get good footage. Scott’s cries as he twisted and turned, nearly naked on the chair, was all the evidence they needed. I figured at any moment they would stop what was going on! 

Finally, I let Scott’s character exhaust himself. As the scene came to a moment of silence I said, “cut.”  

There was a long pause. 

Then Scott looked up, without missing a beat, a smile on his face, “hey, that was pretty neat, wasn’t it?  Can I take a break now? I have to piss.” 

It was the smile of a good actor pleased with the work we’d done. The crew spontaneously broke into applause. It was a funny moment, also rather moving. Scott was surprised by the emotional warmth that came through the physical heat that night. Which was good luck for me because after the break, his real trial by fire was to be shot.   

They still thought I was a sadist. But, hey, what the fuck …’s a sadistic scene … ! 

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
The Misrule Film Movement and Pink8 Manifesto help to sweep away all those preconceptions that get in the way when it comes to making a movie. Just point the camera at the object of interest and shoot. What else is there? 

Well, a lot, actually, but within the context of these liberating guidelines, the basic elements rule. That seems to be the point. 

Besides, Fabrizio’s movies, particularly, are so good and so confidently conceived and composed — and so personal without announcing it to the world — watching them and speaking with him gives me the confidence to go out with my camera and just fucking do it. Stop thinking about it, stop planning to do it; just fucking make something. 

I CAN’T SLEEP was shot and edited a while ago, but I kept it on file because it seemed to upset people who watched it. What started as a horror movie morphed into something else entirely: a crazy, crude meditation on the creative process; an artist’s imagination pushed into the darkest corner of creation. A lot of people that I showed the film to expected a straight on horror romp, I guess. When it became clear it was not that, they either thought it was terrible or immoral. 

Now, I share it with you, hoping of course that someone likes it, but not afraid if that doesn’t happen. That shift of attitude is a direct result of Fabrizio’s Pink8. 

Since, I’ve been working on other pieces. THE CONQUEROR WORM and MEDICATED MONTAGE, both shorts (which does not correspond with Pink8, I know), have been like work outs, preparing for the next big one. 

*What can we expect from your next film?
I act as well as direct. Over the last decade I’ve been in a number of movies produced by Big Biting Pig Productions here in Kentucky, where I now live, and have done voice overs for others. 

This coming July and August, I’m going to be playing two different roles, written specifically for me, in Matthew Rivera and Evan Sennett’s new film, not yet named, which is part of their LUCKY LUCIFER series. We’re shooting in Toledo, Ohio and Louisville, Kentucky. They continue to work on the script, so I haven’t seen it yet. But I’ve got some idea of the two roles. Amusing and perverse. Both, my middle names. 

Have also acted in Thorkell Ottarsson’s feature, SUICIDE SERVICE, shot in Norway over a year ago, soon to be distributed in Europe. Thorkell has another feature film planned, with me playing a mad - as in, insane -  theatre director. He told me, “this will be the bastard Nick.” Okay! 

In the meantime, I’m writing what will probably be a short about an older man - surprisingly like myself - thinking back on a sexual encounter he had in Quebec, Canada, with an older man, when he was fifteen years old. DEATH IN VENICE - book and movie - play into it somehow. The sexual memory will be explicit, arousing, and not in the least bit tragic.  In fact, it’s a happy memory as far as the old guy is concerned, which so far, is the point of the film.  

I’m going to play the old guy, myself, and I’ve cast the older (younger) actor who will be the erotic memory man. Am talking my daughter, Erin Evie, into being the director of photography.    

Interview with filmmaker Fernando Ramos

Awakening City will be screening at the Straight Jacket Guerrilla Film Festival

*How did you get into making films?
I began as a Film Buff. After I started working  as Scriptwriter and Film Critic. Then I started directing.

*What inspired you to make your movie?
The fight to preserve and occupy public spaces as a way to enforce citizenship and democracy.

*How has your style evolved?
I am on my second movie still, so it is hard to answer. I am in Constant evolution.

*Tell us any strange or funny stories while making the film?
We were followed by some people from Fortaleza City Hall while shooting. I guess we have bothered the mayor with our Film, which was totally against his intentions to destroy Portugal Square.

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
I am not Aware of such movement and manifesto.

*What can we expect from your next film?
Lots of risk and bold creativity, in order to detour budget limitations.

Interview with filmmaker Allabhya Ghosh

The Thief will be screening at the Straight Jacket Guerrilla Film Festival

*How did you get into making films?
From a very young age, I like to think and telling stories.I was famous in my primary to high school friends for the every day new stories.The stories come from my life.In my childhood, I used to live near the Zamindar palace at Tollygunge in Kolkata.I never entered the palace;But my imagination was very comfortable to revolted around the garden and in the beautiful palace.Those imaginations become my everyday story. My stories and fantasy were looking for methods of expression.In those days a bioscopewala was very popular among children.I got confirmed that I would make myself a bioscopewala. But the dream was broken.I was unable to create a projector with useless spectacular spectacles.But I made a pinhole camera and was start dreaming with antagonistic images.

*What inspired you to make your movie?
This is not a story of a day.From early days I am very home keeping.In my childhood, I used to play wedding game with dolls like a girl.In fact, by the doll I arranged for family drama, parade and fight in those days.This was the first methods of my dramatic expression.After that, I start writing, drawing & clay modelling was interested in art, music, drama, and literature.In group theatre; Joined.When I was acting film, television and opera theatre; Writing script for others; I was not satisfied.I started the children's street drama group.My friend wanted to make a short film on my story.I was not only a screenwriter of his film, I helped him in direction, shot division, music design, make-up, artist selection and other activities.The film was selected at the Kolkata International Film Festival.I was surprised; I had a small credit in the credit list.I left all my jobs and decided to make my own movie.I became more poor.But among the difficulties, I have succeeded in making my debut film "The Thief".Life inspires me to tell the story at any cost through any art form.The demand for large canvas and composited art inspired me to make my own movie.

*How has your style evolved?
The style of my film depends on the story or the subject.I have no definite style. panning, tracking or static camera, dialog or without dialog, music or without music, silent or sound in my film give importance to the storytelling.I look forward to a new style of storytelling for my every movie.I like versatility in my films.I am not grammatically correct. My filmmaking style comes naturally, spontaneously with its love of art, with the passion of the heart.

*Tell us any strange or funny stories while making the film?
In a scene of my movie on the bridge when my film's hero lost his best friend; And the heroine lost her boyfriend;According to the script, I was needed rain tears to make the scene heavy.The date of the shooting was a rainy day.According to the script, at the end of the scene from the background, a train is leaving the station.It was surprisingly accurate without instructions.
A bull followed us; When we were shooting on the ground in the outdoor.Leaving the camera, we went out of the place.But still the bull was chasing us.Then our focus goes to a member of the unit, who wore red shirts.
He quickly separated herself from the group and kept out the redshirt from his body.Then the bull was very calm.We used the red shirt in the film for the dress of young hero.Now it is very funny, but then we were afraid.
When the thief was eating meat with theft, the sequence was very fun.He shared the meat with the dog; The dog's name was Chiki. The meat was over to take more shots.It was difficult to control the dog.

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
I think need a parallel culture. And I also feel proud that I am practising the culture which is completely against the ruined mainstream. Misrule Cinema Movement (2010-2016) & Pink8 manifesto have a great backing for independent filmmakers to the government's disbanded, micro budgets films.

*What can we expect from your next film?
Film is very expensive media for us.We are tirelessly trying to make independent films without compromising arts.
We think ; this type of film is not art for art's sake . It is art for human's sake.We are trying to rise ethics, integrity, individuality, dignity, love, faith, etc more important human values.Which are the basic ingredients of all cultures and religions . We are friend of general people

Interview with filmmaker Pedro Ribeiro

200 Minutos will be screening at the Straight Jacket Guerrilla Film Festival 

*How did you get into making films? Telling about how I got into filmmaking is the same way to me as talking about my interest in art. The way all kinds of art touches people is what moves me to keep working on making films (and other artistic manifestations). You can tell anybody from any culture anything in 23.97 frames per second, that’s amazing! I discovered this power that Cinema has when I was 16 years old, when I had to make a short film as homework in school. Since that, I decided to make films for the rest of my life. 

*What inspired you to make your movie? Once I read that you only learn how to make a film making a film. I remember the filling I had when I watched “Before Sunrise (1995) – Richard Linklater” for the first time, I told myself: “he made a film with great dialogues and two actors, this is amazing”. That inspired me to make this film, we took our own recourses and started doing it, and it was the best film school I have ever took in my hole life. 

*How has your style evolved? What I think as a filmmaker is: the style comes to improve the film itself. If you ask me: “what do you prefer? A super elaborated camera movement or a single close on the face of the actress?”. I would say: “well, what is the most important for the narrative? If its the camera movement, ok, let’s do it.. if it is the single close.. ok let’s do this one”. For that, all my style when I direct a film is based on what is important.. not even for me, but for the film. If you watch this movie you will see that the sequence plans are there for a reason, the elaborated shots are there for a reason as the “tripped shots” are there for a reason too. That’s what I think about my style, and that’s what is involved in this film. 

*Tell us any strange or funny stories while making the film? There is a car accident in the film, and I decided to do that in a studio, with projection and flashes of light. But, we had to film all the scenario to Project the background, so, I was with the producer and her assistant in the car, at the night, driving in the downtown of Curitiba – city where we live in Brazil. The producer’s assistant was sitting in the back, with the camera filming the streets while I was driving. Then, we stopped in a part where there was some gang dudes in the corner. One of them looked at us and said: “why are you filming? Are you from the cops?” and came angry towards us. My friend took the camera off and said: “no, we are film students, we are doing a Project”. But the guy didn’t believe him and came more angrily shouting things like: “I am gonna give you what to record, I will kick you all down!!”. In that moment I realized that if we kept there we would literally die, because the man was coming faster and faster in our direction, and he really didn’t want to just talk. At the end, the traffic light got green and I ran the car so fast we could only hear that guy spitting on the car. Well, making this film almost costed our lifes... literally. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? The part I mostly liked in this manifesto was: “no shorts you lazy!”. We have problems with new filmmakers that think making a feature film is impossible – of course, it isn’t easy, but not impossible. Once a Brazilian filmmaker called Joel Pizzini said: “if you have to choose making four shorts or a feature.. well, make a feature”. Other part of this manifesto I liked was the first point, because I see a problem in film schools, I say that because I made this film while I studied in one. The problem is: “many of the filmmakers don’t have this passion for making movies, they have a passion for making a career”. This kind of things makes me sad, well, of course it’s good to have a career, make this the way you pay your bills, I want that for my life, but if you lose this passion in making movies, and think about Cinema ONLY as business, well.. I sincerely think there’s something wrong with your philosophy.. with all the respect. I see in this manifesto a way of coming back to making films with courage, as a career or not, we are all making films.. because we love doing that, and as Glauber Rocha (another Brazilian filmmaker) said: “making a film is an act of courage”. 

*What can we expect from your next film? We are in pre-production phase of another feature film, but this one is about violence and segregation. You can expect a film, as you can see in this one, that will work for the best of the narrative (the actor’s interaction, the misé-èn-scene, the script, etc.), all to communicate the problems we see in the society nowadays. Well, if the film will be good or bad, the time and you (spectators) will be able to tell me.. but most importantly, you can expect that we will keep making featured films.

Tuesday, 19 June 2018


''This film has no rules, it's an orgy of sight & sound stitched together to create mania.''
Movie-maker Fabrizio Federico's vision for his next film Teddy Bears Live Forever is miles away from being finished but finding it's voice organically is something that excites the underground filmmaker who is currently working on the editing phase of the film, ''I let the stars lead the way, Im at a crucial number in the Fibonacci sequence.''

A faded ''It girl'' suffering from a horrific schizophrenia disorder decides that it's time for one of her personalities to lose her virginity. Whether her abuse problems first started in her teen's; from either her hyperfast life of trauma in her celebrity modelling days - or was she abducted by Aliens; nobody knows.

The idea of the 'It girl' was first personified by actress Clara Bow in the movie 'It' (1927) which helped usher in the age of the flapper girl in the roaring 20's, also personified by wild child Louise Brooks, strong, opinionated and sexy. 
The role of the vivacious, sexual, youth-quake is something every teenage girl must live up to, and tame due to the countless magazines and music videos depicting this type of personality
Over the years there have been many 'It girls' who have captured our hedonistic times, such as Kate Moss, Twiggy, Cornelia Guest, Paris Hilton, Kendall Jenner... but there are even more examples of tragic lives cut short due to the pressures and seductions of fame, such as, Gia, Donyale Luna, Tara Palmer-Tomkinson, Peaches Geldof and Edie Sedgwick.          
Teddy Bears Live Forever captures the life of a faded 'It girl' called April who is suffering from multiple personality disorder. House bound she struggles with the voices in her head which brings to light her severe traumas. Even though April is not a virgin, one of her personalities is; and that personality, called 'Sam' wants to desperately lose her virginity. Watch as April sets out on her journey in order to quiet down forever the diabolical voices in her head.

Teddy Bears Live Forever will be released in 2019
Official Website

Interview with filmmaker Greg DeLiso

Hectic Knife will be screening at the Straight Jacket Guerrilla Film Festival
 *How did you get into making films? I saw Jurassic Park in the theatre when I was 6 and I immediately became a Spielberg-kid that was bitten by the bug.  From there it was just continuing to see more movies that I loved and seeing ones that made it seem more possible to do myself.  Indies like Clerks.

 *What inspired you to make your movie?
My friend and I were making each other laugh and making weird short films and we kind of just combined the two and that's how Hectic Knife evolved.  It almost wasn't a move.  But, a few months into shooting we realised that we had so much material and just kept adding to it, that we sort of realised we were making a movie and ten we went full force in that direction and it became a 5 year+ commitment. 

 *How has your style evolved?
Um, I'm not sure, I'd like to 

 *Tell us any strange or funny stories while making the film?
That little kids head exploding was a huge learning experience.  I had the idea of; “killing kids in the movie!” (brilliant idea right?) But, it was an homage to Carpenter’s Assault on Precinct 13 (the killing a kid idea) and the head explosion is obviously Scanners. But, to do it, I thought we should have a fake head that looked like the kid and then explode that — not realising that we could just lock the camera down, shoot the kid standing there and then remove him from the frame and then explode a ball of anything in the heads place. So, we got a mold made of this poor kids head and it cost over a thousand bucks, which was like a tenth of our budget at that point, and the whole thing could’ve been way less complicated and cheaper had we not done all the extra work making the mold. And then of course when we finally shot the scene, I only realised in editing that all that extra work to do the mold didn’t matter.
*The Misrule Film Movement & Pink8 manifesto bring what to mind?
Google!  Haha, hold on!  I like movies like Field of Dreams and stuff. I also like anyone that tries to make a movie and love most anyone who finishes theirs. However you get to that finish line, from Dogme 95 to this stuff to 10 years of meticulous prep like Kubrick, to stop motion in your parents basement... I don't care just make your movie and make me laugh and cry when the curtain gets pulled.
I like Harmony's Letterman appearances and his script for Kids more than most of his movies. But he seems cool. Gummy is fun, I love the slap boxing scene and he seems like he'd be fun to hang out with. 
*What can we expect from your next film?
Bigger, badder, better...

Interview with filmmaker Seshu KMR

127B will be screening at the Straight Jacket Guerrilla Film Fesyival

*How did you get into making films?
It was a Childhood dream of narrating a interesting story around myself. Storytelling was my primary focus. Working in indian film industry from last two decades as a Sound designer, Music composer and having my own audio post production facility , its a natural progression to turn as a film maker.

*What inspired you to make your movie?
Working for a lot of esteemed directors especially Legendary film maker Ramgopal varma from india for more than 9 films , and his cult and unlearning approach of each of his film,which inspired me.

*How has your style evolved?
The city of Hyderabad in the southern region of India is a witness to history and heritage which is more than 400 years old. The city is adorned with forts, castles and forgotten tales. This ancient city fascinates and triggers the interesting aspect of treasures and haunting spirits. Being raised in Hyderabad, this spectrum of ruined forts, castles and the secrets they carry attracted me constantly. As a filmmaker, I chose the backdrop and the mystery behind these castles which led to the evolution of ‘127B’. This feature film is the first horror comedy in terms of genre in Urdu Language (Dakkani Films). My fascination and interest towards history, folklore legends combined in a feature film proved to be a very engaging and entertaining experience for me and I hope the same with the audience too. This approach of a curious thrilling touch of a treasure hunt is my evolving style as Filmmaker.

*Tell us any strange or funny stories while making the film?
Shot in an original castle more than 150 years old in ancient Hyderabad(India) . So the horror effect and treasure hunt was a very realistic Myth and strange coincidence Locations and Art designed to showcase the Hyderabadi backdrop and its age old secrets .

*The Misrule Film Movement & Pink8 manifesto bring what to mind?
I feel the approach of film making is to give a emotional experience to viewers. so any movement which supports and unlearns and breaks the conventional making is a constant learning and kicking experience.

*What can we expect from your next film?
My next project is a A horror Drama .Pre production is on and will go on floors by year end.