Even as we enter the new year with the tsunami having devastated South Asia, it becomes important to remember that to sometimes connect with a tragedy that is so vast, it is the individual stories that speak to us and compel us into action. Theresa Thanjan`s "Whose Children Are These?" is a film that shines the light on three individuals, who happen to be children, whose lives were affected by the post 9/11 political climate, and lets them speak to us.
The questions for the filmmaker have been contributed by Monesh Ahuja, and filmmakers were free to respond to the questions they wished to, as well as add additional comments. Read on!
- Nikhil Kamkolkar
HM> How did you get involved in the field of cinema? Was anyone in your family ever involved in filmmaking? (or some other form of aesthetic/entertainment). Please write about your journey into the world of film.
TT> For me there was always a fascination with film as a medium. It was the most effective means of reaching out and moving me. My journey started with a lot of soul searching, and looking at what it was that I truly loved, listening to my intincts. Along the way, I also had the privilege of meeting two accomplished film makers, Mira Nair and Baz Luhrman. I told them both (on separate occasions) that I wanted to make a film, and they both said "JUST DO IT!" After I confirmed to myself that film making was something I wanted to do, I took a class at NYU school of continuing and professional studies. I then found out about the Artist Mentor Project at Film Video Arts Center of New York in October of 2003. "Whose Children Are These?" was developed as a part of this workshop. FVA gave me the opportunity to be mentored by a very talented independent filmmaker, Nandini Sikand. I also had the benefit of having consistent feedback, not only from Nandini, but also from three other great ladies and talented film makers (Ingrid Rojas, Therese Schecter and Yvonne Buchanan). FVA provided me with a wonderful network, insider information about the film industry, and resources such as editing equipment that helped to make my vision a reality. There should be more programs out there to support new talent. I feel very lucky. I also want to thank my family and friends, because a support network is critical, and without them, I don`t think I would have been able to do this.
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Filmmaker Theresa Thanjan
HM> What are your major responsibilities as a filmmaker?
TT> For my film, I was the producer and director. I did this on top of a full-time job, so essentially, there was no such thing as a social life because my evenings and weekends were gone. But in the end, it was so worth it. For production, I hired a small crew--a DP, Brett Walters, and a sound engineer, Matt Geldoff. They both worked for much less than they normally earn, because they believed in the film. In terms of post, I worked with a very talented editor--Shashwati Talukdar. Shashwati and I had a very good relationship, she was also very familiar with the issue of Special Registration and is a very strong advocate in her own right, that was critical. A note to emerging filmmakers out there, please make sure that you have a good relationship with your editor, if not, you could be in for a lot of trouble.
HM> Do you feel a formal education is required for the field of filmmaking? What about say, for writing? (Robert McKee`s principles.)
TT> In my case, I really am learning as I go along. I do not have the funds to be in film school. The amount of learning I have accomplished in one year, has been phenomenal. I think that for narrative film, it is important to understand structure, it may be more necessary to get a formal education. Film schools are also important because of the networks and connections. But in a place like NY, you have a number of resources available to you as an independent film maker that you may not have in smaller cities. NY does give you an advantage.
HM> What are some of the biggest challenges you have faced, or are currently facing? What significant problems does the field as a whole face?
TT> I would have to say that funding is a problem. My film was primarily funded by private donations. I did get grants from the Lower Manhattan Cultural Council and Film Video Arts. For a first time filmmaker, it`s hard to get grants from foundations and the like, so be prepared. I would say to focus your energy on private donors, instead of writing grants, because you may find more success that way. Field as a whole--Problems include, pigeon holing, stereotyping of South Asian artists and films. Although, small strides are being made, the mainstream film industry does not support alternative views of South Asians. It`s hard to get a film out there if it does not have something to do with ABCDs or arranged marriages. You`re dealing with a power structure that on the whole does not understand that South Asia is very diverse in terms of cultures, religions, socio-economic class, and family traditions. There is a huge gap of stories that are not being told about those that fall between the poor and the college educated. Hopefully the more popular producers, will open their eyes to new ideas and diversity, thus setting the scene for more interesting, cutting edge work.
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Aqieb, Navila, Nashid
HM> What do you have to say about the contribution digital technology has made to the world of film? Can multi-million dollar movies now be made at much lower costs?
TT> Yes, digital video is the wave of the future, but it`s a slow transition and it has it`s limitations. A number of films are being made on DV and being promoted to a main stream market, for ex. "Pieces of April." But we have to be careful, because this takes money!! Also remember, that a majority of movie theatres still project film. It really depends on what type of distribution you are looking for and where you want your film to end up. Think about this before you start production, because after you finish it may be too late.
HM> What personal qualities do you feel a person should possess for filmmaking in general? In a fight between Guts and Reason, who`d win according to you?
TT> Personal qualities--intellect, drive, ambition, passion, and stubbornness to a certain degree, but at the same time, compromise is important as well. It`s funny, to me guts and reason go hand in hand in this industry. It takes a lot of guts to be here, and it takes reason to survive. In a fight, it would be a tie.
HM> what do you most enjoy about your work?
TT> Hands down, it`s the ability to touch people, make them think, and the possibility to effect change. A college student at Hunter, told me after seeing my film, "It truly had a profound impact on me. My only hope is that more people are able to see it and that it opens their eyes (as it did mine) so that this type of discrimination never happens in our country again." What more can I say?
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Whose Children Are These?
HM> What do you least enjoy about your work?
TT> Not being able to do it full time. In an ideal world, I would actually get paid to do this!!
HM> How has being an ethnic minority been an advantage/disadvantage to you?
TT> It`s been a real advantage in terms of programs out there to support filmmakers of color, for ex. FVA, and certain grants that support film makers of color (Paul Robeson, Funding Exchange) and festivals that highlight our work.
HM> What is your definition of "success"?
TT>It gets ammended with time. For me, completing my film, was a huge success. Now, it`s getting it out there to as many people as I can. The number of people that see it, will gage my level of success.
HM> What advise do you have for aspiring writers/filmmakers?
TT>Seek out feedback in the beginning and middle of your process, from family, trusted professionals, etc. It can be painful, but it helped me a great deal. Separating your ego from your film is essential. Trust and believe in yourself, no matter what. Confidence is contagious and inspires people. If you are confident and believe in yourself, there really isn`t anything that can stand in your way.
HM> You have a passion outside the world of film - and felt compelled to use film to shine a light on what you felt was very important to share with the world at large. Any final thoughts on that?
TT> Being a social worker and community activist, there is a passion that exists to undue wrongs and provide a light on injustices that occur in our society. Fortunately for me, documentary film making has become a powerful way to accomplish these goals. In the case of my film, "Whose Children Are These?" it was always meant to be an advocacy tool. The passion and the drive to get the truth out there is what guided me through this process. Without it, my film would not have been made. It would have been easy to give up because of the naysayers, telling me why I shouldn`t do it--"you`ve never made a film before", "you don`t have any money", "this topic has been done before," etc., etc. Passion gives you the power to transcend this negativity and focus on what you can do. It is so necessary!!
FOR MORE INFORMATION ON THERESA THANJAN, PLEASE VISIT
www.nycmaharanifilms.com