Rising Chennai-based documentarian provides a window into the industry; shares his experiences, hopes
Ever so curious about the realities of different professional sectors and individuals trying to make a mark in them, Thoughtfox sneaked up last week on Shahid—a documentary filmmaker based in Chennai. On behalf of Thoughtfox, this interview was conducted in two sessions on the Gmail messenger by Dr. Piyush Mathur. With the consent of Mr. Shahid, his responses have been copyedited for clarity, grammar, and punctuation.
Mathur: Mr. Shahid, it has been more than a decade since I first met you—in 2009—in Chennai's Oxford Bookstore. At the time, you were not yet into the film industry at all—but within a few months of our meeting, you would start working in the Tamil film industry. What was your first job in it?
Shahid: I joined [as an] assistant director with Mr. Vishnuvarthan. My role was handling technicians—[such as] cameramen—to correct everything [on the] shooting spot.
Mathur: You know, for ordinary people, especially youngsters, it is not easy to get work like this. They would not know precisely where to start, where to go. So, how did you come to meet this film crew?
Shahid: I studied Visual Communication. So I already had knowledge about visual media. I [used to] visit the directors’ offices everyday. [In the] Tamil industry, they [were] looking [for] English-knowing people [who would know how] to make films. So for me it was easy to get [this job]. But I [also] tried my best to join [specifically as an] assistant director—[and] succeeded.
Mathur: What do you believe convinced the director to hire you as an assistant director rather than as a lower-level crew member?
Shahid, Chennai-based documentarian, on July 16, 2020. (Photo credit: Shahid)
Shahid: I applied for [an] assistant directorship, [as] I believe[ed] that I [had the] talent to create a scene. In the director’s office, they interview[ed] me about direction—[and hired me as their] 6th assistant director.
Mathur: Was this interview a pretty formal affair—or was it a relatively informal, casual type of affair? Also, was the interview conducted in Tamil or in English—or a mix of the two?
Shahid: [The interview was] a formal affair—[and it was conducted] in Tamil and English both.
Mathur: What was the title of that film?
Shahid: Sarvam.
Mathur: This film was not a documentary. Is that correct?
Shahid: Right; it's a feature film.
Mathur: I recall that you always wanted to make documentary films—which you would eventually start making anyway. But why is it that you decided to start out working with a feature film crew rather than a documentary film production company?
Shahid: [At] that time I [did] not know any documentarian from Tamil Nadu. And I [also] want[ed] to learn direction. [S]ome friends [also] suggested [to] me [that I] work in feature film[s].
Mathur: Did you work on any other feature film after Sarvam?
Shahid: Yes, I worked [on] 2 more movies.
Mathur: What year did you finally get the chance to work on a documentary film?
Shahid: In 2014 I started out as a documentarian. I started [out all by] myself; I didn't work with anyone—any documentarian.
Mathur: And that first documentary was titled…?
Shahid: The Power of Unity and The Other Side.
Mathur: So, you made these two documentaries simultaneously?
Shahid: Yes.
Check out these documentaries by Shahid by clicking on their links below.
Shashvat Concept School A Journey with Contact Improv India Tibetans—Next Generations
Mathur: Do you choose a theme for your documentaries—or is it the case that some other group or individual contracts you to make a documentary on their topic of interest?
Shahid: Mostly I choose, but sometimes [I get contracted]—but not [in a] commercial way. If the concept [were] positive, then I [would] agree to [it].
Mathur: What themes attract you as a documentarian?
Shahid: Alternative education; nature-related; true history; culture; and travel are attractive to me. Glamour, commercial [stuff], or fake news [are] unattractive to me.
Mathur: In transitioning from your earlier experiences directing feature films to making documentaries, did you face any specific challenges?
Shahid: Movies are fictional; [but a] documentary [is] reality. [To make a documentary] I have to travel long [distances], [do] research—[often on] my [own] money.
I [also] have to face real people and ask [them] for interviews: It is challenging [and] fun. [That was especially so] with kids when I did [the] documentary on the shashvat concept school. It was tough—asking [the kids] questions [and] getting answer from them: Finally, I stopped asking [them] questions; I just followed them.
Mathur: Have you always made a documentary in response to a request from the organization or individual who wanted you to make that documentary—say on their activities?
Shahid: [O]rganisations [don’t always make a] request. They tell [me] what they want—[and] I make a concept [based upon that]. Once they agree [to my conceptual scheme], I shoot the film; so, it’s teamwork.
[Sometimes] I research their concept. Recently I did a short film for the Auroville-based group called Upasana. [This film is] about ocean pollution; it's called Tsunamika Ocean My Home. [For this film, Upasana] gave me [the] story, and we discussed [it]. This film was officially released by [the] Pondicherry governor, Kiran Bedi; it was part of a project that also received a governmental award—one of the Swachhta Awards 2019.
So, it depend[s] on [the] project.
Mathur: Have you ever made a movie entirely out of your own initiative—as in, you had a theme in mind, you went about making a documentary on it, perhaps sought and received funds for it from some external source, and then also released your production for public viewing?
Shahid: Yeah, I started my Tamil feature film called September 5 in 2015. It’s a women centred story; [I did] 10 days of shooting [for it]. But unfortunately, the producer lost his money in [the] share market; so we ha[d] to shut down [the production]!
[M]ost of my documentaries [have been possible because of] my own investments [on travel, accommodation, and research]. I [have] sought funding but most [sponsors] are not interested in [funding] documentaries because they don't get [them] any profit.
Mathur: Let’s leave aside for the moment the idea that the taxpayers should support the documentary film industry; is there any other organized way you could think of that might ensure that documentary film makers get competitive access to funds for their projects in India?
Shahid: Maybe, government organized crowdfunding or private funders. The thing is, we are in [a] materialistic world now, and there is no compassion; but we Indians [are traditionally] wisdom teachers. [But contemporary] Indians have no interest in documentaries: If people start watching them, [then] you can get sponsors [for them].
And I feel there is no respect for documentaries in India. This has to change.
Mathur: Government organized crowd-funding is an interesting idea—though if online auctions of mining rights are anything to go by, then there is little positive to look forward to as far as the government is concerned. Regarding your second idea, how do you think Indians could be made to take an interest in documentaries? How would you go about generating an interest among your fellow countrymen in this genre of films?
Shahid: Earlier, in [India’s] cinema halls, [they used to show a] 15- or 10-minute-long documentary—[as part of] raising awareness or [highlighting some aspect of our cultural] heritage—before the movie itself. Nowadays, they show only [commercial] advertisements [before the movie]. If they [begin to] show documentaries again [ahead of the movies in our cinema halls, then] there is a chance [that] people [would begin to] watch documentaries again.
We could also start a new application [or channel]—like Netflix—[dedicated to showing] documentaries. I have only [a] few platforms—[such as] YouTube and Vimeo—to release my documentaries; [on] all others, I have to pay [to] register. So, maybe, [a greater number of] free platforms [for the release of documentaries] can help: [They] will reach more people [and promote] collaboration. I believe [in] collaboration.
Mathur: Other than funding and an apparent lack of Indian interest in documentaries, what other 3 major challenges you have faced as a documentarian?
Shahid: 1. I have to be patient for the interviews [when they are part of a documentary I might be making]. 2. I [get] disappointed when people don't see my work, into which I put so much effort. Sometimes I work [based upon] donations. 3. Most times, I don't get respect from people for making documentaries; I still [make them] because [I believe in spreading] awareness, knowledge, and positive things.
Mathur: Let’s walk back a little bit to your entry into the industry. You mentioned that your knowledge of English was essential to your being qualified for the job of Assistant Director—for a Tamil film. Doesn't that also mean that many others who don't know English face great difficulty getting into the professional circles despite their cinematographic talents—just as many others can't even get the training unless they make themselves more or less proficient in English?
Shahid: Yeah, true. But things are changing in Tamil film industry: They are looking for talented people. So, it’s not about English now; but still if you know multiple languages, then it's easier. But for me talent and clarity of the mind is important in creative field.
Mathur: Have you ever made a documentary entirely in Tamil?
Shahid: Not really. However, Tsunamika: Ocean My Home has a Tamil version; and I'm currently working on a series of documentaries in Tamil on herbal medicine tradition in the state—called Siddha.
Mathur: I hope you provide accurate subtitles to them not only in English but also in other Indian languages! I further hope that you make at least one Tamil documentary about a non-Tamil region of India! There is one last question I want to ask you: Are there any female documentarians in India whose work you have come across?
Shahid: Yeah, I need to work on Indian languages. I know one female documentarian: Her name is Priya.
Mathur: It does seem that among all other challenges that India's documentary film industry faces, gender imbalance might be one of the least recognized ones. And yet, I can't help but imagine that a progressive documentarian like you would promote our ladies in the field—once you are yourself well-established as a director.
Shahid: I would like to; I hope that I get to have the funding to hire anybody!
Mathur: Mr. Shahid, it was an honour and a pleasure having you with us, on Thoughtfox! We would certainly keep up with your cinematographic ventures—and would like to have you back with us whenever an occasion arises in the future. Thanks for your time.
Shahid: Thank you!
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Shahid is a Chennai-based filmmaker and director. If you wish to commission him for a film project—or if you wish to establish contact with him—then send him a message here. You may also check out his YouTube channel here. தூய தமிழில் அவருக்கு எழுதுவதற்கு நீங்கள் மிகவும் வரவேற்கப்படுகிறீர்கள்!
Piyush Mathur, Ph. D., is a media critic and communication-cum-cultural consultant with several years of transdisciplinary research and teaching experiences in US, Nigeria, India, UK, and Vietnam. He is the author of Technological Forms and Ecological Communication: A Theoretical Heuristic (Lexington Books, 2017). For his shorter publications, click here. If you wish to consult with him, then please click on his name above.