The experience of being a part of this documentary film was an emotional journey. I guess that is because creativity needs an emotional motivation.
I had many doubts towards the end, rather than at the initial stages. I did not think that it would take the shape of a feature length film, but I needed to keep it raw and cover the essential processes. The rawness may help in understanding the various timestamps. The crude parts were shot earlier, with bad sound and close framing. It was only later that I had a recorder and a lavaliere, and that allowed for better framing and sound.
Getting hold of people for an interview was also a task, especially when I am an unknown person to most of them. Some of them were part of my immediate environment and to some, I was referred to by a sound engineer, who is an inspiration for this project. He still helps motivate me. All these people were kind, patient and took time to understand the idea behind the film. Almost none of them got why so many concepts needed to be dealt in one documentary, and one question was quite common, 'where does this fit?'
Like most kids I had my sense of wonder with films and animation. My father was a practitioner of hindustani classical music, which for me was boring! I started playing the flute by ear, at around 14 years of age. My father noticed that I could play simple songs. He thought of training me. It was a grueling task, sitting for hours playing just four notes, over and over again. I wasn't very patient with it, and just learnt the basics. Around the same time, I came across a recording of a renowned flautist. It was a metal cassette, which for some reason sounded much better. I could hear nuances like the breath, tuning of the tabla, audience reaction and it was just a very clean sound! I played much better after listening to it, and my shoulders didn't slouch during my father's training. I can now understand why I liked certain sounds more than others. They were just recorded better.
I still haven't dealt with audio visual equipment that results in pristine quality. It shows in this documentary too. Moreover, doing most of the things alone is challenging. I would now suggest that there are at least four people needed in a production team. These would be producer, director, cameraman and someone for the sound recording.
I met this inspiring sound engineer some 12 years back. He is an awesome photographer too, and that is how we began talking. He was at a show which I was covering, as a hobby. He was kind enough to answer my queries about live sound mixing. Thus, the journey began in 2012, at a studio. This was my first shoot. Low light noise cannot be removed no matter what you do, unless the script demands this kind of a look. For most part of the documentary I was concentrating on getting the content. But just because I can hear through the noise, doesn't mean everyone would take the trouble. I took the decision to keep these noisy parts, both in video and audio, for the sake of content. I think these parts are important. No amount of post processing can clean a bad image or sound!
I chose the medium of arts that are closer to concepts of neuroplasticity and learning processes. Pottery was obvious, so was drawing. Dance utilizes fine and gross motor skills and also helps emote. Imagination and acting go hand in hand. When a prospective artist puts himself/herself through these emotionally motivated learning processes, it may hinder the skill to monetize from your talent. Thus, the need to include business men and women who dealt with uncertainty on a daily basis. Their point of view seemed important and was also compared with that of artist managers and artists' themselves.
One needs to be driven to go through the processes of pursuing art. This drive needed evaluating too! Thus, came the 'Mind People', the psychologists and psychiatrist. Learning is a mutually dependent process with teaching. I thank my teacher, who ignited my awareness for imagination. I spoke to her as well.
Business of Arts is not an easy endeavor. They give a platform and instruments to artists. They also guide towards monetization while retaining individuality. In one interview with an artist manager I remember his words, "I can scientifically prove that someone is a bad singer, but I cannot tell that person to stop singing!" They know that all art is subjective and is open to experimentation. Unlike certain business models it cannot predict definite outcomes.
I am very fortunate that I could listen to a very small part of the journeys of these individuals, their choices, their mistakes, their overwhelming downfalls and them overcoming these lows in their life to often rise as phoenix.
In these years since 2012, from the time I started shooting the first shots for this documentary, I realized that much of the processes for these people and also within myself were of certain cyclical nature. There are no permanent victories or failures. The happily ever after is more of an experience accumulating in an exponentially decaying human body. The body changes and so do the associated options, however the mind can adapt and strength can manifest itself. I do not know what a true artist is, or even what 'true' means, in view of our subjective experience of life. But I do know that those who practice arts are blessed with a beautiful inner world and an outward satisfied smile.
I hope that, film students can learn 'what not to do' and students let their light shine, and that teachers love their jobs and are paid better.
