Feature by Tim Gardner on the story behind Dishad Husain’s short film
The introduction and development of digital film technology has revolutionised filmmaking and opened the door for many young filmmakers. It allows them to produce films at much lower costs and considerably reduces shooting time. Some established directors even choose this medium for the benefits that it offers. One example of this growing trend is Danny Boyle who shot his zombie horror movie, 28 Days Later, entirely on digital. In this case he used the quick turnover to shoot early in the morning in order to create the impression of a deserted London. However, despite these advances the reality remains that digital film is still not the norm in larger productions and external funding will inevitably be required. This in turn means that a director may have to compromise artistically, and concede to the wishes of the producers. A common alternative for first-time directors, but one which carries far more risk, is for a director to self fund the production. One such director is Dishad Husain, who did just this in order to produce his first short, Holly-Bolly.
Despite studying Physics at University College London, Husain was involved with a great deal of student television and some of the shows he worked on even won National Student Awards. After graduation he was lucky enough to take a good show reel to the National Film and Television School to study directing. He then went on to take jobs in low budget television, working his way to assistant producer. However, always more interested in fiction, he eventually risked his own money to produce Holly-Bolly, a comic take on the world of independent filmmaking. Two young filmmakers, Obi and Dil, struggle to find funding for the innovative and original films they want to make. In the end they are forced to turn to the shady American producer Big Al, who will put up the money but only if they make ‘his’ film. Unfortunately Big Al’s film is a farcical cross-genre cockney gangster cum Bollywood dance number, which employs every stereotype imaginable. As Holly-Bolly proceeds we catch various glimpses of the outrageous potential alternative versions of the film as Dil and Obi wrestle with Big Al for creative control.
Husain funded Holly-Bolly himself by shooting over a period of two years. When he wasn’t shooting his was working to scrape the money together to carry on filming. While these must surely have been exhausting two years, Husain doesn’t feel that this stop and start style of filming hindered the creative process. Instead it offered him ‘great chances to review and assess’. The main issue actually proved to be keeping the rest of the crew and cast motivated. However, financially these breaks did raise the production cost, as money could have been saved had the shooting been concentrated within a shorter time span. Holly-Bolly was shot on a mix of Digibeta and S16mm which, according to Husain, was more a way of saving money than an artistic decision. However, he notes that since Holly-Bolly is a film about filmmaking, it lends itself to a mix of media
Husain didn’t set himself an initial budget as he wanted to give himself enough money to get the job done. Bravely he decided that there was no point restricting himself and that he must make Holly-Bolly a true labour of love. “I wanted to say when I retire (if the film was a failure) that at least I gave it my best shot” recalls Husain. Despite not financially restricting himself, he still believes that more money would have given him a cushion and the luxury to play with bigger concepts. However, at the same time these constraints focused him on the job and motivated him to be innovative with his budget. This is certainly a risk that paid of as Holly-Bolly went on to play at many international festivals and took taking Best Short at the Indian Film Festival of Los Angeles, Best Film at the UK Shallow Shorts Festival and best screenplay at the Leicester Film Festival
The direction and acting is sharp, which works well with Holly-Bolly’s style of comedy. Husain refrains from quoting influences on his filmmaking, as he feels he will inevitably be judged on them. He does point out that he doesn’t just look to cinema for inspiration. Whatever his approach to his work, it is clear from Husain’s first short that comedy is a genre in which he is comfortable. The actors were mainly found on Internet film groups, such as Shooting People, while some were just friends who could ‘pull ridiculous faces.’ Jeff Rudom plays Big Al who, at a bearded seven feet tall, is literally larger than life as the overbearing American producer. Anthony Oseyemi and Riz Meedin also look suitably bemused as Obi and Dil as Big Al recalls a time before porn when even he had morals. However, although the visual humour is infectious in its appeal, Husain’s smart sense of humour and timing shows clearly in his directing. The dialogue often overlaps scenes and snaps us back and forth between characters and ideas. While this technique keeps the pace and laughs going, it also shows us just how fickle the film industry can be. Towards the end of the film, the ‘big cheese’ director (who initially turned Dil and Obi down) can be heard in voiceover offering them funding, while they are still at an award ceremony. In touches such as these, Husain demonstrates his understanding of the fact that comedy can be an extremely effective medium for raising important questions.
The original concept for Holly-Bolly was based on a mix of Husain’s previous experiences with a shady music producer and also his anger at the Asian stereotypes so prevalent in the film industry. The inclusion of the dancing and singing gangsters are as hilarious as they are self aware of the audience expectations when it comes to films of both the Bollywood and British gangster genres. The result is a film which challenges industry traditions while maintaining a mainstream appeal. In doing so it seems Husain is arguing for (and has claimed) the right for ethnic themes and characters to be treated with as much innovation, style and humour as his imagination and skill can bring to them.‘ I hope never to make a film about arranged marriages, wife beating, male chauvinists or terrorists.’ affirms Husain.
The success of Holly-Bolly naturally led to further opportunities for Husain. He is currently working on his first feature, Little India, enticingly dubbed ‘An Indian Wrestling Film’. Although still in development, Little India looks to be taking a similar tongue-in-cheek look at ethnic stereotypes whilst imaginatively playing with well established Hollywood genres. So it would seem, as he prepares for a bigger and more challenging project, the risk Husain undertook in funding his short has paid off. However, the fact is that Holly-Bolly may never have been made had Husain not funded the film himself. This begs the question; is complete financial independence the only way for filmmakers to tell the stories they want? As part of the development process, Husain is currently sourcing funding for Little India, including investigating the possibility of North American or Canadian financial backing. The success of Holly-Bolly must mean that Husain holds an extremely strong position when it comes to the creative input. However, movies are still a high-risk business and it will remain to be seen how much influence these investors demand in attempting to ensure a return. Therefore, for first time directors, picking up the bill might be the only failsafe way to showcase their talent without compromising themselves. Nevertheless, once on the radar, winning a few prizes will no doubt help convince backers that one’s artistic integrity should be kept intact for a little longer.
Holly-Bolly can be streamed from the website of Dishad Husain’s Production Company, Imotion. www.imotion.com
Further information about Little India can also be found on the site.
|
