Gupta’s first feature film ‘Resistance’ (2011) boasted such British talent as Birdman’s Angela Riseborough, his second ‘Jadoo’ (2013) opened at the Berlin Film Festival and new release ‘One Crazy Thing’ will play at the London Indian Film Festival, kicking off this July 16th. More than the prestige of these accolades however, the film-maker stressed the reward of being able “to move psychologically to a point where focus can be put entirely on the filming”. As we discussed his screenplays, his creative process both on and off the set and the impact of the digital age, it was clear that those with the vision are the ones who master the screen: “too often people think it’s about some grand strategy,” he continued, “ but you just sit down and write that screenplay”:
So Tell us more about ‘One Crazy Thing’?
It’s a romantic comedy about an ex- TV star whose life falls apart when his ex-girlfriend leaks an intimate video to the public- to make things worse she then becomes famous for it! The movie explores the ideas of accepting yourself, coming to terms with your past and the phenomenon of celebrity fame. I was watching a TED talk with Monica Lewinski and it was really very sad: she was interning at the White House with such a bright future and now she’s a laughing stock. It’s really bizarre how kids talk about wanting to become a celebrity as if it’s a profession. I wrote the film with an interest in people becoming famous just because they are famous.
How has the Digital Revolution affected the way we make Films?
The line between shooting on film and on digital is a fine one. There really isn’t much of a difference. It doesn’t change the cinematography; you could have a great Director of Photography either way. What has changed is the accessibility. Digital opens up opportunity to those who would not have been able to afford it before. A person of any background can make a movie. You could shoot a film on your I-Phone. Sean Baker did just that with ‘Tangerine’- the best reviewed film at Sundance this year.
What items do you have to have on set?
A viewfinder or a Tewe. It’s a really old school tool, but helps me construct a scene on set. People under 25 don’t know what I’m doing! That, a pen and a bottle of water.
How did you get into film-making?
I went on to complete a post-grad with the ambition of becoming a director, and the writing then also became a by-product of that. I wrote a play which I wanted to direct and won a competition where it was staged at the Royal Court. There’s this awful statistic that 90% of first-time directors don’t make a second movie, but somehow with persistence and drive, I’ve managed to complete three now and I hope to make a fourth. I also loved films growing up- I would watch lots of Bollywood with my father. I was a cinema obsessive but didn’t know there were directors at that point. I think by 20, I knew that’s what I wanted to do.
In terms of screenplays, can good storytelling be taught or is it more about raw talent?
There are things that can be taught in terms of craft, but to start off there is no set method. It depends on individual needs too; I teach it so clearly I believe there is a value in instruction but I am also self-taught. Some people need that guiding structure. It’s more about drive and a good work ethic though, talent alone is not enough.
How important is the aesthetic element in a film?
Very! It’s a visual medium; different to a play and an amalgam of photography, poetry and theatre. Some would say a silent film is the perfect example of the art because you can trace the story visually. In ‘One Crazy Thing’, London is a main character because the images are so central.
How has your background affected your work?
Very organically, and that’s clear in my second movie about two warring restauranteurs. It’s about my love of the area - Leicester is where I grew up -and in my latest movie the lead is a British-Asian. Stories need to feel authentic and drawing from your experiences is the best way to do that.
Name a good film you’ve seen recently: Linklater’s Boyhood, and I’ll get a Woody Allen one in there too- Midnight in Paris.
What’s your advice to other film-makers?
Film should be an all-consuming hunger of yours; it should be something you really want to do.
