Interview with Filmmaker Sami Khan (KHOYA)

I was fortunate enough to sit down with filmmaker Sami Khan to chat about his feature film KHOYA. It’s currently playing at the Carlton Cinemas in downtown Toronto, a place that I’m very familiar with as that’s where we do the FEEDBACK Film Festival every month.

Sami and I chatted a lot longer than the given 15 minutes as we really seemed to connect and understand each other quickly. Or perhaps it’s simply much easier to chat with a filmmaker about a film that you really enjoy. And I did really enjoy KHOYA. It’s a film that touches many themes taking you into a world that most of us living on the western side aren’t familiar with. That said, there’s something very comfortable about it. It’s a film that stays with you days after you view it.

Interview with Sami Khan:

Matthew Toffolo: What does KHOYA mean?

Sami Khan: It’s the hindi word for lost.

MT: This film feels autobiographical when watching it. Are you Roger (the main character)?

SK: Perhaps. It’s a setting that I’m definitely familair with. We shot the film in my father’s home town in India. The struggle with what the character is dealing with is definitely something I struggle with.

The film is two sets of ideals in two characters: One, to go out and deal with your demons. Or two, to just go away and hide from it all. How you manage the pain and keep it away with other people? I felt both of these sides and that’s the inspiration of the film.

MT: So this is a very personal film for you?

SK: Very much so. In my 20s, I found out that I had a half-brother. And it was a secret in the family for years. After I found out, I swept this reveal under the rug. Then six years later I decided to find him. That’s what KHOYA is about.

MT: From the initial idea you have to the distribution of the film, how long did it take for you to make this film?

SK: About six years.

A good friend of mine who is a very well known Director of Photographer was counciling me from the beginning. He kept telling me that it’s a marathon. I was like “Yeah, yeah, I got this. I’m ready.” Then I realized that he was underestimating the marathon analogy. It was so much more.

MT: I guess it’s more of a 5 stage Iron-man: Development, Pre-Production, Production, Post-Production, Distribution.

SK: Yes, exactly. With waterboarding thrown in the mix. There is endurance, plus some torture in the mix.

MT: What was the biggest obstacle you faced to get this film completed?

SK: Putting myself out there emotionally. Telling a story that’s very personal. Not just the filmmaking, but also talking to my family about the issues.

A lot happened. We lost a couple of days of our location. Lost our lead actor two weeks before filming began. There was a lot of struggle, but the emotional struggle was the hardest.

MT: You lost your lead actor? How did that happen?

SK: The producers had applied for an actors VISA to shoot in India and it just didn’t come. So we had to cut ties with the other actor and that was very hard. This was a small budget and we had to do it.

We casted Rupak Ginn as the lead. I knew him only casually through friends when we both lived in New York. Then he moved to Los Angeles and I didn’t see or talk with him for 3-4 years. Then he texted me on my birthday wishing me a good day and saying that his 1 year old son has the same birthday as me. Only then did it pop into my head – “How about Rupak?” I texted him to see if he was interested in leaving his family for a few months while we shoot a crazy movie in India!

I made him audition. It wasn’t a great audition. He was okay but other actors who auditioned did better. But we kept talking over the phone for hours talking about the character and life. We made a connection and we trusted each other. It was easily one of the best decisions that I ever made. Now we are the best of friends and collaborators.

I set out making this film in search of my brother. And in the end I found two brothers. I now consider Rupak one of my brothers.

MT: In terms of filmmaking, what is the more important thing you learned to help you out on your next film?

SK: To be adaptable. That’s the biggest thing you need. Shooting is like life, you have to improvise and adapt.

MT: How was your relationship with your cinematographer?

SK: Kevin Wong is not only incredibly talented, but he has a great sense of humor and is physically fit. A perfect combination to make this film. Filming 13-14 hours in the India heat everyday. Most of the film shot on hand-held. He was so great for the demeanor of this shoot.

He did a scout in India months before we shot and came up with a lighting plan. I owe so much to Kevin.

MT: How many days was the shoot?

SK: About 21 days in India and some pick up shots in New York. Around 24 days.

MT: When your film premiered at the festival in Mumbai, were you in attendance?

SK: Yes. It’s interesting watching different crowds. The India crowd is looking at the main character from a distance, where the North American audience looks at him as one of their own. Two different perspectives.

MT: What movie have you seen the most times in your life?

SK: Michael Mann’s HEAT. He’s so underrated. I think people will be talking about him 50-75 years from now as one of the great directors. HEAT is the perfect merger of art and movie blockbuster. That’s what many of us aspire to do. He does it. I think the simplicity of it with a specific mood and complex characters. It was the beginning of my film education.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.