Traffic Signal or Killing People!

Change needed in thinking or the power we have. We condemn our government officials breaking rules, taking bribes, involved in killings and yeah petrol price jumps! They are even the same Pakistani’s born from the womb of the same women of this nation. We think we wouldn’t do it, no we will because we don’t even miss a chance of breaking rules by not respecting even traffic signals, if we have a chance to break this one!

It’s not the people we need to change; it’s the thinking we need to change. At the back of our mind we all inspired by government officials or anyone who breaks because we are told from the very childhood that easy money is by getting powerful, and all our lives we seek power to satisfy our inner greedy souls.

Let’s decide to change this perception and groom our next generation with the respect for innovation, creativity and patriotism!

By: Ali Gul

With Chambaili, a colony of workers gets a facelift.

Who would have thought that the simple lives of workers in a colony owned by Pakistan Railways would change with the shooting of one film? When Chambaili was filmed in October last year, major scenes were shot and developed in the Gari Shahu area, where a tiny old structure has now been christened Chambaili Chowk.

Earlier this week, director Shahzad Nawaz returned to the location to inaugurate Chambaili Chowk as a token to the residents who played a role in the film’s shooting.

“This area was not worth living in,” says Shakeel Ahmed, a resident whose excitement about the film is bubbling. “They cleaned up the place and infused energy and excitement that we have never seen before. They took the whole neighbourhood on board with this project.”

The crew had spent nearly 10 to 12 days shooting major portions of the film. Residents of the colony helped with security and other minor roles in the film, making it a learning experience for everyone involved. Like other residents, Ahmed is pleased about being connected to the project.

“Many of the actors were new, but there were a lot of scenes shot here,” says Nasir Raza, an elderly gentleman from the area. “I remember this one scene in which everyone was gathered together. The police was cracking down on [people] and there was a baton charge— it was quite entertaining for a lot of us,” he adds.

With the film in its promotional phase after the recently released OST soundtrack in Karachi last week, the inauguration of the chowk is Nawaz’s attempt to go back to where the film started.“The people who lived here had become a part of the making of this film, so this is our way of thanking the people,” says Nawaz.

Nawaz says that the film is a patriotic one and will appeal to everyone who feels anything for the country. “The concept of loving Pakistan has declined,” says Nawaz. “The land is missing its patriots and the concept of being nationalist has become outdated — this film will really help that.”

Despite its reputation, the Pakistan Railways has done a service to the country by allowing the film to be shot on its property, Nawaz explained. Such initiatives help promote positive culture and arts. Nawaz also said that the film’s total crew had almost 8,000 people and hoped that the film would turn around the fortunes for the film industry.

He explained that the film would be released in 25 multiplexes and cineplexes in the county, in what he calls the A-circuit. He says that the environment is set for a film that will show a “positive image” of the country, while also being entertaining.

The film stars Mehreen Syed, Umair Rana, Salmaan Peerzada, Shafqat Cheema and an array of other actors. It is expected to release sometime in April but a confirmed date will be announced at the end of the month.

Merchandise:

CEO of Meta-tags Shahzad Saheb, explained that accessories for the film would be available online. He said that since Chambaili is the national flower of Pakistan, merchandising will let fans see it as a symbol of nationalism.

“Making this flower into a symbol is where I come in,” says Saheb. “There is a sort of suspense of what the movie is about. Merchandising will be very important after the release, as it helps in making it into a symbol that is long-lasting and not forgotten.”


Published in The Express Tribune, March 18th, 2013 by Sher Khan.
http://tribune.com.pk/story/522330/with-chambaili-a-colony-of-workers-gets-a-facelift/

Changing Perceptions.

Pakistan is the country which always gets the attention of international media and the governments of certain countries for various reasons and we see that most of the times a negative image of Pakistan is put forward. But over here the question is, what efforts we’ve made to change this perception, this incorrect and inappropriate image throughout the world. Only a few people in Pakistan realize their responsibilities towards improving this image and changing this perception.

Chambaili seeks to promote patriotism in the Pakistani youth but also to present the positive side of Pakistan, the real image of this country. The people of Pakistan have always proved that we are a nation that has the ability to take this country forward. Our youth has taken this initiative to improve the prevalent system of injustice and political confusion. We see the efforts on individual and community level, but what our youth needs is a direction which can ensure that their efforts are utilized in the development of Pakistan. The enthusiasm, sense of responsibility and positivity that the youth has shown in recent times is enough let everyone know that the future of this country and nation is very bright. We need to stay firm, confident and sincere in our efforts, because that is what Pakistan needs.

By: Imaduddin Siddiqui

Chambaili is hope, light, a motivation that the entire nation needs.

The Pakistani cinema industry seems to have awoken from a deep slumber. A new dawn is visible on the horizon and the year 2013 specially, is bringing with it promises of what people are calling “The Revival of Lollywood”.

There are numerous telefilms and mega-films being planned for release this year in Pakistan. One of them that has started the first ripples in the film industry is “Chambaili“. According to its producers, Chambaili is the story of freedom, struggle and hope. ‘Chambaili’ is an Urdu word which means ‘jasmine’ – the national flower of Pakistan. We’re expecting a great release because its Original Soundtrack launch event took us all by surprise.

CMA students Ghania Asad, Nawaz Nabi and Syed Faryab Shah attended the Chambaili OST launch event held at Arts Council, Karachi. The event was also live-streamed on Facebook. Najam Sheraz, one of the musicians on the panel, informed the audience that never before had a Pakistani movie’s song listing been taken so seriously. For Chambaili, they collaborated with artists from England as well as Japan, while retaining the desi touch of Pakistan’s beloved music.

The songs were truly remarkable. Ranging from motivational to romantic to non-commercial, the soundtrack was a treat for the ears. There were eastern vocals mixed with a fusion of western and classical music and there were crisp female chords gelled into electric guitars and flutes. The ensemble is delicious, to say the least. The variations in rhythm, tone, drama, beats and emotions lets the listener embark on a roller coaster ride. Though the pace varies, one thing is notably consistent. The lyrics and the words of the songs are all meaningful and conceptual. Far from the nonsense being strung out from the majority of the pop industry all over the world today, Chambaili’s soundtrack features songs that are so inspirational, they would give you goosebumps!

Producer, Abdullah Kadwani said: “Chambaili is the stepping stone of Lollywood’s revival. I always used to wonder what I would do when I would first venture into the film industry. I used to wonder because I have never produced meaningless work. I always try to make a difference with my work. Chambaili is hope, light, a motivation that the entire nation needs.”

“I told Shahzad categorically that this was a very tough direction. There was a lot of pressure to convey the nation’s voice. I hope Allah SWT awards us for the spirit of our motives in this movie. Revolution never comes without hard work. You can jail a revolutionary but not the revolution!” That is what Chambaili aims to be: the pied piper of promise. The movie is very time-sensitive touching current issues that Pakistan is facing.

Vocalist of Azal band, Ehtesham, who is also offline editing Chambaili, said: “You need to be enthusiastic, sentimental and emotional… in times like these. All these emotions together make up the scenario of Pakistan today. Talent in Pakistan is going down the drain because they are not getting the chance. We have tried to provide a platform and an opportunity to many people who would have otherwise not been recognised!”

Shahzad Nawaz, writer, producer, art director and actor said: “I am very excited about this venture. Chambaili is about what Pakistan is facing today. We have tried to be the voice of the people and show them hope. The songs in Chambaili are all non-commercial except for one song. I love the title song of Chambaili. It really embodies the feel of the movie. I would recommend everyone to step out of their homes and watch this movie in cinemas when it is released. I’m hopeful about the response we will get from the audience. So far, the response for the soundtrack has been phenomenal Alhumdolillah.”

It was a privilege for PAF-KIET College of Media & Arts students to have been invited to the star-studded event where they were treated to soulful music and uplifting lyrics. The hall was abuzz with excitement and thrill. Every individual at the event seemed passionate about the rise of Lollywood once again. As media & arts students ourselves, we hope that we can live to see the day when Pakistan’s film industry will earn a name for itself around the world.

Interviews by: Ghania Asad, Photos by: Nawaz Nabi and Syed Faryab Shah, Compiled by: Nabiha Zeeshan.

The Revolution of the MIND.

An average Pakistani when confronted with a question about what is a Revolution simply says that revolution is an act in which the common people take up the charge, establishment is overthrown, rulers are beheaded and killed, blood is spilled of both martyrs and sinners, many things change rapidly in relatively less time and in the end and order will be restored. However, a revolution is no singular event rather a chain of events. For many, revolution has become synonymous with blood, disorder and chaos. This is perhaps the tragedy of our society for revolution in totality is limited to violence. This is perhaps the reason why many average people are quite reluctant to associate themselves with any such movement that talks about revolution. People get involved in spirit but perhaps never in action for they fear that the revolution might feed on them.

So what is the missing link? The missing link is education. What we as a nation need is a mental revolution. Education is the only thing that can fight the ignorance of violence in order for justice and reason to prevail and lead, substituting violence to the back seat and encouraging people to come forward and lead.

By: Syed Wajahat Ali

Blast from the Past: SHAHZAD NAWAZ in USA

Courtesy: www.thesaturdaypost.com/2012/05/06/shahzad-nawaz/

This interview was taken in 2007 and reposted in 2012 by The Saturday Post- USA. Some of the information conflicts with Shahzad Nawaz's new ventures as opposed to those he discusses here, but it is a great retrospect on him, and his way of thinking!

Shahzad Nawaz is perhaps best known outside of Pakistan for his role in Moth Smoke’s adaptation, Daira. What was less known was that this creative man is the winner of 102 international advertising awards and heads the Media Assets business for the Jang Group, in addition to being their Head of Special Programming.

Speaking with Shahzad was a motivating experience. He does not look it but when he speaks, he perfectly fits the profile of an intellectual, creative, quiet person whose thoughts run much deeper than his day-to-day business like exterior gives away. 

If Pakistan’s second cinema is fortunate enough to encourage more people like Shahzad, it isn’t long before we will find the country high on the international film industry radar.

Who is Shahzad Nawaz?
I’m a Creative Director by profession. I look after media assets for the Jang Group and Geo Network including TV, Radio, Newspapers, and magazines. Basically I look after all the aspects like sets, animation, page layouts, broadcast graphics, and events for Pakistan, UK, and UAE. My background is in advertising. From 1993 to 1996, I was making ads, which was great. I have won 102 international creative awards, which is by far the highest number ever won by anyone in Pakistan. But then I decided to quit entering for awards, because 102 is enough to pamper my ego for a life time. It was basically time to switch from award winning work to consumer winning work. I have degrees in Marketing, Advertising, and Designing. I’ve studied in Pakistan as well as the US. I went to the Memphis College of Art, which was a nice mid-West college. I’m also head of Special Programming which is basically “profile” programming. Meaning, I’ll be doing alternate or independent work, which is not really based on a whole lot of research but a whole lot of gut and reality. And it’s more parallel stream, not mainstream, so I won’t be doing commercial plays or sitcoms, but thought provoking films and anything that pleases my senses. It’s a license to create at will, so I guess I’m privileged (laughs). I also teach and give talks and do seminars and workshops all over Pakistan in art and business schools.

How did Daira come about?
Daira was my maiden project, but it was long before I joined Geo, so it was purely an independent project. I’d grown sick of advertising and counting beans, because as the head of the agency I had to look after everything. I needed a break and something to stimulate me and I came across Moth Smoke. A student of mine had given it to me. It was lying on my table, I picked it up and started reading it. I just couldn’t put it down. After I’d read it, I knew that this is what I wanted to do, i.e. make it into a tele-feature. I knew the subject was great but it didn’t have the requisites for commercial or mainstream cinema to take it up as a project. Also, there were cost considerations. I made it for TV and it was safer bet because I could sell it to a TV channel outside of Pakistan. I hadn’t really expected any channel in Pakistan to pick it up. But to my surprise and good luck, Jang Group picked it up for Geo. It’s run twice already – once when it was launched and then recently again in the US.

How was Daira received by the audience?
They were excited and appreciated that there was such a conscious effort to depict reality or the darker side behind what is typically considered “all good”. It takes a lot of resilience and courage, but the reaction was very positive, I just couldn’t be luckier. The satisfaction of being recognized and appreciated in itself was worth more than any award. It’s interesting to tell you that the reaction in terms of advertisers was great. This is the first tele-film that has got the highest commercial air time, 104 minutes for a film that was 156 minutes long. It aired in two parts and people got offended too, but the DVD version is ad free (laughs).

They say when you break the law of monotony, you get noticed. If there triangles on a wall and you throw in a circle, it’s noticed by virtue of the shape itself. Daira was made in a time when everything was very formula and people wanted to see something with which they could connect. So it was very well received. People really liked it. A lot of people have gotten in touch with me from all over the world, including some old friends from Europe and US, after seeing the film. In Pakistan, I had mixed reactions. You have to understand, when you go on TV, you can only do two things – broadcast or narrowcast. This was narrowcasting because it was not meant for everyone. So as far as my target audience is concerned, I’ve done only one project and everyone knows me for it. And here we are, interviewing two years later and I think that’s proof enough.

What about the controversial aspects like the relationship between Mumtaz and Daru? How did people react to that?
It happens all the time – it’s been happening since before Pakistan was formed and has continued. I mean, what was Nehru doing with Lord Mountbatten’s wife? That’s pre-partition, so there’s nothing new. It’s a human emotion that has been around since civilization. Yes, I understand there’s a religious implication but then again, I mean, all of us who live in Pakistan do see this happen. I conveyed it just as it was in the book; I didn’t create the story. So you have to look at why it was in the book. I had many discussions with Mohsin (author of Moth Smoke), who felt that it was a part and parcel of being a Lahori. There’s no denying that. A lot of us who read this can recall that this isn’t the first time they’re reading about or seeing a relationship between a married woman and another man. But nothing like this has aired in Pakistan before, including a very intimate kissing scene that went on air. Paradoxically, the word “Daru” has not been used on air like it was in Daira.

Why did you choose to play Daru yourself? Could you not find anyone or did you relate to him so much that you decided to act it out yourself?
I couldn’t relate to Daru – he is a loser and I’m a go-getter. But, maybe a part of me sympathized with him or maybe I’ve seen people like that around, so I knew that I could bring reality into that character. If I’d taken someone famous, they might have commercialized it, because they would have competing priorities and busy playing other roles. They couldn’t have the same passion that I did for making this character real. He required sensitivity and heck, I wanted to do it. (Smiles). I don’t know how successful I’ve been, but people say I’ve done a good job considering it was my first acting role.

How was this experience for you – a maiden venture in a film industry full of Meeras and Nirmas?
Well, there could be and should be a parallel stream and I don’t believe that there’s any lack of talent. That’s why you don’t see any Meeras and Nirmas in Daira. See, it’s great to say all these things but it sounds very text bookish. Just like that, I was sitting with a couple of friends and being discontent about the way we continue to produce work that challenges our own sensibility and doesn’t even rise to an average mind’s acceptance level. So one of my friends sitting there got up and said why don’t you do it if you think you can do it differently? You have access to the same camera and if you think you’re worthy of more, why don’t you show it? I guess I took that as a catalyst and I did that, and the rest is history.

Tell us about the new project you are working on?
I just finished what I’ll call “Botal Gulley” (Bottle Alley), which starts filming in July and should be out in October. I don’t want to be the guy who’s always talking about intoxicants but I feel that Karachi city is basically not a city but a Botal Gulley, and we are all Botal Kay Jin. One bottle can get many things done. Again, on the intellectual platform, like Daira was actually about India, Pakistan, and Kashmir, it wasn’t really about the characters. Botal Gulley is about the public, false promises, and the government. It’s a story of a bootlegger, who sells and pushes Desi daru, and suddenly, like it’s been happening for the last 7-8 months in Karachi, you can’t find foreign liquor because the bonded warehouses are sealed. All of a sudden this guy finds mother luck wink at him and instead of selling a bottle for Rs.250, he can sell it for Rs.800. The main character and narrator of the story is the bottle itself. We’re going to see the city from the bottle’s point of view. I named the brand myself as I didn’t want to use any known brand name. So I used “Dante’s Vodka” basing it on the Divine Comedy. Like the nine circles of hell according to Dante, I’m going to have about nine different stories that come together and chain themselves to the main plot. I’m done with my fourth revision.

What inspired you to write Botal Gulley?
When you write you’re basically bringing into play and dramatizing your own experiences and observations. I guess I’ve seen and observed a lot of what you’ll see in the film. I’ve had Dr. Anwer Sajjad whom I respect and admire a lot review my script and I was happy to see that he only had two or three recommendations for changes. I accepted all but one, which he was fine with. I’m definitely ready to start rolling in July.

How easy is it to find the right cast?
It’s very difficult to find the right person. 99% of my new venture’s cast is new to film, mostly from theater, people that Pakistani media would not otherwise see as glossy or beautiful. But I want real people. I don’t want green eyes and things like that. I don’t want to have beautiful people because real life isn’t always beautiful. Life is about seeing yourself in the mirror and whether you like it or not, you’ve got to live with what you’ve got. Reality too is not about finding Aishwarya Rai or Shahrukh Khan. Everyone has an individuality that makes him or her beautiful. That’s what I want to do. I want to take finger prints of real life.
 

Is finding new talent difficult in Pakistan?
Actually it’s very easy – you’d be surprised. It’s always been easy. When the student is ready to learn, the teacher appears. When you want to do something, you find a way. In Pakistan, the tendency is to “star cast”, I don’t know if that’s relevant anywhere else in the world. So you are casting stars not actors or performers. You could be a performing artist but not a superstar, like Naseeruddin Shah. He’s an actor! Nana Patekar, Amrish Puri, and people like them …the list goes on. Pakistan has a stigma associated with star cast. All producers tend to jump on the band wagon and cast the same people over and over once they’ve become successful. In Daira we used different people – Aisha did a great job and won us the lead actress award in Kara Film Festival. Adnan and Ijaz did a great job, so did Usman Peerzada. Imran Pasha is a school friend of mine and played Murad Badshah, and people noticed him. You need to get motivated yourself – people have always been interested – but filmmakers are reluctant to experiment. I’m really not in a fix because people are always around if you really want to find them. It’s not about taboos around acting in Pakistan. There are cultural sensitivities, so if you can respect the individual’s need for preserving a certain image in their society and culture it is not a problem to find good actors.

Any other ventures after Botal Gulley?
Botal Gulley is next – then I’m shooting a feature called Baawan (52), which is 90% in English and will be internationally released, including in North America. It’s a story of one night, five friends, a reunion, and challenging the myth of childhood friendship as we see it in Pakistan. It actually defies the myth of childhood friendship. It talks about how we are all led by our selfishness, which is not entirely a vice, but can be a virtue. It’s how you choose to position your selfishness in a situation where you coexist with your friends especially in your school days. It’s a very interesting plot. I would like to enter film festivals before I do a cinema release, because I want to prove that we can do intelligent cinema and I want to make our country proud. Plus, entering film festivals is really good publicity, and it’s how you find good distributors and ensure a wider release for your movie so more and more people can see it. Considering that Sundance and Toronto film festivals are in August and September, I won’t be able to release until the end of 2006. But I will roll in November this year and will be done by March/April.

Film and other media in other countries is very strong – what are media folks like yourself doing in Pakistan to improve our country’s international visibility and image?
First cinema is almost dead in Pakistan. We chose it ourselves. It was a suicide. Second cinema will never replace first cinema. How many thinking individuals do you come across in a day’s work? Finding second cinema is like smiling which you can’t do all day long, but you’ll have moments that you’ll find yourself with a reason to smile. Smiling in my way is like being intellectually challenged or provoked to take back a message with you. We need to be sure of ourselves and our identity to begin with and the rest will follow. We are not too sure of our identity. If India makes one film in red, we want to make three films in red, and not just red, but all the tints and shades of red. This isn’t how it works. We need to be more positive and realize that fantasy oriented cinema is gone – it’s about reality now – we need to come up with original material. We need to look within ourselves to produce and create. Creation is a by product of intrigue, innovation, and intuition. You have to look at these three eyes with your own eyes. We can only make a mark as far as a little stroke on a big canvas. You have to realize that a canvas that’s already been painted and dabbed with so many colors, mine is only a color of black or blue or white. I cannot paint the canvas entirely, I can only give you one little dab. I’ll have to have many more like minded people can dab along with me to complete the big picture. But that is not an excuse to not follow my own agenda and let my point of view float freely.

How is filmmaking as a career?
Look, if you do this as a career, you should not be looking at it. It will become very cold and devoid of emotion. You don’t fall in love to make a career out of it. (Laughs). You fall in love because you feel it. You should dance to the rhythm of your own heartbeat – it doesn’t have to be salsa or tango – it can be anything. If you really want to be in film making then it’s a passion – don’t call it a career. If you want to know whether it’s possible to make money out of this line, sure. But it’s a by product of being crazy about it and having the conviction that what you do will work. Certainly yes, it is a great line to be in. Independent film is still not a business, you cannot make independent movies with the expectation of making money of it. That’s the difference between first cinema (main stream), and second cinema (parallel stream). Your trajectory could be great if you’re going into first cinema, but you cannot create legends in first cinema.

How do you maintain so many interests and passions at the same time?
I was on a radio program the other day and a caller asked me the same question. What I said was that when I go to sleep, I dream about all these things and when I wake up, I run after them wildly and madly. I dream very colorfully and I make sure I remember the colors and hues so I can repaint them when I wake up. Advertising is still there and will stay there. I still do that for my day job.