I had long been an enthusiastic admirer of the work of Liz Mermin, when I had the chance to meet her in person at the Indian Film Festival of Los Angeles, this past April. She was in LA to promote her latest film, the documentary “Shot in Bombay”, about the makings of the Bollywood production “Shootout at Lokhandwala”. I had not known what to expect of Liz Mermin – the filmmaker – and when I first saw this feminine and very attractive woman, I was taken aback. How could she have survived the hardships of filming in Kabul, Afghanistan, not to mention the all-around roughness of a Bollywood – read: male-dominated – production? But the moment she started speaking, all her strength, reasoning and radiance became solidly apparent and the powerful, nearly fearless filmmaker beneath the woman shined through. Following is part of my talk with Liz Mermin and for more, do check out the article “A Conversation with Liz Mermin” in the “Tropical Blaze” issue of Chic Today, available online.

CHIC TODAY: Have you found that it has been more difficult or easier to make films as a woman and why?
LIZ MERMIN: It’s very hard to say, since it’s the only way I’ve ever done it, but there are some obvious advantages and disadvantages. The disadvantages include crew members (particularly cameramen) who don’t like taking instructions from women; producers who prefer their “creatives” to be part of a boys club and think women belong in production; lower rates, as in every other field, and an inclination that “big” stories belong with older men. Mind you those are generalizations – I’ve encountered all of them at some point or another, but the people I choose to work with display none of these prejudices. The advantages include access to places you’d never otherwise be allowed (i.e. beauty salons in Afghanistan) and the fact that a lot of men don’t take you very seriously and therefore let you see and film things they’d probably keep hidden from a big, serious-looking man. I have learned to use the advantages and try to ignore the rest, but filmmaking is most definitely still a male-dominated game.

CT: You have made films about such diverse topics as an outsourcing office run by Americans in Chennai, a beauty school to help Afghan women in Kabul and a director’s struggle to make a Bollywood film while his star is threatened with prison time in Bombay. How have you chosen what the subjects of each of your films would be? Do you remember a very specific moment when the decision was made?
LM: Well, I’m always looking out for ideas – in newspapers, magazines, word of mouth. Some things just jump out as obviously cinematic (“Beauty Academy”). I look for things that are a bit quirky, things where there’s no obvious right or wrong or “message” – things that seem like they’ll have surprises. And I like stories with an element of culture clash, of changing worlds, of the insanity of modern life. I’ll run a few of them by people and the ones that people agree are interesting I’ll write up and then send to broadcasters (usually Nick Fraser at Storyville, who’s commissioned my last three films and without whom I’d have no career at all). Then he’ll decide if they’re right for him…. so it’s not just me choosing stories, it’s me looking for stories that I think someone will get behind. “Shot in Bombay” was slightly different, because I was approached by producers who wanted a film on Bollywood and took off from that to find a story I thought I could sink my teeth into. We were really lucky to find “Shootout at Lokhandwala”.

(Continued)

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