CT: Speaking of the word “Bollywood” – which is such a marketable trademark these days – what is your feeling about the term, after the extensive time you spent filming in Bombay?
LM: Well, I used to avoid using the word, because of course it suggests that Hindi cinema is a cousin of Hollywood rather than a thriving industry of its own, but I found that the term was being used all over Bombay and it became hard to avoid. It was generally often used in a derogatory manner, though, meaning “Bollywood” was the popular stuff that everyone else was doing, I rarely heard filmmakers talk about their own work as “Bollywood”. Still, after hearing so many actors and producers and just regular people in Bombay use it, I gave in and used it as well – it’s hard not to sometimes, it has a good ring to it. That said, I was determined not to use it in the title of our film “Shot in Bombay”.

CT: A film like “The Beauty Academy of Kabul” must have been difficult to make, in every possible way. But on a personal note, how did you adjust to being in such an uncomfortable location? How did you keep your sense of sanity – for lack of a better term – in such a tragic, hard and emotionally punishing place?
LM: I don’t know. I guess the fact that the women we were talking with had lived through so much, and remained so optimistic and funny, helped me keep my own discomfort in perspective. It helped that my associate producer was a good friend, it’s always great to have someone to talk things through with. Also, when I’m on a shoot, I have to try to keep up and peppy for the subjects – don’t want them to see if I’m stressed – and focused for the crew – ditto! – and the rest of the time I’m generally in a state of panic about whether or not I’m getting what I need for the film and whether it’s going to be any good. So somehow the deeper tragedies and horrors don’t really hit you til later – you’re in work mode, you’re just trying to do your best and keep going. It’s a necessary defense, I guess.

CT: Following is a bit of my own “Rapid Fire Round” questions…
LM: Oh god – I’m awful at these!

CT: What film should you have made but didn’t? Do you regret any decision regarding a project?
LM: I wanted to make a film about the “Orchestra Baobab,” fabulous Senegalese band – I lived in Dakar for a year in early 90s. Got the band on board and the record label but couldn’t interest any broadcasters – they all wanted an American rockstar angle. So annoying. But if I’d made that I wouldn’t have been able to make others, so, no point in regretting.

CT: What made you become a documentary filmmaker?
LM: I wanted to do something different in life. And it seemed a good way to get paid to travel. And it didn’t come naturally to me at all – I’m much more comfortable writing – so I was drawn to the challenge. And I fell in love with editing in a silly 16mm summer class. And I didn’t really think it would work – I figured I’d end up in law school or as an academic, so I might as well try this first… Still might end up in law school some day….

CT: So if you could not have been a filmmaker, would you have chosen that as a profession instead?
LM: Well I actually did want to be a lawyer, doing human rights/civil rights stuff. I do still sometimes wish I was doing something that was of more obvious service to the world.

CT: What is your earliest childhood memory of watching a film?
LM: “Star Wars”, in the State Street Theater in Ithaca (since closed). I was terrified by the garbage contractor scene.

CT: And which is your all-time favorite film?
LM: I don’t really do favorites….. and I don’t watch nearly enough films over and over again. The film I remember having the greatest impact on me was “Badlands”, I’m not sure why. Though the films I make tend to be funny, the films I love are more haunting.

CT: Who has been the person you have learned the most from in life? And professionally?
LM: Aack! Personally, my mother? That has to be the right answer.
Professionally I’ve picked up bits & pieces from many different people. To name a few: A filmmaker/anthropologist named Jean Paul Colleyn, who taught my first doc production class, gave me the confidence to be playful with my work. An editor in NY named Chad Sipkin showed me the importance of intuition & aesthetics – sometimes over logic and reason, even in a “serious” doc. And of course Nick Fraser at Storyville, from whom I learned the difference between an interesting story and a story that can make a good film. At least, I think I’ve learned that…..

CT: Which is your favorite city in the world?
LM: At the moment I have to say London, because I’ve picked up and moved here and so it’d better be my favorite. When I find one I like better, I’ll be on my way there! But New York will always feel like home. And of course I love Bombay.

Additional images and video courtesy of Liz Mermin

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