His acquaintances know him as a film buff. Some recent recognitions at home and abroad identified him as an editor. Saleh Sobhan Auneem however finds comfort to be called a filmmaker with different roles. As we spoke, he was working on the last bits of post-production for “Karagar 2”, a much-anticipated project that was released on December 22 on Hoichoi.
“‘Karagar' is one of our biggest productions. Even the number of shooting days exceeded any of our past productions. Naturally, the post production was lengthy,” he said. However, it did not take a toll on the team because they had a solid plan from the very beginning. It was split into two seasons from inception and they knew exactly how the story would roll out.
Why is it then his name comes more often as an editor? Auneem breaks the silence, “I don't like to be tagged as an editor, I'm a filmmaker who can edit. My position is that of a filmmaker. What role I play is always secondary.” It is true that Auneem is a man of all seasons, credit lines have identified him in the roles of a producer, editor, colourist, writer and director. For “Karagar,” he is playing a dual role of a producer and an editor-colourist, much like many other projects of Film Noir. He also works with other filmmakers in the country. He shared some interesting anecdotes from his journey.
Rewinding back in 2008, Sonet, Auneem and Shawki—the trinity of Film Noir had set out on an expedition of shooting a wedding video in the most cinematic manner. The enthusiasm was sky high which ended up in a bulk of footage to be edited. “We took turns trying to choose and edit from an array of shots. But when the client set a deadline, I finally had to take charge.” Necessity thus created the editor Auneem. Now it has become a skill he acquired through years of practice.
When editing any project, Auneem is driven by the idea that it should not bore the audience. “Besides supporting the vision of the director, my motto is–never bore the audience. Unless I am saying something significantly world changing, 90 percent of the content we make are for entertainment purposes. To bore the audience would be a cardinal sin for me,” he added.
He also said that Directors and Writers often romanticise their works, that is when he plays the devil's advocate if needed. According to him, the intention of the maker must be clear, if not then he steps up to take a harsh call which leads to further discussions.
Placing the projects side by side, one can possibly get familiar with the style of Auneem's works. “I am not sure if I have developed a style but I may have developed a sense through watching films rigorously and practising in works. I must mention that the project after which I think I can be called a semi pro editor in the industry is Shaaticup. It was an ‘on the whim' project, a learning process for those young makers. What came to me was a massive amount of shooting material, ofcourse it was Shaik's story but to pick and tell a cohesive story was a challenging task for me. Hopefully we could meet a desired outcome to some extent. I have huge respect for them because they began working with limited resources and immense passion. It is inspiring for any filmmaker no matter where they are situated.”
When asked about the importance of film schools, for a filmmaker he said that understanding of film is an inherent concept but film schools play a vital role in development of technical skills like cinematography, editing, and other technical aspects. “Scorseses were born watching films in the neighbourhood theatre, Tarantinos were raised at rental clubs as shop owners, for us it was torrent and pirated films, our essential learning space,” Auneem jokingly shared. Their film schools were YouTube, books, and forums. He said that he would seek a degree if he knew earlier in his life that he'd work in this industry. He agreed that in today's age and time, an inquisitive and passionate mind can always find resourceful information online and learn. “Complex productions need specific training but the level of productions we deal with in our country or perhaps in the South Asian context, online resources and hands-on experience is enough to step into the industry.”
Growing up in Iran for the first six years of his life, Disney films made his first film list. After returning to Dhaka, the array of films expanded with Bollywood films broadcasted through satellite. “As children we were restricted from watching English movies, but as a family we watched Bollywood films. Until 2000 all released Hindi cinemas were under my belt.” It was in grade eight when Auneem would buy and watch films on DVDs. “I've always been a homebound person and my safe place was watching cinema. World cinema was exposed to me with the availability of the internet.” During his university life, Goethe Institute, Alliance Francaise de Dhaka, and Russian Cultural Center played important roles in introducing the films of Andrei Tarkovsky, Ingmar Bergman and other filmmakers to him and his peers.
As a director, Auneem likes telling stories that have an inner philosophy. He directed a number of shorts including “Juthi” ( “Iti Tomari Dhaka”), “Projonmo Talkies” and the recent “Lights, Camera...Objection”. In all three, there are commentary that are either social and/or political. “I have always been fascinated by courtroom drama. Light, Camera….Objection was a homage to my love for courtroom drama. ‘Juthi' was a social understanding of marital relationship from a female perspective.”
As a filmmaker, Auneem is an organised one. He likes to sort out roadblocks during the pre-production phase to ensure smooth run during the shoot. “I understand there is spontaneity in filmmaking and I adore it but for the vast majority I like being in control of the situation.” Does that make him a strict director? “No!” he exclaimed with laughter. “Filmmaking cannot be done in silos, it takes a village. Clear communication and discussed line of action before the shooting is what I aim for. Filmmaking is 80 percent management and 20 percent art. I know some may disagree but that's how I see it,” Auneem articulated clearly.
Film Noir has been acknowledging young talents by associating them in various projects. Auneem disclosed that it brings a fresh perspective to work. “It is always a joy to work with young talents. They are passionate and are hungry for good work. It is a given that although we are competing with world class productions, we have a long way to go before we can claim that we delivered. There is however intention for good work and most filmmakers are now trying to push their limits. We cannot discount that.” Auneem also expressed hope for an increased number of female professionals which he believes is a sign of improvement. “They are taking up technical positions. I believe that in a decade's time, we will have a better gender balanced industry that is rare even in the international space.”
Auneem is an IBA graduate who was set to have a different professional route, but he was destined to be a filmmaker. When he is not working, Auneem dedicates half his time to his family and the other half watching movies. “I watch religiously. It could be films or series but I must watch something everyday,” he said. At the time of the interview, he was watching “All Quiet at the Western Front.” “I am very excited about the film. I read the story published in ‘Seba Prokashoni' and am intrigued to read the film now.” Auneem and Shuhan Rizwan are currently developing a film storyline along with other projects. He will get involved once “Karagar 2” is set for the world to watch. Followed by the first part, the audience has high hopes for “Karagar 2” to unveil the unanswered questions.
Priyanka Chowdhury is an art writer
