With six movies to his credit, Dipendra K Khanal, is among the young crop of directors who are changing the face of Nepali cinema. Having directed films like Vigilante—Nepal’s first 3D film, and Jholey, Khanal’s latest release, Pashupati Prasad, is already garnering rave reviews. The Post’s Marissa Taylor caught with the filmmaker to talk about movies and more. Excerpts:  

Did you always want to be a filmmaker?

I would have to say, yes. Even as a little kid, films always interested me. I would often bunk school to watch movies with friends at video parlours, since that was all we had growing up. I would reach home right on time, of course. No one ever got any inkling that all the while I was enjoying movies, instead of attending classes.

How did your journey as a filmmaker start?

In Nepal, particularly while I was growing up, we didn’t have a culture of pursuing our interests and shaping them into careers. We just followed the set path paved for us by society. Over time I realised it was crucial to follow your interests; it was the only way you could enjoy doing what you do, and be happy and successful at it.

It wasn’t until I reached Japan, to study hotel management, that I realised that it was not something I wanted to do in life. The people I met during my time there followed their dreams and did not follow the rules laid out for them. Their lifestyle, their work ethic and principles, the way they followed their passion with such dedication made a deep impact on me. Living among such people, the realisation hit me that I could do the same. I then started studying filmmaking at Nakano Multimedia.

What does it take to be a good filmmaker?

I am also learning to be one. But I think the most important thing one has to keep in mind is to understand one self well. And be honest, with yourself and to your craft.

All your movies have opened doors to new genres for Nepali cinema—from Vigilante to Jholey to the freshly released Pashupati Prasad. What do you want your legacy as a director to be?

I don’t have a set ambition as such in my head. I don’t look to establish myself as a director who has his select genre; I don’t want to be

bound by any labels or taglines. With every film I make, I hope to bring something new to the table. I hope to provide a completely new experience, for myself as well as for the audience.

The Nepali film industry is still an industry that is evolving. How difficult is it for directors as yourself to fulfil your potential?

It is tough; it is tough even to survive. The industry isn’t financially strong and that often times limits our talent. But for the past two years, things have been improving. The audience has been more accepting and appreciative of our work. International media attention and releases have also helped tremendously. I think it is all just a matter of a time and dedication from our side, I am sure the industry will thrive.

What is the difference in the filmmaking process from now to ten years ago?

Earlier, there weren’t any directors who had actually studied filmmaking; there was a certain formula—a couple of glitsy numbers, fight sequences, a hero, heroine and a villain—which was followed. But now there is a process—directors who have actually studied filmmaking are behind the camera, scripts are discussed, rewritten many times; the movie making process has evolved over time.

Can you tell us more about how you developed the storyline for Pashupati Prasad?

The idea of the movie came from a news story I had followed about a guy who was wrongly accused of thievery and was killed in a local fight. The news made me wonder about the guy—where he was from, what kind of life he must have led, his family, his dreams. I wanted to make a movie on the life that was taken and overlooked. I saw that a new perspective could be shown and thus Pashupati Prasad was born.

How have the audience responded to the movie?

All the movies I have made till date have been for the audience and market demands. But Pashupati Prasad is one project that I undertook for myself. I was very nervous about it. It reflects my perspective on society, my ideals and I was curious to find out if the audience could connect with it. The film is a reflection of me, in some ways. The dialogues, scenes, character traits—they are all a reflection of me or some parts of me expressed through the script. It is humbling that the audience has appreciated my work.   

So far, the response has been pretty good. People have liked our work. I was a bit sceptical as to how the audience would take the movie. People like watching movies of heroes and victories, but this story is about a person defeated by life, and it has a very realistic approach. I was quite apprehensive in the beginning but I am glad things have worked out well.

Who is your favourite actor to work with?

Work is fun when it doesn’t feel like work. I have loved working with all my actors but the people I am most comfortable with are Priyanka Karki, Khagendra Lamichhane and Dayahang Rai. There is always this level of comfort while working with them, shoots feel like picnics and there is absolutely no pressure.

Any favourite directors?

Nischal Basnet is a great director and a good friend. I admire Ram Babu Gurung’s work as well.

Besides film making, what keeps you busy?

Besides making films, I am, on most days, busy with Popcorn Pictures: it is a group of young directors who work on promoting our kind of cinema and focus on movie distribution. In Nepal, a lot of problems come up when it is time for exhibition, we at Popcorn mostly focus on avoiding all that and promote our movies the best we can in every platform.

Where do you see yourself in the next five years?

As I mature I hope to make better cinema. Of course, there might be mistakes along the way but I will try my best to do work with complete honesty and dedication.

Any new projects under the pipeline?

There are a couple of projects. But, as people like your work and appreciate it, you tend to get nervous about their expectations. So, I will take my time and work on the scripts I have at hand.