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THE MVR100 WALK OF SHAME

Jaywalking, zebra crossings and the magnificent disorder of Malé roads.

Parliament has passed the new Land Transport Bill, and among its many provisions is one that has already attracted public attention: a fine of MVR 100 for crossing the road illegally.

In other words, jaywalking is finally about to become an offence in the Maldives.

This is good news. It is necessary. It is long overdue.

It is also rather like introducing a rule against splashing water while the entire house is flooding.

To be precise, the bill was passed on 26 August with 47 members voting in favour and 12 against. It is not yet law at the time of writing. It must first receive presidential assent, after which it is expected to come into force in 30 days. Article 46 requires the ministry to establish the rules pedestrians must follow, including where and how roads may be crossed. Article 131 then imposes the MVR 100 fine on anyone who crosses in violation of those rules.

So, technically, the state has not merely fined jaywalking. It has announced that it will first define walking properly and then charge us for improvising.

This is entirely reasonable. In a city as crowded as Malé, pedestrians cannot continue crossing wherever inspiration strikes them. A road is not a living room, and reaching the other side is not a spiritual calling that must be answered immediately. When a zebra crossing is nearby, people should use it. When traffic is moving, people should wait. When a child is watching, adults should perhaps avoid demonstrating that road safety is an optional subject.

But any serious discussion of pedestrian responsibility must begin with an awkward academic question: what exactly is a pedestrian expected to do after reaching the zebra crossing?

Pray?

In most countries, the zebra crossing is a recognised part of the road-safety system. It signals that pedestrians have a designated place to cross and that motorists must respond accordingly. In Malé, it often functions as decorative road art. The pedestrian stands beside it. The motorcyclist sees the pedestrian. Their eyes meet. For one brief moment, two citizens participate in a beautiful act of mutual recognition.

Then the motorcyclist accelerates.

Sometimes another vehicle follows. Then another. Eventually, the pedestrian crosses during a gap, not because the zebra crossing protected him, but because traffic briefly became tired of trying to kill him.

The authorities are aware of the problem. In 2025, Police and Malé City Council launched a campaign to paint “LOOK RIGHT” near selected crossings. This was useful advice. In Malé, however, one must also look left, ahead, behind, diagonally and occasionally upward, because the normal geometry of traffic cannot always be trusted.

The new bill is broader than the MVR 100 fine. It introduces a demerit-point system, provides for automatic licence suspension when unpaid traffic fines reach MVR 5,000, proposes a 20-year general lifespan limit for vehicles, and establishes a Greater Malé Transport and Mobility Office. These are serious measures and, on paper, part of a more modern transport framework.

The phrase “on paper” is doing considerable work in that sentence.

Road discipline is not created by legislation alone. It is created through road design, public education, consistent enforcement and a shared belief that rules apply even when no police officer is watching. At present, Malé possesses written rules, painted lines, traffic signs and a highly creative population determined not to be limited by any of them.

Lane discipline, for example, is treated less as a legal obligation and more as a suggestion from a distant relative. A rider may suddenly move into the opposite lane because the correct lane contains three vehicles and patience is apparently a luxury item. The person already travelling lawfully in that lane must then slow down, move aside or achieve immediate enlightenment.

Indicators are equally misunderstood. Their proper function is to communicate an intention before a manoeuvre. In Malé, they are often activated during the turn, after the turn or not at all. The vehicle simply changes direction, leaving everyone else to discover the plot twist in real time.

And then there is the U-turn.

The Maldivian U-turn is not planned. It happens. A motorist remembers that his destination was behind him and immediately invites the entire road to participate in this personal revelation. No warning. No gradual positioning. Just a sudden horizontal act of faith.

If pedestrians are to be fined for crossing roads unpredictably, motorists must be held equally accountable for driving unpredictably. Otherwise, we are not creating road safety. We are merely deciding which group is easier to fine.

Then we come to the pavement—or what urban-planning literature would describe as pedestrian infrastructure and Malé businesses sometimes describe as additional storage.

Walking along certain streets requires the balance of a gymnast, the flexibility of a yoga instructor and the quiet acceptance of a man who has made peace with death. One shop has placed cartons outside. Another has displayed hardware. A motorcycle occupies what remains. A delivery is in progress. Somewhere beneath all this commercial activity, according to municipal records, there may be a pavement.

The pedestrian must step onto the road to continue walking. Once on the road, he may eventually cross it. Under the new system, this could make him an offender.

The logic is exquisite. First, we remove the pedestrian’s safe space. Then we punish him for leaving it.

Police have recently been towing vehicles parked on pavements and pedestrian areas in Hulhumalé, reminding the public that these spaces are legally reserved for those on foot. Similar enforcement has also targeted illegal parking on major roads in Malé. These efforts are welcome, but occasional operations cannot substitute for ordinary, continuous enforcement. A rule enforced for one week and forgotten the next is not a rule. It is an awareness campaign with a towing truck.

There is also a larger principle involved. Road safety is a system of reciprocal duties. The pedestrian must cross responsibly. The motorist must yield where required, remain in the correct lane, signal before turning, avoid reckless U-turns and keep off pedestrian spaces. Businesses must not convert pavements into warehouses. Authorities must maintain crossings, signs, lighting and walkable routes. Police must enforce all these duties consistently rather than waiting for public outrage to select the offence of the month.

Academically speaking, effective traffic governance depends on the system being coherent. Sarcastically speaking, everyone must stop behaving as though the road was inherited from their grandfather.

The MVR 100 fine may help. Even a small penalty can influence behaviour if people believe there is a realistic chance it will be imposed. But deterrence depends less on the amount than on certainty. A fine that exists only in a statute is merely literature—and unlike most literature, nobody reads it voluntarily.

The law must also be implemented with common sense. The ministry’s regulations should clearly define how far a person must be from a designated crossing before crossing elsewhere becomes illegal. They should account for roads with no pavement, crossings that are poorly placed, paths obstructed by vehicles or merchandise, people with disabilities, the elderly, children and emergency situations. The public must know the rules before enforcement begins. Otherwise, citizens will learn the law in the traditional Maldivian way: when someone uploads a fine slip to Facebook.

Most importantly, enforcement must be balanced. If a pedestrian pays MVR 100 for crossing outside a zebra crossing, the rider who refuses to stop at that zebra crossing should not be allowed to disappear majestically into traffic. If a pedestrian is told to remain on the pavement, the shopkeeper occupying it and the motorist parked on it should receive more than a polite social-media reminder.

The purpose of a road law is not to discipline one category of road user. It is to establish a predictable public space in which everyone knows what others are likely to do. Predictability saves lives. At present, travelling through Malé often demands the reflexes of an action hero and the fatalism of a philosopher.

So yes, let us have the jaywalking law. Let us use zebra crossings. Let us teach children to cross safely and adults to resist crossing wherever their feet develop political independence.

But let us also recognise the whole road.

Fine the jaywalker. Fine the reckless rider. Tow the pavement-blocking vehicle. Remove the shop stock. Enforce the lane. Penalise the sudden U-turn. Protect the zebra crossing. Design pavements that human beings can actually use.

Because Malé does not suffer from a shortage of rules. It suffers from our remarkable national ability to regard every rule as excellent advice for somebody else.

If we are going to bring order to our roads, one law may not be enough. We may indeed need a road-traffic Bible.

But even a Bible is of limited use when everyone believes he is the main character—and that the road will part for him.

FROM A THIRTEEN-YEAR-OLD CLERK TO A STATESMAN: REMEMBERING A MENTOR, 11 YEARS ON

It has been eleven years since Late Hon. Uz. Abdulla Hameed left this world.

Last year, on the tenth anniversary of his passing, I wrote about the faith he placed in me when I had lost faith in myself. This year, I found myself reflecting on the extraordinary journey of the man who gave me that second chance.

Born on 31 March 1939, Abdulla Hameed entered government service at just thirteen, beginning as a clerk at the communications office. By nineteen, he had become the Atoll Chief of Lhaviyani Atoll.

That was the beginning of a remarkable life in public service.

Over the decades, he served as a Member of Parliament, Cabinet Minister and Speaker of the People’s Majlis. He contributed to the development of Hulhulé Airport, the atolls and the education sector. He was also a respected literary figure who cared deeply about the Dhivehi language, our history and our culture.

He was eventually conferred the Order of Distinguished Rule of Izzuddeen.

Yet, titles and honours only tell us how high a man rose. They do not tell us how many people he lifted along the way.

I was one of them.

When I entered the film industry, I quickly became disillusioned. By the time I was transferred to the Ministry of Atolls Administration, where Hon. Abdulla Hameed served as minister, I was frustrated and almost ready to walk away from storytelling.

He must have seen something in me that I could no longer see in myself.

The TVM Office Drama Competition was one of the most anticipated events of Ramadan. The ministry’s previous entry had received harsh criticism. He could have chosen someone more experienced—or avoided taking the risk altogether.

Instead, he chose me.

He entrusted me with producing the ministry’s next drama, gave me complete creative freedom and instructed everyone to offer their full support.

He did not stand over my shoulder.

He stood behind me.

That year, the Ministry of Atolls won Best Drama and Best Actress. Over the next four years, we won twelve awards, including two more Best Drama titles.

But what I gained cannot be measured in trophies.

I experimented. I failed. I learned. I found my voice and, most importantly, my way back to storytelling.

Throughout those productions, he made sure my cast and crew were treated with dignity. To him, they were not merely government employees appearing in an office drama. They were artists, and he made them feel like artists.

During one celebration, he said something I have carried ever since:

“He is a gem that Atolls has.”

Perhaps he never realised what those words meant to me. One sentence, spoken with faith, became a lifeline for a young man drowning in doubt.

Whenever rejection becomes louder than hope, or I begin to question whether I still have anything meaningful to offer, I remember the man who saw a gem where I saw only broken stone.

On 18 August 2015, Hon. Abdulla Hameed passed away at the age of seventy-six. His body returned home draped in the national flag, and the country observed three days of official mourning.

The Maldives buried a statesman.

I lost a mentor.

Eleven years later, history remembers his journey from a thirteen-year-old clerk to the Speaker’s chair. I remember the man who trusted a discouraged young writer with a drama and opened a door when I believed every door had closed.

Perhaps that is the truest measure of a life—not merely how far someone rises, but how many others rise because of him.

Eleven years on, I am still writing. Every story, every character and every moment I have placed on a screen carries somewhere within it a small part of the faith he once placed in me.

His titles belong to history.

His words belong to my life.

May Allah fill his grave with light and grant him the highest place in Jannah.

Aameen.

NOT A LONG ABSENCE

I have not gone back to a state of long absence, not after I had returned from a mighty long absence. It’s been more than two weeks since my last post, I know. But this being the fasting season, it’s just that I find no energy to type anything at all or do anything else for that matter. If I had tried, that would be an exercise in futility. So why bother. I have come to realize that I am not creative when I have no energy. Who does anyway? But I am not going to break fast for the sake of calling myself a regular blogger. I want all the brownie points I can get from this season. However, if I could post in my sleep, then I would have posted every day. Oh yes, sleeping is what I do most, currently.

There’s no time for blogging or writing screenplays after breaking fast. Besides, my brain never complies afterwards. Therefore, not to stress myself or my thinking cap, I have deliberately stopped writing until fasting season is over. Which means, MIKOE BAPPA BAEY BAEY (COME MY BABY’S FATHER) is still on hold. No progress on that. And Ravi who is attached to direct the film, has indicated that shooting might have to be delayed until October. He is planning on shooting the whole film in HD. And around early October is when he is going to get the equipment he needs. Now that’s something very exciting and worth waiting for.

An hour after breaking fast, most nights, I usually have coffee at Eternal Pictures studios back lot with the coffee gang. It’s fun with SAZAA (PUNISHMENT) director, Munavvar stealing the show with his stand-up like comedy stints. Eternal Pictures honcho, Ted even made a suggestion to make a funny talk show from our coffee gathering. But the best suggestion was made by SAZAA editor, Semi. He said to place a mic near me so that I would provide the background laughs the show needs. Everyone agreed.

Speaking of SAZAA, editing will be completed today. SEMI is now on the last project which oddly happened to be the first out of seven projects Semi has divided for making editing easier including other post-production tasks. Semi has scheduled a preview of the first cut of the film for tomorrow. From the already edited six projects, I was worried on how the climax would come up which was in the seventh project. But my worries are over now. Semi has worked wonders with the climax and it does pack a wallop. I wish I could reveal more on the climax but I don’t want to spoil anything and I am contractually obliged to keep the story under wraps.

Once again kudos to Semi for his creative and crisp editing to bring the best out of everyone involved in this film. And I am hoping this would be the first film where the entire cast, mostly the leads have less dialogue to deliver than the previous films they have appeared in. The way Semi has edited, the silences does have a deep impact.

The production team of SAZAA has worked on the film’s teaser trailer which was uploaded on the film’s facebook page last night. The reception to this trailer is so far positive. The production team will compile an official trailer based on the comments given by the fans. One might wonder, why am I involved in SAZAA’s trailer and editing and so on. Well I am part of the production team.

UNDER THE WEATHER

Since August 5th I was feeling under the weather. I was stricken with a really bad flu including fever that was in a funny way, unpredictable. It was on and off. Fortunately, I am feeling okay, just in time to kick start the fasting season today. Ramadan greetings to everyone!

Before I was bedridden, I was hoping to finish writing MIKOE BAPPA BAEY BAEY (COME MY BABY’S FATHER). Sadly, I couldn’t type a single word. Now I have rescheduled to start writing coming weekend. I am pretty excited about it.

Here are some more pre-production updates on MIKOE BAPPA BAEY BAEY. Yesterday evening, Ravi and I hooked up for a coffee at Trends to discuss on casting availabilities. Ravi is in talks with a promising actress to play the one and only female character in the entire film. Hopefully she will give an answer before the end of next week. As for the leading male part, a rookie actor has already agreed to play the role.

The original screenwriter of the film, Ahmed has also confirmed a team of less than six members for the production crew when principal photography begins in L. Gan.

Editing of SAZAA (PUNISHMENT) resumed two days ago after being halted for two to three days due to unexpected chores to be completed at the studio immediately. Yesterday afternoon, I watched the new parts SEMI has edited. I must say that the film is looking good and it’s shaping up with great performances from Niuma, Copee Issey, Azoo and Fathimath Haleem. Semi is determined to complete editing before the end of next week. Kudos to him for his crisp editing.

And for his directorial debut, Munavvaru has done an impressive job at maintaining a good pace with storytelling. However, there are few instances where he could have done better but the principal actors help hide any weaknesses. I must once again note that Niuma has done a remarkable job in the leading role with less dialogue to deliver.

Last night, director Munavvar has taken the edited parts to Eternal Studio for color grading to be done by Ted, the film making legend. Munavvaru reports from Eternal Studio that the already tested parts for color grading look breathtaking. Stay tuned for more news on SAZAA.

I end this post for now.

MY FILMOGRAPHY

Here’s a complete list of screenplays including TV dramas, TV serials and short films I have written so far. The list has been arranged in descending order of the year written.

Year Title Category Remarks Status
2010 Indhiraas (Decadence) Feature   Pre-production
2010 Sazaa (Punishment) Feature   Post-production
2010 Mamma (Mother) Feature Co-writer Pre-production
2009 Leykarunain (Tears in Blood) Feature   Pre-production
2009 Ingili (Finger) Feature   Post-production
2009 Vafaatheri Kehiveriyaa (Faithful Trickster) Feature   Shelved
2008 Hiyani (Reflections) Short Film   Released
2008 Raaniya Feature   Shelved
2008 00:00 (Zero Hundred Hours) Feature   Shelved
2008 Road Feature   Shelved
2008 Genie Feature   Shelved
2007 Kevveveynama (If You Can Cope) TV serial 12 episodes Shelved
2007 Aharenge Lha Daddy (My Youthful Daddy) TV serial 05 episodes Aired
2007 Vakivumuge Kurin (Before Parting) Feature   Shelved
2007 Nulibunas… (Though Not Attained) TV serial 13 episodes Post-production
2007 Aharen (Me) Feature Co-writer Released
2006 Thiya Loabeega (In Your Love) TV serial 13 episodes Aired
2006 Nethi Dhiayas… (Though Perished) TV serial 05 episodes Aired
2006 Rocky 2 Short Film   Shelved
2006 Rocky Short Film   Released
2006 Vaaloabi Engeynama… (If You Knew How Much I Love You) Feature   Released
2006 CIB 2: Vathan Short Film   Shelved
2006 Hinithunvelaashey Kalaa (Smile, you) TV serial 52 episodes Aired
2005 Kuramey Vadhaa’ee Salaam (I Say Goodbye) TV serial 13 episodes Aired
2005 Hureemey Inthizaarugai (Waiting For You) Feature   Released
2004 Loabivaana… (If You Love Me) TV serial 13 episodes Aired
2002 3-Nov Tele-drama   Aired
2001 Fangi (Thatch) Tele-drama   Aired
2000 Vaarey (Rain) Tele-drama   Aired
2000 Kashi Thammathi (Thorny Bed) Tele-drama   Aired
2000 Abadhah… (Always) Tele-drama   Aired
2000 Hama Himeyn (Complete Silence) Feature   Released
1999 Thauba (Absolution) Tele-drama   Aired
1998 Kekulhun (Suffering) Tele-drama Not credited Aired
1997 Amaanaaiy (Custody) Feature Co-writer Released

SHELF LIFE…

The time I spend on writing a screenplay is meticulous and immeasurable. First there’s the structuring process where most of my brain cells are used to the limit. It could turn out to be a long and exhausting process stretching from days to months. But this is the process where the look of my screenplays is shaped and re-shaped repeatedly.

Once structuring is over, writing starts next. And for me, this process is the easiest. All I have to do is go through my structure and then type out everything I have noted, in to scenes. I have found this method very safe and effective since during writing I find myself immune from a writer’s block. The latter has the chance to terrorize my head only at the structuring process. And if I make it through that process without a writer’s block, then it’s definite that I won’t get any thereafter.

During the writing process, my mind splits in to a writer mode and a director mode. While I write, in my head I am able to visualize each and every scene just like a director does, since I have been a director myself once. I am always in full control playing, rewinding, fast forwarding or if need be, watch each scene in slow motion as I write them. And every time, my visualizations come with 5.1 surround sound.

Also while I write, creativity is at its fullest. Mostly, the structure and the notes from the structuring process gets changed and re-changed easily while they are written in to full-fledged scenes.

During the past ten years or more, I have written screenplays for feature films, short films, long and short TV serials and television dramas.

All the television dramas I have written were made in to, well, television dramas. And all of them were aired on TVM. Out of these, most were written for Ministry of Atolls Administration, the office I worked at that time to be submitted in the Office TV Drama Competition conducted by TVM several years ago. Under my guidance, Atolls participated for five consecutive years.

From the long and short TV serials, all were produced and had successful runs and re-runs. Only a 13 episode serials called NULIBUNAS… (THOUGH NOT ATTAINED), given away without any pay off for Movie People was put on hold after principal photography. The studio failed to lure a TV channel to buy the series. Future of NULIBUNAS… still remains uncertain. At the time of writing this post, its producer is thinking alternate ways to cover the investment, like releasing each episode on DVD.

KEVVEVEYNAMA… (IF YOU CAN COPE), a 12 episode serial I wrote for VTV to this date remains a series where I haven’t a clue of its whereabouts. Not even sure if it’s shelved or lost. For the sake of keeping up with the title of this post, consider it shelved.

Out of the three short film screenplays, only one got produced. It was released on DVD as a comedy and was flopped. Here’s one of those rare situations where a flop is considered a huge satisfaction than the screenplay of the said flop being shelved forever.

It was with feature length screenplays where things have turned out all too sour. Most of the screenplays I have written were shelved by its producers. Since I was paid only to write, I find myself helpless to react to their decisions. But on the brighter side, except for two screenplays, rest was paid. Then again, to find them lying on the producer’s shelf forever, is more frustrating.

Here’s a brief look at all the screenplays I have written so far which were shelved for some reasons I know and some I don’t.

AN UNTITLED SCREENPLAY

This screenplay, which does have a title but concealed for reasons classified, I co-wrote with my writing partner Zareer more than 10 years ago. To this date, this screenplay hasn’t aged a bit. As years have passed, this screenplay still remains potent and delivers a strong message that has become more appropriate to our society today.

Roughly five years ago, this screenplay was proposed to a now-dissolved studio upon a request of its owner. Baaru Sharee was agreed to direct. Sharee and I even negotiated with high profile actor, Youppe and his wife, Fareela for the lead. However, months later, our screenplay was rejected and since then it’s been lying on the shelf, waiting quietly to be acquired by a positive producer.

CIB: VATHAN

This is an indirect sequel to Seezan directed short film CIB: 24. It’s about an elite group of police force working for a secret government organization. I wrote the sequel with several twists and turns including a high-octane car chase and few other intense set pieces. The reason this sequel was shelved was straightforward. Seezan felt that it was too high tech and technical and demanded a budget too huge for a short film.

GENIE

Director Fatthaah hired me to write this screenplay as a fantasy short film for children. But when the studio he was working at that time was dissolved, the screenplay was shelved until he joined Dash Studio, where he is presently working at. He hired me once again to rewrite it into a feature length film with new and more enhanced characters including visually stunning set pieces. Once the rewrite was completed, Fatthaah had talks with Baaru Sharee asking him to direct the visually demanding scenes. Sharee even agreed to the deal. However, due to a long delay in finding child actors for principal roles, the screenplay was once again shelved.

VAKIVUMUGE KURIN (BEFORE PARTING)

Suja who’s presently a producer at VTV asked me to write this screenplay based on a short story he wrote. It was first titled MARUVUMEGEKURIN (BEFORE DYING). After some financial hassles in settling my payment, Movie Maldives owner Shakeeb eventually paid for the screenplay after buying the story rights from Suja. Shakeeb then re-titled it to VAKIVUMUGEKURIN (BEFORE PARTING) and sent it straight to his shelf.

Every now and then, talks on producing it erupt like a volcano. But every time, instead of lava shooting straight up, everything just dies away. But on July 30, 2010, at a meeting I had with Youppe, Shakeeb joined us. Once again I mentioned this screenplay to the interest of them both. I am not told how the negotiation went after I had left the meeting.

00:00

I first started developing this under the name MENDHAN (MIDNIGHT) as a television drama for Atolls but declined from producing due to the subject matter being too dark. That was more than 10 years ago. Then on 2008, I started work on writing it into a feature length screenplay. Luckily I had all my old notes for reference. After a discussion with Baaru Sharee, who was first attached to direct it, the title was changed to 00:00 (ZERO HUNDRED HOURS). Unfortunately, Sharee joined DhiTV during that time and got himself busy. Eventually, he had to leave the project. Then director Ravi stepped in, he negotiated with DV Productions to acquire it as a directing vehicle for him.

Things went smoothly at first. 00:00 was made official but DV Productions gave more attention to their more bankable projects. Unfortunately pre-production of 00:00 stopped and found its way to, yes the shelf. But a month ago, I heard from Ravi who has joined DV Productions recently that 00:00 is slated to start production at the end of this year. Now that’s something positive.

ROAD

Pre-production of this supernatural-horror-thriller which I wrote for producer Thitthi for his Antharees Productions started off promisingly. Its chosen director, Ravi and CGI Supervisor, Ishee even started on testing visual effect needed for the film. However, yet again this screenplay faced the same fate of lying on a shelf rather than in the hands of its director.

Thitthi who is currently in Perth said once he returns next year, he’d resume pre-production. Now let’s wait and see what lies ahead on the road for ROAD.

RAANIYAA

This screenplay, where the title refers to the protagonist, too had its pre-production started. It was originally a project Dash Studio started years ago. This project was helmed by editor/ director, Semi but was halted indefinitely after 90% of production was completed. Years later, the studio owner wanted a reboot. The task fell in to the hands of Fatthaah, who at the time had joined the studio. He assigned me for the rewrite immediately. I completed a total revamp of the screenplay and made it more adult oriented from the teenage setting of the original screenplay. It was written by my favorite writer, Aishath Neena. I wrote VAA LOABI ENGEYNAMA… (IF YOU KNEW HOW MUCH I LOVE YOU) based on her story.

After the facelift, at the very early stages of pre-production, RAANIYA came to a halt when the songs needed for this film started getting delayed. Fatthaah didn’t want to start principal photography without them. He now reports to begin production next year.

LEYKARUNAIN (TEARS IN BLOOD)

Another screenplay I wrote for Fatthaah which kept changing production date constantly due to the long delays in composing the songs for the film. Hopefully in mid October this year, principal photography of this film is set to start. Those are exact words of Fatthaah, not mine.

VAFAATHERI KEHIVERIYAA (FAITHFUL TRICKSTER)

I think now I have the right to say that I was tricked in to writing this screenplay. After scouting for locations in Nuwara Eliya by its director, this screenplay found its rightful place, the shelf. And I was left without being paid for my work.

MAMMA (MOTHER)

This is the second screenplay I have written for which I haven’t been paid so far, even if it was a draft. Even at that stage, the screenplay includes the whole outline of the film itself. Now I am hearing that this is going behind cameras soon. Well at least this screenplay has been saved from the shelf curse. But I just wonder how much of my draft the producer has borrowed for completing their version of the final screenplay.

INDHIRAAS (DECADENCE)

It’s been less than two months since I have handed over this screenplay to DV PRODUCTIONS. So this screenplay couldn’t be considered officially shelved. Not just yet. Pre-production is set to start in October. I am just hoping that this screenplay doesn’t slip in to its own decadence…

SAZAA IN EDITING…

This evening, I was so looking forward to see the new scenes of SAZAA (PUNISHMENT) that Semi has edited. But when I called him, he gave me very depressing news. The computer system that SAZAA is being edited crashed. However, he managed to restore the system temporarily and at the time I called, he was making a backup of what he has edited so far. I just hope nothing goes wrong.

When Semi first started editing and before he could cut or splice a scene, the system crashed. After a week of sending the system to several tech guys, it was fixed. However, a week later since Semi started editing, tonight the system crashed again.

Despite the setback, Semi is still upbeat as he’s able to backup everything he has edited. But this could hinder his speed a little bit. He was so committed.

Finally, Ravi called the owner of the house screenwriter Ahmed Rasheed suggested to use for MIKOE BAPPA BAEY BAEY (COME MY BABY’S FATHER). Ravi said the discussion with him went well. The owner is ready to rent us the house immediately. But we cannot start production just yet since Ramadan is around the corner. So Ravi said that he will call back after Ramadan. We are scheduling to start production a week after Ramadan is over.

A FRUITFUL DAY…

Night before last, I woke up from my sleep at around 0230 in the morning with a heavy head as if my whole skull’s been filled with water or something like that. What happened was, in my sleep I restructured MIKOE BAPPA AADHEY AADHEY (COME MY BABY’S FATHER), the short screenplay my producing partners and I acquired last week from Ahmed Rasheed, the rookie screenwriter from L. Fonadhoo. This is a weird habitual nocturnal occurrence of mine whenever my thoughts are deeply in to writing something interesting. Not that any other screenplays I have written so far without this occurrence were less interesting. In fact, it has happened for all of my screenplays, but with different degree of heaviness.

Anyway, I hurried downstairs, pulled out the hard copy of the screenplay and started scribbling all those ideas that were developed in my sleep. All I did was stretched the original screenplay, added suspenseful events and enhanced the principal character with reference to the character’s history.

Yesterday, at Underground I met with Ravi, who will once again fill the director’s shoes. I briefed him on my take of the rewrite. Simply, he liked it very much. However, what he didn’t like was the fried chicken and fries dish he ordered. It took us a while to figure out if the chicken in that dish was actually a piece of fried chicken. It looked more like a banana fritter with fries.

To add more on this project, Ahmed Rasheed suggested at setting the production in L. Gan where he thinks a remote house there is the perfect location. He then mailed me several pictures of this house. Ravi and I think this house is really the perfect location. We have asked Ahmed if he can help us complete production there. He said it could be done. We’ll start final talks with him once I complete the screenplay adaptation. Stay tuned.

This evening, I dropped in to KIDS PRODUCTION studio to see the editing of SAZAA (PUNISHMENT) Semi has done so far. All I can say is that my smile will put the Cheshire cat to shame. Semi has done a remarkable job. He has edited the first hour of the film. The principal actors have given superb performances especially the leading lady, Niuma. Her moments of silence were topnotch. I have a feeling this is going to be her first leading role with less dialogue. Looppe in his first major role gives a praiseworthy performance keeping up with Niuma. The introduction scene of Ismail Rasheed aka Copee Issey is a real hoot. He’s simply terrific. For my viewing pleasure, Semi added natural sound to the most bittersweet scene of the film. It was so awesome. Can’t wait to see him complete the editing.

Later this evening, Semi and I went to Olympus Cafe for a coffee. There I met Youppe, one of the most prolific actor/ director of Dhivehi film industry today. I must say that it was a very fruitful meeting. And he made a tantalizing proposition. If I write him a screenplay, he would produce and direct it and would give me a profit percentage from the theatrical and DVD sales for a year. I am going to warm up on it.

Later, Movie Maldives owner, Shakeeb joined us. It was him who bought the screenplay MARUVUMEGEKURIN (BEFORE DYING) which I wrote for Suja who once worked as a producer at TVM. After buying that screenplay, Shakeeb re-titled it to VAKIVUMUGEKURIN (BEFORE PARTING). To refresh on this screenplay, it’s about two strangers who meet, unbeknownst to each other has something in common.

I tried to convince Shakeeb that he should produce that screenplay with Youppe at once, rather than keep it shelved forever. It’s been more than three years since I wrote it. Youppe said he is more than happy to begin production. Before I returned home, I did manage to strike a dialogue between Shakeeb and Youppe over it. I am keeping my fingers crossed.

In a nutshell, the whole of today was cool…

lost in TRANSLATION…

It’s been a while I haven’t posted anything. Why? I was lost in translation. However, here’s a quick recap on what happened since my last post.

A day after my last post, FATTHAAH commissioned me to subtitle his national award winning film, VAALOABI ENGEYNAMA. This task contributed to my absence heavily. It was good to watch this film after a very long time. However, this time around I had major outbursts of anger!

FATTHAAH gave me the official DVD of the film which was sold out a year ago. To my horror, the DVD version was manipulated brutally. Moreover, I was angrier and frustrated that FATTHAAH, the producer was unaware of it. Only when I reported, he came to know. I wonder if he’s been living on this planet.

So how was the DVD manipulated? This is how? Commercials of around three or more minutes long which were supposed to be inserted in to the running time of the film, the person who authored the DVD ignorantly instead of inserting, had the commercials replaced over the scenes of the film. This I consider is a big crime. If I were the producer, I would sue whoever this person is. Now the DVD version of the film has several scenes missing including very key scenes. VAALOABI ENGEYNAMA on DVD looks disjointed and ridiculous. It’s a shame!

During my absence from this blog, pre-production on INGILI progressed swiftly. The set construction is completed. The picture below is taken from a cell phone.

The production team is preparing to leave to K. GULHI for principal photography on 16th May. That’s coming Saturday. Cast of INGILI has started rehearsals and in the meantime, one of the actors is practicing the special skills required for the character he is playing. And the actor who was initially serving as a producer has given up his duties as a producer due to, let’s say for personal reasons. Nevertheless, INGILI still has three producers attached. Our DP was interested to be the third producing partner and became one instantly.

Director RAVI has confirmed the famous rock band performing the rock song for the end credits of INGILI. He has given the band leader a brief synopsis of the film so that work on the lyrics can begin. The production team will be promoting this song for the marketing of the film. The band and the cast will be revealed later.

The three amigos, I mean the producers have confirmed the final production budget two days ago. Production manager will be handling all the finances and will be requesting the producers to release the budget.

The production team has also started work on poster designs of INGILI. We had a sitting a day ago and came up with several concepts. More on it later…

And finally SEEZAN returned from NUWARAELIYA after location scouting for VAFAATHERI KEHIVERIYAA. He has even approved the final screenplay. Phew! He’s really excited and is planning to start principal photography around end of this month.

That’s all for now, and oh one more thing. I also did subtitling of TED’s two short films titled MIRAGE and CROSSROAD. That’s all for now, folks!

latest on INGILI…

This evening producers of INGILI decided first week of May to begin principal photography of INGILI. Earlier it was planned for last week of this month. However, due to director RAVI being chosen to oversee the election of DHIVEHI FILMS ASSOCIATION to be held on 4th of May, the production of INGILI was postponed for a noble cause. Presently, Dhivehi film industry is really in need of an association.

The meeting this evening was very productive. RAVI, MUA and I not only worked on the rough budget of INGILI, but also post production details including the marketing plan. Production DP and our actor who is supervising the set construction in K. GULHI also participated.

Since I am not allowed to reveal the discussion we had this evening, its better that I end this post immediately. Otherwise, I might end up revealing everything. All I can say for now is that the status of INGILI is going GOOD.