Mahdi Ahmed

LITTLE DIRECTION

On 10th October 2010, people across the world participated in the ONE DAY ON EARTH project capturing an unprecedented global video snapshot of a single 24-hour period. Participants, ranging from teenagers with cell phones to Academy-Award nominated documentarians using the latest HD cameras, filmed the world from their own perspective. The United Nations Development Programme (UNDP) partnered with ONE DAY ON EARTH to help the project reach participants in 100 countries with low bandwidth, making it a truly global initiative.

A group of talents from Dhivehi film industry volunteered to help UNDP Maldives produce their ONE DAY ON EARTH. Administratively from UNDP Maldives, AMINATH IBRAHIM aka SANU managed this project. She through my wife, who is her colleague at UNDP Maldives, somehow convinced me to helm it.

I had only five days for pre-production. Without any delay, I helped SANU write a short script from the perspective of UNDP Maldives. I must say she wrote a pretty impressive piece. The very next day, I went through her script and prepared a shooting script including a shooting schedule so that anyone who took over the KODAK HD flipcam could do an easy job.

Just three days to go, I approached KID PRODUCTION head, HUSSAIN MUNAVVAR who is also a cameraman to lens. However, due to time constraints and with a day to go, he arranged me IBRAHIM WISAN aka KANDI who is promising, talented and had several big budget films under his belt as a cameraman. We met at newly opened GONUTS WITH DONUT as I explained him the entire shooting script. He was more than happy to volunteer.

Later that night I sat with SANU who assigned herself as the tenderfoot production manager. I briefed her on the shooting schedule, how to handle one and introduced her to KANDI since shooting was to begin before sunrise next day.

Shooting went as scheduled. I checked with SANU on the progress of the shooting. She was enjoying her new found job so much so that I thought she would opt a career change. At the end of the day, it turned out to be a pretty good shooting experience for her and her assistants. As for KANDI it was just another walk in the park. The whole production team did an admirable job shooting nonstop from sunrise to sunset.

Two days later, SANU gave me the raw materials for editing. I went through them for labeling. The artistic side of KANDI was clearly seen in every frame even when he had to shoot with a camera much, much smaller than he usually handles, not to mention with limited functions and a light weight tripod he had to use that almost tumbled even if someone blows lightly at it, from a considerable distance. So three cheers to him.

Since I was not informed of a deadline to submit the final cut, I took everything too easy. I kept delaying editing. But about ten days later after handing me over the raw materials, my wife informed me that SANU wanted the final cut a day before 10^th November 2010.

After twelve days of some worrisome editing, I managed to do a very rough cut on my wife’s VAIO using Premiere Elements which constantly kept giving me a low memory warning and several not responding messages. When I was unable to continue, I did a backup of the project and asked producer-director, FATTHAAH if he could help. He did try to help me but unfortunately, his system was unresponsive and troublesome as well. I panicked. I called actor-editor, MUA immediately. As usual, he was cool enough to turn a cucumber more greener. He asked me to bring my project to his studio, DV PRODUCTIONS.

Things were not going too good at his studio either. But after several software crashes and uncountable reboots, MUA was able to export a rough cut with a narration track that I recorded using sound recorder. My wife was too eager to provide the narration since it was a rough cut.

I submitted the rough cut for comments. I met SANU at UNDP Maldives where she gave me a list of amendments. She insisted my wife do the narration for the final cut too. Though my wife agreed, we had another issue to settle. We were still brooding over what music to use. My wife kept telling me about a song which was produced by UNDP Maldives in association with local artistes called RAKKAAVETHIBIYYAA DHIVEHIRAAJJE (if stayed alert, Maldives). I listened to it. Though it was a song on our environment, I felt it was not just catchy but perfect as well. I used the melody throughout the eight minutes of this short documentary and the first part of the complete song at the end credits. I then did a better recording of the narration for the final cut. MUA helped me with all the technicalities including refining the narration recording, color grading and trimming the final cut plus all the needed importing and exporting.

This afternoon I viewed the final cut with my wife before she gave it to SANU. My wife was a tad sad that I didn’t include a shot of fourteen storey government office building, Velaanaage for the high rise line said in the narration.

SANU called me early this evening. She was ecstatic. She thought the final cut was awesome. However, she still wanted to correct a typo and credit for the song added at the end credits.

I called MUA immediately. He was all too available. We did the correction and the addition SANU asked plus inserted a shot of Velaanaage. My wife thinks the final version now looks more complete. She will hand it over to SANU tomorrow.

This is my involvement in direction since 2003, even though it’s a short documentary. I thank all those who volunteered for this project. Special thanks go to KANDI and MUA for their enormous support. I couldn’t have completed this project without all those who helped me, even if it was for just ONE DAY ON EARTH.

Cheers!

ORCHID, HER FLOWER NOT MY FLOWER ANYMORE

In my post of 29^th July 2010, I have mentioned about writing an unofficial sequel to ORCHID EYNAAGE MAA (ORCHID, HER FLOWER) for MOHAMED RASHEED aka DHARAA RASHEED. Unfortunately, due to unforeseen turn of events in my life, events that have directly effected my thinking cap big time, I had to quit this project.

During my last long absence, I did inform this to RASHEED. We had a very professional chat over the phone and he understood my status very well.

I was extremely pleased when RASHEED revealed that his next choice to helm the writing duty was original ORCHID EYNAAGE MAA writer-director, HUSSAIN SHIHAB. I simply couldn’t think of anyone else penning it. SHIHAB will understand the original characters more than anyone else can and I was fortunate enough to discuss with him on my take of the unofficial sequel. He just loved it and I even had his blessings. But if he takes over, I am just curious to know how he will proceed. I have no doubts that his take will be more fascinating.

Even though I have left the project, I told RASHEED that I am always ready to give any help he needed. I really think that this unofficial sequel is going to be really cool. SHIHAB, RASHEED and I share the same idea of including a remix of ANGAADHEYSHEY (INFORM), a song which was made popular by RASHEED himself in the original TV movie.

All the best to RASHEED and I hope that he convinces SHIHAB to write.

IT’S NEVER TOO LATE TO APOLOGIZE

You only know what a fool you have been until you have done something foolish. Well, that’s human nature and I guess no one is immune to that. Not even me.

Tonight, I was made to realize that in my last two posts, I have written a bit senselessly about SEEZAN. But honestly, at the time I wrote them, it never occurred to me that I was going way over the line.

A little while ago only when SEEZAN called, have I realized that what I had written should have been kept to myself. But then again, I repeat, I neither write any of my posts with a malicious intent nor write them to hurt anyone or SEEZAN for that matter. I simply write my thoughts. What else people write in a blog, I wonder? Anyway, I sincerely thank SEEZAN for being so understanding. Not many people are like that these days. Isn’t that very noble of him?

Though I have apologized him in person, I’m doing it again here in my blog. I only hope that the good association I have with him over the years hasn’t been affected severely. And if any damage was done, I wish that it will be reconciled over time very soon. Once again my sincere apologies to SEEZAN.

P.S. As a professional gesture, I have removed the contents from my last two posts which SEEZAN felt displeased.

ONE DAY ON EARTH

In my last post I forgot to mention that I am currently working on a short semi-documentary called ONE DAY ON EARTH for UNDP which comprises of footages only shot on 10^th October 2010 from a Kodak flip-cam on 720p format with 60 fps. Along with me three other artists from Dhivehi film industry volunteered for this project. HUSSAIN MUNAVVAR helped me find KANDI WISAN to lens while MUA is helping me with post production. I’m serving as the director. The rough cut was shown to UNDP staff yesterday for comments. Now I’m working with MUA on re-editing to the comments given by UNDP. I have to hand over this project before 9^th of this month.

Television drama, 3 NOVEMBER which I wrote and directed for Atolls ministry on 2003 was shown on channel MNBC ONE today. The drama was shown on the occasion of 3^rd November. On the same day in 1988, Male’ was attacked by mercenaries from Sri-Lanka to overthrow the government. At the time, I was studying in Colombo. The concept of this drama was how I experienced that day. This drama is shown from the perspective of a youth from Male’ who experiences that day while banished at an island for using drug. This event turns as a catalyst in unfolding his life when he fears about his loved ones at home as tension heightens due to lack of communication. And when he hears unconfirmed news that one of the hostages taken in Progress Light has the same name as his father, he slowly begins to realize he still loves his estranged father.

While this drama was shown this afternoon, I received several calls from ex-colleagues worked in this production. I was almost in tears to see my favorite scene where confused and terrified public gathers in front of the island office. I used no less than 85 extras, a week of rehearsals and a lot of help from my production team especially my cinematographer, Lathee to stage this scene. We wrapped up this scene 45 minutes sooner than the estimated time. We spent an hour and thirty minutes for the entire scene.

This drama was my last directorial effort…

TIME WASTED IS WASTED TIME…

How do I explain my lateness? This very question pops in to my mind at this very moment. But to answer, I don’t intend to rewind the time I have already wasted not writing. Going back would be meaningless and wasting more time. But all I can say is that I was never able to resume writing despite having all the time in the world.

Yes, I was supposed to finish MIKOE BAPPA BAE BAE (COME MY BABY’S FATHER). Yes, I did plan on writing more afterwards. But, I haven’t written anything so far, not a single sentence, not a single word to form that sentence. My writing rate currently stands at minus zero percent, if ever there was any rating as such. And weirdly enough, despite being bland at writing, I’m still happy. To be honest, the smile on my face would put any Cheshire cat to shame.

Dubbing of SAZAA (PUNISHMENT) was completed a month ago. And the progress remote control of this film is in the hands of its director, HUSSAIN MUNAVVAR. However, SAZAA has booked a released date for March 29^th, 2011. And its poster photo shoot was completed at the back lot of ETERNAL PICTURES. Though I was not present at the shoot, photos were taken for my poster concept as well.

I collaborated with music composer, MOHAMED IKRAM on the foley of NIUMA, which is currently showing at Olympus and already considered a blockbuster. It was released on October 25^th, 2010 with a very spectacular red carpet opening. Three weeks before its release, IKRAM called me asking if I was available to work with him. Since I was on leave and since I have worked with him on critical and commercial bomb, AHAREN (ME), I jumped in without any hesitation. It was IKRAM and I’m a big fan of his work.

A month ago actor-director, ALI SEEZAN called me to translate the dialogues of his next directing gig, in to English. I asked him if he was going to subtitle. He simply answered no. Then I asked him why he wanted to translate. He simply answered that he was going to shoot this untitled movie in dual languages. I handed SEEZAN the translation with in four days. However, a day later he called me asking to simplify the English I had used. I did just that and mailed him the translation. Few days later, on my way to have tea at the Carnival with MUNAVVAR and cinematographer KANDI WISAN, I met SEEZAN. I asked him if he was satisfied with the simplified translation. He said that he still had doubts with my translation and had given it to couple of his friends for a check.

Yesterday, I had first official talks on INDHIRAAS (DECADENCE) with MUA and BAARU SHAREE over coffee at Olympus café. INDHIRAAS was tailor-made for MUA, while SHAREE has verbally agreed to direct. We discussed about the screenplay and SHAREE is completely fascinated. SHAREE and I go back together on number of occasions. On his request, I wrote LOABIVAANAMA… (IF YOU LOVE), a thirteen episodes television drama which he directed for then TVM. And it was my very first television series. Audience loved the visual style he used in it.

Then we collaborated on his directed five episodes docu-drama, NETHIDHIAYAS… (THOUGH PERISHED) which I wrote based on a true story of a drug addict. This drama was acclaimed by the audience for its grittiness, power and anti-drug theme.

Last but not least, but I want this to be the least, we collaborated on AHAREN which vanished from the theater faster than blinking eyes.

When I began structuring INDHIRAAS, the way the scenes were progressing, I couldn’t think of anyone else but SHAREE to direct it. Then, before I started writing, on my request, MUA asked SHAREE if he was interested to helm the project. When he agreed, I started writing with most of the visuals catered to his unique storytelling style. I have a feeling that he can direct this movie with his eyes closed. And since it was especially written for MUA, he too can deliver his role with his eyes closed. But I don’t want to be closing my eyes when I watch this movie on screen. Now that I have wrapped up the screenplay, I can close my eyes. But I must confess that I couldn’t have completed writing it with my eyes closed.

Cheers!

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.

BEHIND SCHEDULE

I was hoping by now I have completed writing atleast a draft of MIKOE BAPPA BAEY BAEY (COME MY BABY’S FATHER). But sometimes hopes are stalled abruptly. I am still unable to keep up with the schedule of writing MIKOE BAPPA BAEY BAEY. Yes, I was supposed to start writing last weekend. Sadly, other than typing out the file name, the word document on my laptop remains blank. I haven’t written a sentence yet, let alone a word.

After I recovered from the flu, for some odd reasons I am not aware of, I have sprained my groin. I am incapable of moving a muscle in my right leg without having to go through so much of pain. Believe me, it hurts a lot. And when I am suffering, I cannot be creative. When I cannot be creative, I cannot write.

I am doing all I can to nurse this right leg issue of mine. I can’t wait to start writing MIKOE BAPPA BAEY BAEY. It’s been awhile since I structured the whole thing. And I don’t usually stay this long without starting to write. I am hoping that I get well soon in couple of days time.

Speaking of illnesses, it’s just not me who is unwell. Even editing of SAZAA has hit with an ailment of its own. Semi started editing SAZAA by dividing it in to seven separate projects, with each project having X number of scenes so that it would be easier to start other post production works such as color grading as soon as editing of each project is completed without having to wait for the whole film to be edited in one whole project. At the time I published my last post, Semi was editing the fifth project. As he was nearing completion of this project, tragedy struck. The project failed to load the next day. He and director Munavvar with help from Ted, the technical consultant of this film have tried every possible way to restore this damaged project. But to no avail, they weren’t successful. Eighteen long minutes of editing, gone.

Director Munnavar has asked Semi to keep that project and resume with the remaining two projects. And to re-edit the damaged project later. Semi has begun work on the sixth. Semi, actor Ismail Rasheed , director Munavvar and myself had a preview of the edited parts of this new project. It really looks good. For a newcomer, the direction is promising, acting is topnotch especially by Ismail Rasheed and editing by Semi is making all the difference. He’s making everyone involve look good, including my screenplay. Hats off to him!

If nothing goes awry with the computer system, hopefully for coming weekend, Semi will have the remaining projects edited. I can’t wait to see the whole rough cut.

Looks like I’ve got to type off with this post. The pain on my right leg is getting worse. Ouch!

UNDER THE WEATHER

Since August 5^th 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…