No-nonsense, to-the-point conversation is what Miriam Joseph is all about. This former journalist with BBC and Channel 4, has worked with Excel Entertainment for 15 years and has worked on movies like Don and Karthik calling Karthik. Miriam who moved to Kerala in 2015, feels that the industry is still very “sexist where men need to quantify their feeling of masculinity by staying in positions of power.”
Miriam, who moved to India in 2002, achieved part of her agenda―working on big films with big budgets. Talking to THE WEEK at the Kerala Literature Festival she said, “I am glad I got to spend that kind of money managing projects and travelling the world with it; giving the end product what it needed etc.” And for a fairly easy entry to the industry, she credits her training and background in working with international television channels.
Miriam now spends a lot of her time for production education. “When I came to India, none of our film schools were teaching producing. And a producer's job is quite important and it goes beyond ordering, catering and lighting. Film schools teach editing, lighting, camera and acting even, but not producing. So I devised a producing course for SRFTI (Satyajit Ray Film and Television Institute), a full three-year course.”
“I started developing the course on producing in 2012. The course means that even a small number of professionals who are coming into the market now are trained for the job. I believe I want to keeping doing anything that pushes towards the agenda of good cinema including being consultant with NDFC (National Film Development Corporation).”
She is hopeful now that FTII (Film and Television Institute of India) wants to introduce the course. “They have shown interest, which is a positive. But anything to do with the government takes a long time.”
Welcome change in cinema
Miriam strongly feels that the attitude of men overall in Malayalam cinema needs to change. “We still can boast only of an Anjali Menon, which is sad,” she says. She feels that women are more naturally suited to the role of a producer. “A woman’s common sense lends itself to us being good production. We are good communicators and are able to liaison better between two people to make a vision happen. I think women are naturally more suited to the job.”
“At least right now there is a stand-off between the established men, who have run the show for a long time now, and the youngsters both men and women. So, there is hope. But it is going to take a fight. And I use the word because those who have been in the position of power for so long may not give it up so easily. There is a fight on and the WCC is putting up a tough fight. Young women are making use of tools of production available not heir own to make films. By finding collaborators who are sympathetic and progressive to bring about change, and change it will whether they like it or not,” Miriam says.
Talking of power play that takes place when a woman is in charge, she says, “Now, I am 50 and fairly senior, but like most professional women, I had to face being dismissed, being ridiculed, having my ideas taken by someone else and presented as theirs. But, I moved back to India when I was in my mid-30s and not a young girl. I had experience working abroad and had dealt with all kinds of people. So, I wasn’t intimidated, and was very particular about how ran things on my films. Even if people who came on to the film I was working with and not take me seriously, they learnt quite quickly that I meant business. Many people realise that it is sensible to take me seriously as I am good at what I do. So yes, my singular advice for women who want to enter the field is to be good at what you do and stand your ground.”
“The way I see it, there are thousands of film professionals out there, and if 200 will not work with me, I still have a pool of 800 to choose from. So don’t let any of it get to you just because some men cannot seem to take instructions from a woman. It is their problem, not yours.”
Talking about quality cinema being recognised world over, “There is no need to give weightage to an Oscar,” she says. “Yes, films like Village Rockstars do need to be marketed to be seen. But I would rather give the director more money next time so that she or he is encouraged to make quality cinema again and again. But yes, certain platforms are quite worthy, example the International Film Festival Rotterdam. When they recognised Sanal Kumar Sasidharan’s Sexy Durga and awarded it the Hivos Tiger award, it is reason to celebrate.”
