Premier film editor talks Jami’s influence and why Pakistani cinema has yet to develop a language of its own. PHOTO: PUBLICITY
It wouldn’t be wrong to describe film editors as the silent and unsung heroes of the cinematic world. They choose to operate in their dimly-lit editing suites, rarely emerge from their dungeons and conduct their thoughtful dealings with the director inside their working spaces.
It is the same setting that has helped one of Pakistani cinema’s most sought-after film editors, Rizwan AQ, become what he is today. Having worked on television commercials for the majority of his career, the editor recalls how it was under the stewardship of film director Jami that he found his true vocation.
While Operation 021 marked Rizwan’s debut as a feature film editor, he had begun working on Moor long before Jami helmed the spy thriller. It all started when Rizwan met Jami by a coincidence. The director was seated in his office, waiting for another editor who was working on his TVC.
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“At that time, word was out that Jami had started working on a film [Moor]. Curious about the project, I asked him about it and he showed me the trailer, which gave me goosebumps,” he told The Express Tribune. This broke the ice for a good 45-minute discussion wherein Rizwan provided Jami with his input on the trailer. Impressed by Rizwan’s knowledge, the film-maker instantly offered him to edit the film. “It was totally out of the blue!”
Although taken aback initially, Rizwan knew this was clearly an offer he couldn’t refuse. He was well-aware of his lack of experience but, after pondering over the idea for a few days, he mustered up the courage to say yes.
Rizwan was soon handed a comprehensive script and timeline in the form of a thick book. “I started reading the script but couldn’t make out the initial bit. So I started from the first scene that I understood — the interrogation one.” He quickly came up with a scratch edit of the scene and upon seeing it, Jami in his customary style responded, “Boss! You’ve grasped the feel of the film.” The rest, as they say, is history.
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Rizwan says working alongside Jami on Moor was a seminal learning experience for him. “I learnt a great deal about camera angles, their purpose and functions. He used to give me all these books to read and that helped me a lot.”
With the skill set acquired during the elongated production phase of Moor, Rizwan went on to rack up an impressive portfolio in a short span of time with the likes of Jalaibee, Wrong No and Jawani Phir Nahi Ani (JPNA) undergoing cut and paste on Rizwan’s workstation. Working on upcoming projects Maalik and Revenge of the Worthless, Rizwan has now established himself as the country’s premier film editor.
But, according to him, career prospects for him have not always had a causal relationship with pleasant coincidences. While he always wanted to make a career in motion pictures, time spent working on ad films helped him define his professional abilities. Toiling in the editing suite on projects with film-makers such as Babar Sheikh, Saqib Malik and Ahsan Rahim helped him “develop an editing feel”.
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Realising the importance of editing in their projects, directors have begun to involve Rizwan in the scripting process to ensure that by the time the film reaches the editing table, everyone is on the same page. “I was a part of Operation 021’s scripting process with Azaan Sami Khan. Even Nadeem Beyg [JPNA director] has asked me to join him the next time he starts writing a film,” he says.
Although film production is gaining momentum in the country, Rizwan feels there is still time before Pakistani cinema develops a language of its own. Having edited movies of multiple genres and directors, he says conflicting approaches of film-makers are the primary cause in the delay. “You have two types of film-makers in the industry right now. There are those who have learnt the tricks of the trade abroad and then there are those who are following the Indian style of film-making. The industry actually needs them both.”
While the boost in films has seen the emergence of talent in all departments of the film-making process, the same cannot be said about the world of film editing where Rizwan remains the only one to have ‘cut’ a niche for himself.
Rizwan AQ has been working at Sharp Images for the past ten years and credits his experience working at the post-production house for helping him become the editor he is today.
Published in The Express Tribune, November 29th, 2015.
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