Director Maahir Khan is currently making headlines for his recent release docu-drama Buzz. Buzz is set in the lanes of Mumbai and captures the extraordinary journey of Eric D’Souza, who has turned his life through ink, becoming one of India’s most renowned tattoo artists. Through a deeply personal lens, Maahir chronicles Eric’s life, showcasing the intersection of art, identity, and resilience. The documentary sheds light on how tattoos have evolved from being taboo to a form of self-expression in contemporary India. While having in detail conversation with Lokmattimes.com Maahir gave us the insight about the career shift from legal to filmmaking, process and how he got the idea to make documentary and how Bollywood veteran actor Anil Kapoor became a part of this process.
What sparked your transition from human rights law to filmmaking, and how do you see your legal background influencing your storytelling approach?
Due to certain life events, I was compelled to express myself no matter what. And in this process, I found that I was more helpful to others in storytelling, keeping people close to the truth through proxies and metaphors, than I ever was in litigating things. I never made it past being a great M.U.N debater in the legal field, but I was about to pursue a promising path in college within the human rights sector before I dove headfirst into filmmaking. The change was inevitable and took place early in life my familiarity with dense text only helped me cut through the nonsense and tangential ideas in my narratives more now than I would have should I have come up purely as a creative.
Can you share your strategy for carving out a niche in the competitive entertainment industry? What obstacles did you face, and how did you overcome them?
The industry is in flux, and we are seeing a fundamental shift in how films and content in general will be produced and consumed. I think my only strategy is to make things that would have made me feel less lonely growing up. If I do that, I believe that the art will reach the right people at the right time with enough effort put in from my side. The ultimate obstacle in this, of course, is the crippling imposter syndrome — the sense that maybe I am insane for making a documentary as “out-there” as this while subverting a lot of the norms and gradual pacing of standard-fare documentary films. I don’t think I will ever overcome the self-doubt — rather, I learn to live with it like a friend who wants to help but doesn’t know how. Helps me stay humble, but I have to be careful not to drift into a panicked melancholy.
How did you approach the complex decision-making process of creating a documentary? What key pre-production steps did you take to ensure a cohesive narrative?
It was chaos, and there was minimal planning. We didn’t have that much time to prep and shoot, so the best way to do this was to have as clear a vision for what the core principle of Eric’s story was, let it unfold with an eye to staying true to that, and pray the edit reflects his honesty. Gladly, I believe from the feedback we have received thus far we did do some things right in that respect.
How do you navigate situations where subjects are uncomfortable on camera? What techniques do you employ to capture authentic, intimate stories?
Make them laugh and relate to them. At worst, you’ll respect their time, emotions and effort. At best, you’ll get a deep insight and a few magical moments of truth. Worth it anyhow.
Buzz has been described as the "anti-Slumdog Millionaire." Can you elaborate on this contrast and the message you aimed to convey through your documentary?
Simply, it was important to not romanticize poverty in this film. Eric was deeply wounded by his upbringing — and it kind of messed him up. His journey was wrought with mistakes and regrets, showing that poverty can be crippling and leaves scars that have to be overcome through a lot of work on oneself, and are very difficult to deal with — something Hollywood films often glaze over in their portraits of poor Indians.
Tattooing is a deeply personal art form. How did you approach filming Eric's creative process without making it feel intrusive or exploitative?
I have zero doubt this film was intrusive — but we avoided being exploitative by being willing to sacrifice what was good for the drama of the narrative at any point in the edit for what was true. Thankfully, it seems like people are engaged and entertained so far in the feedback we have gotten, but every choice had to be made through the lens of prioritizing the truth over what would be more “saleable.” The very concept of exploitation here comes from the idea that we could have theoretically prioritized the “masala” bits for narrative gain, but the truth is neither is that ethical nor would it warrant the forgiveness of our audiences, who have largely come to see something that is not diluted or doctored to suit trends in my experience.
Was there a particular moment during the making of Buzz that left a lasting impact on you or gave you goosebumps?
When Eric’s father saw the set. Oooof. Their complicated relationship was evident in how unresolved yet in the process of growth it was.
How did your collaboration with Anil Kapoor come about, and what was it like working with him as a producer?
AK’s unwavering ability to believe in me even when I am beset by imposter syndrome is one the many standout characteristics he has. His role in this came about more as a creative mentor and then transitioned into producing something he felt would challenge traditional viewpoints on a particular subculture in Mumbai.
Also Read: Raghav Juyal Calls Anil Kapoor & Jackie Shroff His "Gurus" In a Heartfelt Post
As India continues to globalize, how do you envision storytelling evolving to reflect these cultural shifts and changes?
It’s hard to say, but my best guess is that we will see a massive rollback of “massy” content as a younger and more educated demographic will demand stuff with more respect for the viewers’ intelligence. The market goes where the money goes, and as movie theater prices rise, it will be key to balance budget and expectation from a filmmaker’s side to make sure you are engaging a smaller, more passionate fan base who love your work rather than many who find it “just okay” or “meh.” A few superfans is better than a large amount of semi-fans as it validates the filmmaker’s intent more than how well they pandered, and overall is a better result for art and commerce in our profession as a whole.
For those who haven't watched Buzz yet, what are five compelling reasons they should experience your documentary?
Honestly? All five reasons would be truth. To watch something that shows everyone you can be as broken as can be from whatever circumstance and still have hope, change, and be who you were meant to be, warts and all.