Storytelling through collaboration: An interview with Adhyaksh Amarnath

Adhyaksh Amarnath’s creative drive has brought him to the big stage of filmmaking.Through all his several international accolades, Adhyaksh has built an incredible career as a movie editor. Since his achievements with Movies like “Little Bird” and “Exquisite Corpse” at several international film festivals around the world-including AFI FEST, Holly Shorts, World Fest Houston, and Fantaspoa- he has cemented his reputation as one of India’s most sought after editors. His contribution as a trailer editor for “Bukra”, was a big part of the movie’s distribution as it made its way into the renowned Arab Film Festival. This huge step towards bringing Aram stories to the forefront, highlights Adhyaksh’s creative reach as an Indian in the international film industry. Pushing Arab narratives provided the perfect occasion for this exclusive interview.

Q: You have had several movies make it through prestigious film circuits, but “Bukra” being screened at Arab Film Festival is especially significant. How was your experience on that film? What encouraged you to take this story? How does recognition in film festivals help bring Arab stories to wider audiences?

A: I was honored when the producer specifically asked for my involvement in the creation of the trailer for Bukra. The story is a critical one in today’s day and age for spreading the emotional consequences of war and how it affects the lives of millions around the world. The acceptance into Arab Film Festival is one that I am proud of and am confident there is more success in the future of that film

Q: “Little Bird” has screened at renowned festivals like the AFI FEST and Holly Shorts, how does the prospect of critical and public experience affect your editorial approach for films?

A: I believe every audience has a unique experience when watching a movie. When editing a movie, the role of an editor is that of the first audience member. It is my responsibility to think like a movie-goer and experience the edit from their eyes every step of the way. This needs to hold true throughout the editorial process that lasts months. The goal for the movie’s final version is to help the director realize their vision and not let technical challenges get in the way of their creative idea.

Q: “Little Bird” and “Exquisite Corpse” have been critically acclaimed at festivals around the globe. How did your editorial style assist the success of both films? How does collaboration help with the creative outcome?

A: When editing, my main goal is to attain clarity, emotional resonance and a technical polish all the while ensuring an engaging and interesting structure for the story. I focus my efforts on communication with the team members as well as understanding the review information from test screenings. Both movies are significantly different thematically and I need to address that difference in every editorial decision along the process.

Q: How to you balance artistry with innovation as your work is shared on streaming platforms for wider distribution. Do you consider accessibility important when telling stories to different audiences?

A: A portion of accessibility goes hand in hand with relatability. When we establish characters, it is imperative the audience understands their struggles. The other part of accessibility is the idea for everyone to be able to understand the story through subtitles, audio commentaries, etc.

Q: With your continual growth in experience, skills and network, do you have any words of wisdom to share with up and coming creatives?

A: The most important element in this career is to stay busy. Getting my reps in as an editor has taught me a lot about what kind of editor I want to be.. This is a creative skill that is honed by practice while an understanding of story, emotions and rhythm helps improve the skill. There is sufficient room for authenticity in the voices of all creatives in this world and I believe originality comes through when we are authentic to who we are.