The Taste of It

The film The Taste of It centers around Mira, a widowed Indian woman who, following her daughter’s departure, faces the complexities of life alone in her apartment and embarks on a journey of self-discovery and new beginnings. This character-driven drama is rooted in realism theory, aiming to depict genuine human experiences and cultural authenticity. During production, I prioritized key aspects such as logistics, location scouting, and resource management to align with the film’s thematic essence. Special care was taken to authentically portray Mira’s cultural and emotional journey as an Indian woman navigating the challenges of independence.

While The Taste of It follows realism theory, it also subtly explores feminist theory by depicting Mira's path to empowerment. The film delves into themes of independence, resilience, and female agency within a patriarchal society, capturing her perspective on self-discovery and resilience. As the Producer, my goal was to balance these themes to create a cohesive and engaging cinematic experience for the audience.

To achieve realism, I conducted extensive research on producers who have championed realism filmmaking. Michael Mann emerged as an influential figure due to his dedication to authentic storytelling and meticulous detail. Known for his immersive narratives and authentic portrayals, Mann emphasizes realism as a means to convey the intricacies of human behavior and societal dynamics with integrity. His commitment to depicting real-life experiences on screen influenced my approach to The Taste of It, encouraging a production that prioritizes authenticity in its representation of Mira’s journey.

Fugue is a short film script about Brian, a man in his late 30s, who struggles with guilt over his mother’s suicide. Writing this script involved multiple drafts to shape an emotionally resonant story. Initially, I used flashbacks, but they disrupted the flow, so I turned to memory flashbacks, which allowed Brian’s past to surface naturally in response to present events.

Developing secondary characters like young Brian and his mother, Betty, added depth, but it was challenging to make their interactions feel genuine. Robert McKee’s ideas on character-driven storytelling inspired me to prioritize Brian’s internal journey, aiming for a story like Drive (2011), where characters’ dynamics drive the plot. The main focus became Brian’s memory of witnessing his mother’s suicide, a trauma that continues to haunt him.

As the script evolved, I realized Betty’s character needed more complexity to explain her choices and her influence on Brian’s life. This awareness came from reading about strong secondary characters, who enrich the protagonist’s story.

Overall, writing Fugue taught me valuable lessons in character development and screenwriting. It deepened my appreciation for storytelling, and while the script has room for growth, it has inspired me to pursue scriptwriting more seriously.