Location Hunting

Scouting locations for The Executioner was about more than just finding visually interesting spaces. It was about grounding the film in emotional realism, cultural depth, and practical execution. Each setting had to make narrative sense while also being safe, accessible, and controllable behind the scenes.

Day One: Rooftop and Street in Old Lahore

For the first part of the film, I needed a rooftop that overlooked a busy street. My original plan was to ask store owners for access to their rooftops. But after assessing the risk, from safety concerns to logistical complications, I realized it was not a sustainable option.

So I reimagined the setting in old Lahore's Walled City. Not only was it visually stunning, it also added a deeper cultural texture to the film. It rooted the story in a place that felt lived-in and specific rather than generic.

Once on location, I walked through the area and shortlisted a few spots. Two property owners declined when I approached them. The third place was Haveli, a well-known restaurant in the Walled City. I explained the project to the manager, a student short film with a small crew, and surprisingly, they agreed immediately. They took me upstairs to a private floor that was quiet and overlooked the street below through a small balcony. It was exactly what I had envisioned.

The second part of that same act was shot on the street below, allowing visual continuity between both angles. That location became one of the most important visuals in the entire film.

Day Two: Apartment Interior

For the second part of the shoot, I was looking for an apartment that matched the emotional tone of the script. I needed something that felt personal but slightly hollow, reflective of the internal emptiness of the protagonist. I asked around through friends and contacts, but nothing I visited matched the tone I was imagining.

A week before the shoot, I casually mentioned it to my mother. She told me our friend Gulnar had an apartment in town. After reaching out, she invited us over to view an empty apartment in her building that she offered for the shoot. It was functional but visually flat. Then she mentioned that her own apartment was available too if I was open to it.

As soon as I stepped into her apartment, I knew it was the right choice. The layout, furniture, light, and emotional feel of the space aligned perfectly with my vision. I did not need to dress the set much because the apartment already told a story.

Conclusion

Location hunting was not just a checklist item. It became a part of the storytelling. These locations did not just provide backdrops. They added narrative weight, atmosphere, and texture. What I learned from this process was simple. Sometimes you do not find the perfect location. Sometimes it finds you.