Production Day 1

From 12 to 4 pm, I was in prep mode. I ran around gathering backup SD cards just in case anything went wrong later. I was hunting for a mask for one of the characters, something eerie and grounded, but all I could find were ridiculous plastic Halloween ones made for kids. They completely killed the mood I was going for. Nothing struck the balance between uncanny and real. Around 5 pm, I made it to my studio where I did a full equipment check, packed every light, mic, and cable, and mentally ran through the day’s plan. My actors arrived around 6, and since they weren’t being paid for this, I made sure to take care of them with a full iftari feast. We broke our fasts together, and then went upstairs to run through fight choreography. I taught them how to stage hits, how to react, how to fall convincingly without actually hurting themselves. We rehearsed for about an hour. After that, I carefully moved all the equipment to my car.

The location plan was to shoot around the Walled City, specifically near Food Street. But what I hadn’t fully realized was just how regulated that area is. Food Street is a semi-restricted zone. It’s cordoned off from vehicles, guarded at entry points, and tightly monitored by the Walled City of Lahore Authority. What I didn’t know at the time was that no filming equipment is allowed past the gates unless prior written permission is obtained from the WCLA. Unfortunately, I discovered this only once we got there with the full cast, crew, and gear in hand.

Rather than panicking or rescheduling, I decided to handle the situation head-on. I asked to speak to the site manager and explained that this was a student film with no commercial intent. I walked him through the purpose of the shoot and promised not to disrupt the environment or the public. He heard me out, but he remained firm on protocol requiring advance application, and ours hadn’t come through.

That’s when my mother, who was with us that day, stepped in. As a senior academic and globally established artist who had previously collaborated with the WCLA on cultural preservation projects, she helped facilitate the conversation. Her presence and reassurance helped shift the tone. Once the site manager was confident in the integrity of the shoot, and that we weren’t just random kids trying to go viral, we were granted permission on the spot. Official escorts were assigned to us by WCLA to accompany our team, help us move through the area, and ensure the safety of our crew and gear. It was a moment that could’ve derailed everything, but instead became a reminder of how important calm negotiation, clarity, and persistence are in film production.

From there, we moved to the rooftop and balcony sequence of Act I. I’d already spoken to the manager of Haveli, a well-known restaurant in the Walled City, and requested permission to shoot on their top floor. After explaining the tone and nature of the project, he gave me verbal clearance and offered us access to their private rooftop space. It wasn’t formal, but it was enough to get us started, under the agreement that we wouldn’t disturb guests or staff. The Haveli team was surprisingly supportive, even assigning a member of their staff to help us with any logistical needs.

Up on the balcony, I set up lights and blocked shots while directing Naael, who was positioned downstairs. We stayed in contact over the phone so I could cue his entrances, time his lines, and adjust his body language from afar. The shots worked. The vibe was atmospheric and layered. Once we wrapped that sequence, we all sat down and had an actual meal. Lamb chops, malai boti, chapli kebabs and parathas. I wanted my actors to feel taken care of, not just used.

Later that night, we moved to a nearby alley for the fight sequence. I scouted the space first, marked out movements, and made sure the lighting would work. Following this, I set the equipment down safely near a wall and walked everyone through the movements so we could avoid any injuries. The choreography had to look raw but also be safe. Once it was all rehearsed, I recorded foley one by one: thuds, gasps, scuffles, footsteps. We wrapped around 2 am. Got some local brand colas for everyone. We packed up the gear, and headed home and then I booked Ubers for the actors. But I didn’t sleep. I went straight into editing, prepping cuts that I’d need for tomorrow’s shoot. By the time I finally passed out, it was around 4 in the morning.