𝐀𝐧 𝐄𝐱𝐜𝐥𝐮𝐬𝐢𝐯𝐞 𝐰𝐢𝐭𝐡 𝐍𝐠𝐚𝐰𝐚𝐧𝐠 𝐓𝐞𝐧𝐳𝐢𝐧

Ngawang Tenzin, widely known as Rabgay and hailing from Trashigang, has dedicated the last 15 years to the Film Association of Bhutan. Throughout his tenure, he has played crucial roles in the production of over 50 Bhutanese films, showcasing his versatility as an actor, light man, and in various crew positions. However, since his debut as an Assistant Director in 2018 with ‘Sergi Zuki,’ Rabgay has transitioned his focus to directing movies.

Q: Can you tell us how and since when you got into the movie?
A: I actually hail from Tashigang. In 2009, I visited my brother in Paro, where he was working for a movie director. He lent his lorry (DCM) to carry equipment for a film shoot. During that time, he introduced me to the director, and I got an opportunity to work on the film. That’s how I got into the movie industry.

Q: To date, how many movies have you worked on?
A: I started my journey in the film industry with a movie titled ‘Yewongma.’ In my 15-year career working under the Film Association of Bhutan, I have contributed to a total of 56 movies in various capacities. These roles have encompassed acting, serving as an Assistant Director, and even participating as a crew member. Throughout these experiences, I have gained valuable insights into the filmmaking process and honed my skills across diverse areas of production.

Q: Since you are working as an Assistant Director, what was the first movie you worked on in that capacity, and what knowledge and experience did you gain?
A: Initially, when I first entered the movie industry as a crew member, I never imagined myself directing a movie or working as an assistant director. However, I was fortunate to attend a training session for movie direction, and since then, I have shifted my focus more towards directing rather than acting or working as a crew member. The first movie I worked on as an assistant director was back in 2018, titled ‘Sergi Zuki.

Q: As you have been in the field of filmmaking for the last 15 years, what differences do you observe between making a film in 2009 and making one in 2024?
A: There are vast differences between movie making in the early 2000s and today’s scenario. Back then, the equipment, starting from the cameras, was so big and difficult to carry to the shooting spots. However, due to technological advancements, it has become much more portable now. Additionally, actors in those days relied mainly on their experience. Nowadays, the trend has changed. In addition to natural talent, many actors attend acting classes and elevate themselves to the level of world-class performers. Furthermore, storytelling techniques have evolved significantly over the years. In the early 2000s, filmmakers often relied on traditional narratives, whereas today, there is a greater emphasis on innovative storytelling methods and diverse perspectives. The accessibility of digital platforms has also revolutionized distribution channels, allowing films to reach a global audience more easily than ever before. Overall, the landscape of filmmaking has undergone remarkable transformations, driven by advancements in technology, changes in audience preferences, and the evolving dynamics of the industry.

Q: What is the work of an assistant director in the field?
A: Before heading to the field for shooting, we usually have a meeting led by the director, producer, production manager, and assistant director once the script is ready. During this meeting, we discuss and plan the schedule for the next day, determining which scenes will be shot and which actors will be needed. Upon arriving at the field the next day, as an assistant director, my responsibility is to brief the actors on the scene and ensure they practice their dialogue and emotions thoroughly. In addition, I am tasked with handling all other aspects of production. The director’s role primarily involves monitoring the scene through the monitor and ensuring its perfection; the rest of the responsibilities fall to me.

Q: As you have experience in acting, how do you help new artists during shooting?
A: As mentioned earlier, as an assistant director, I play a crucial role in briefing the actors about the scene dynamics. For instance, in scenes demanding a display of sadness, I guide the actors on how to convey emotions authentically, including when and how tears should fall. Additionally, I provide insights into the character’s emotional journey, helping the actors understand the context and motivations behind their actions. Moreover, I facilitate communication between the actors and the director, ensuring that the artistic vision is realized effectively on set. Overall, my aim is to create a supportive environment where actors feel empowered to deliver their best performances while staying true to the character and the story.

Q: From your journey as a crew member to an assistant director, what challenges did you face?
A: Starting as a crew member, I faced tough times with low pay and uncertain work. Becoming an assistant director brought new challenges: more responsibility, tight schedules, and dealing with the film industry’s structure. Despite the difficulties, I learned a lot and got better at managing things. On the other hand, my pay scale has increased significantly as an assistant director, providing ample means to cover my bills and support my family.

Q: In the future, do you have any plans to direct a movie yourself?
A: Yes, of course, I would love to direct a movie, and I intend to. However, the challenge lies in finding a good producer. Some of my friends have pointed out that if newcomers in the industry can direct movies, why can’t I? Additionally, a few friends are currently writing scripts, with the idea that I could direct movies based on their stories. I am looking forward to upgrading myself as a director in the near future.

Message:
I earnestly implore the public to support Bhutanese cinema by committing to watch at least one film per week. The Film Association of Bhutan is steadfast in its mission to uphold and promote our distinctive culture. In today’s world, many children are raised outside Bhutan and face difficulties in speaking our national language, Dzongkha. It is disheartening if we lose touch with our linguistic heritage. Therefore, the Association places paramount importance on the preservation and promotion of Dzongkha. Your support is crucial in our endeavor to educate and inspire. By embracing Bhutanese cinema, we not only celebrate our culture but also nurture our language and identity for generations to come. Let us unite in preserving our rich cultural heritage through the medium of film. Together, we can ensure that Bhutanese cinema continues to thrive and flourish.