Tanuj Chopra’s directorial debut, Punching at the Sun (written by Hart Eddy) premiered at the 2006 Sundance Film Festival and made its New York debut at last year’s Tribeca Film Festival. In a Variety review John Anderson hailed Chopra’s directing as “distinctive, original and iconoclastic.” The film continues to play the festival circuit garnering accolades and awards including Best Narrative Film at the San Francisco International Asian American Film Festival. Tanuj and Hart are currently looking for a distributor for Punching at the Sun and focusing on their next project, Under the Bubble, a genre-twisting love story set against the background of California’s manic 1990’s technology boom.

Tribeca All Access: In 2006, the Tribeca Film Festival hosted the NY premiere of “Punching at the Sun“. Was the audience reaction what you had anticipated?

Tanuj Chopra: Screening at Tribeca was the big test for Punching at the Sun. We got very positive reactions outside of NY but it felt incomplete because I still wondered if non-New York audiences really “got it.” Much of the humor and rhythms of Punching at the Sun are distinct to the city and you know if the audience feels that humor because you hear them laugh at those moments from their guts. I was listening to the audience during those moments and I thankfully heard that regional connection to the material that I was hoping for. The festival did a very great job filling the seats and I think people were refreshed to see something about teens in the city starring the real thing.

TAA: Your next project is Under the Bubble. How different is it now trying to get your film made after already have gone through the process and having a successful feature completed?

TC: Having gone through the process once, or even ten times, doesn’t guarantee that finding financial support for the next project is a cake walk or even possible. Going through the process once helps you develop, in so many intangible ways, as a filmmaker that will help you make a better film when the time is right. I think too many filmmakers get caught up in this trap where they feel if they make one good film or just struggle through the first project, money will start flying at them left and right when they want to shoot their second.

Unfortunately, it’s not that simple and pushing smaller projects through the industry is a struggle no matter what. I think filmmakers [should] focus on developing their craft some more after their first project because finishing one film doesn’t necessarily mean you’re ready for the next and there is so much out of your control. However, I think there is certainly more maturity this time around, and patience. Although it may be common knowledge to others, I’ve learned that relationships with production companies take time to develop – for the most part, you’re not going to sell your project on the spot.

TAA: Under the Bubble and Punching at the Sun differ on storyline but are similar in that they tell stories of Indian-Americans living in the U.S. In your opinion and personal experience, what has the Industry reception been to your films and others like it?

TC: Industry reception to every South Asian film is very different. Some films are very palatable and move quickly to distribution. Some are smaller or less universal and struggle. Some may fall short on quality but make up a lot on the marketing side. Generally people are curious about our projects but there are specific industry hurdles for Punching at the Sun and Under the Bubble. We found that with Punching at the Sun, when we got people in the seats and pushed play, people loved the film but we noticed that it was “ghettoized” in the industry. It was beyond an apathy to stories about South Asians— the industry is also less interested about small stories of urban communities of color until they get in the room. [I feel] it’s not their first choice of project.

Programmers and audiences are on board and very supportive but sadly, these types of projects are respected for craft but also viewed as “unknown quantities” in terms of making money. There is a lot of fear disguised in the name of good business. Under the Bubble is yet to be tested but can avoid that urban film hole. However, I worry that there is a cap on the project because it will probably take what’s considered a “gutsy” person to put industry dollars behind a project starring a South Asian despite the progress we’ve made in terms of visibility in the industry. It’s a sexy film. It’s about greed, money and technology but I suspect it’s not enough to overcome this “non white star” status which I see as a positive. It would be lovely to work within the system on this project but the realist in me says that financial support is more likely from private sources or abroad. But who knows; maybe someone has guts.

TAA: What else do you feel can be done?

TC: It’s a mind-busting question. I believe the onus is on us to write better scripts and make better films but it’s also not that simple. Maybe we can try blackmailing or extorting studio execs…

TAA: What other projects do you have lined up?

TC: I [always] have a few things cooking at once now. Obviously, I’d like to keep developing and pushing the Under the Bubble script. I have another film project in Delhi that also looks like it’s coming together this December. I recently finished a 4 minute promo for one of the best non-profit org in the city, SAYA! (South Asian Youth Action) for their 10 year Gala event. I’m really happy with the piece and it should get up on youtube soon. My writing partner Hart Eddy has some great scripts we are also trying to move on: Killbox – a story of a fighter pilot’s traumatic post war life and Great Gershon – an animated children’s movie about two cats on a mythical quest. The script is hot. The rest I’m staying quiet on because my ideas are just too good.

TAA: As far as career moves, what’s next, for you?

TC: Overall, I don’t have some highly plotted 10 year roadmap about where I want to be in the industry. I’m more concerned with maintaining freedom in my life and work. I plan to keep making movies in different cities around the world — I want to do indies but also commercial stuff in the future. I have some projects that are Hollywood and some that are Bollywood. Some are just my own that I could only produce independently. I’m not out just to cash a big paycheck or make wack work. I want to tell unique and well developed stories and improve my craft. I also want to keep working with teens and teach what I know about media making to empower the next generation of content makers.