Moor

A FILM BY JAMI

AZAD FILM COMPANY AND MANDVIWALA ENTERTAINMENT PRESENT

A FILM BY JAMI

Land — Family — Principles Can you remain loyal to all?

About the FILM

What you do, so shall your children.

MOOR – the Pushto word for ‘Mother’ – is a haunting story about one man’s struggle to reconcile his sense of doing the right thing with the lure of easy but tainted money – in essence, the story of the choices most Pakistanis are daily confronted with.

When his beloved wife dies unexpectedly, Wahid, a poor train station master of a small, remote town in Balochistan, must come to terms not only with her death and his own childhood personal demons, but also his complicity in the events that led up to it. Was he somehow responsible for her death and the death of his own mother before her?

On the one hand, Wahid is confronted with a choice: whether to fa-

cilitate a web of corruption, involving his own brother, that promises to provide him and his family a more comfortable life, but which threatens to destroy his cherished railways and his own morals. On the other hand, the very thing that might bring his family the material comfort he longs for them, might also destroy the bonds that hold it together. Can he save his estranged son caught in a similar conflict for a better life in the big city?

Set against the backdrop of the deliberately engineered decline of Pakistan Railways by vested interests, and the pervasive culture of seeking short-cuts to prosperity, MOOR is a story about the meaning of loyalty – to one’s land, one’s family and one’s principles.

The Context

MOOR revolves around the decline of the once-proud Pakistan Railways.

When the British colonialists left the Subcontinent in 1947, Pakistan (which included current-day Bangladesh at that time) inherited the Western and Eastern segments of the most advanced rail network in the world at that time. Some of it, such as its extensions into the stark and difficult mountainous terrain of Balochistan, right up to the Afghanistan border, is itself a marvel of engineering.

All around the world, countries have endeavoured to develop their rail systems because they offer the most cost-efficient, comfortable and environmentally sustainable means of transporting people and goods across large distances. It is a testament to the neglect and avarice of subsequent administrations and other vested interests in Pakistan that the train system in current-day Pakistan is in a state of disrepair and has been supplanted by more expensive and polluting road networks.

MOOR is inspired by a true story from Balochistan, where railway tracks were dismantled and sold off illegally as metal scrap, effectively dismantling portions of the rail network. This corruption within Pakistan

Railways was in collusion with vested political interests and was engineered primarily to benefit road transport services.

When director-producer-screenwriter Jami and his team-members settled on the idea of the story, they went by train from Karachi to Quetta on a “story-recce” to do some more research.

“An eight-hour train ride to Quetta took us 50 hours,” he recalls. “The trains had no electricity and no proper seats and the windows were broken. The engine broke down twice. When we entered Balochistan we were told to stay away from the windows, to avoid being shot at because of the Balochistan separatist movement. When we reached our stop, we met an influential man who turned out to be involved in the racket of selling train property [and who inspired the character of Sardar Khan in MOOR]. We realized that this corruption and destruction of railways was systematically being made to happen by people like him.”

MOOR is a tribute to those honest workers of Pakistan Railways who have tried to resist this plunder.

“The trains had no electricity and no proper seats and the windows were broken. The engine broke down twice. When we entered Balochistan we were told to stay away from the windows, to avoid being shot at because of the Balochistan separatist movement.�

The Making of MOOR

Beginnings

MOOR is like a map made during its discovery. A celebration of the reconstruction of Pakistani cinema, MOOR is the fulfillment of a longheld dream and a leap of faith taken by writer and director Jami Mahmood. It has taken almost six years for MOOR to make it to theatres.

“Having belief and faith played a very important part in the making of MOOR,” he says. “When I told people this in 2009, that cinema is coming to Pakistan, that I’m shutting down commercials and going towards cinema…people took it as a joke. Everyone made fun. We had this storeroom that I cleared out, and I went and just sat there and told my team to do the same. Everyone questioned what I was making them do. But I told them to just give it time and, slowly, the writing process began right here in my home, in a small storage room.”

Jami wanted to create a story using the journey of Pakistan as a backdrop. “Everyone was in that phase back then,” he says. “That Pakistan was finished.” All the music videos he directed back then, for

instance Strings’ ‘Ab Khud Kuch Karna Parrega’ and Ali Azmat’s ‘Bum Phata’, all revolved around the situation of Pakistan and that citizens needed to step up and save her.

“My wife Nazira, also co-producer of MOOR, said to me that if you want to make a film about Pakistan, why not do something about the railways?” recalls Jami. “At that time we had heard a lot about the corruption in the railways, so we began pulling research and came up with an avalanche of ideas.”

Writing MOOR required a combination of inspiration and willpower. According to Jami, the story was very linear, with the exception of flashback memories. But since the story was to be inspired by true events, the facts had to be concrete as well. Once the hunt for a story began, the team went from Karachi to Quetta by train to research some more. “It was a story recce,” says Jami.

“An eight-hour train ride to Quetta took us 50 hours,” he recalls. “The trains had no electricity and no proper seats and the windows were

broken. The engine broke down twice. When we entered Balochistan we were told to stay away from the windows, to avoid being shot at because of the Balochistan separatist movement. When we reached our stop, we met an influential man who turned out to be involved in the racket of selling train property [and who inspired the character of Sardar Khan in MOOR]. We realized that this corruption and destruction of railways was systematically being made to happen by people like him.”

Thus came about MOOR, a simple story about a family’s struggle against poverty and their attempt to survive the enticements of quick money, very much like what Pakistan is going through today in so many areas. By the time the script was written, Jami was confident that he had constructed a story worthy of being told. Based on the background of the story and the characters, this film had to be shot in the harsh winter conditions of Balochistan and in Karachi. “This is my first film”, said Jami at the time. “If I do not like the position of the sun for this particular shot, then I will wait for tomorrow and shoot it again.”

Putting The Team Together

Casting “Casting is 95% of filmmaking,” says Jami.

The film was shot in Balochistan and Karachi and the casting had to be done accordingly for authenticity. The first casting process took place in PTV Quetta and at the Arts Council in Karachi. “We were looking for people who were able to embody their character from the soul,” says Saima Ghazzanfar, the Casting Director for MOOR. It had been decided from the beginning that mainstream celebrity actors would be used. The main aim was to dig out and find unusual actors who could truly represent the characters in the story.

The role of the main protagonist, Wahidullah Khan went to Hameed Sheikh – an actor from Quetta. Since he was from the same area as the story of the film, he could immediately understand the innate elements of his character. “He was able to get deep into the mind of Wahid and understand the psychological battle his character has to go through,” says Saima. “He was the perfect choice for us.”

Shaz Khan, a Pakistani origin actor from the US, was cast in the role of Wahid’s son, Ehsaan. Shaz spent the first few weeks on the streets of Quetta, learning the mannerisms of the Pushtun of the area and picking up dialects from the locals. His efforts paid off in his

second audition in which he blew everyone away. Shaz’s uncanny ability to constantly question the script and improvise really showed how much effort he had put into understanding his character to the core.

A key addition to the cast was seasoned PTV actor Abdul Qadir, who plays the role of Baggoo Baba, a trusted assistant to Wahid’s train stationmaster. He is the perfect example of how a good actor can bring a new interpretation to a character and make it stronger than what has been written on paper. “Because he was such a senior actor of Pakistan, we didn’t feel the need to audition him,” says Saima. “We knew that he was the perfect choice for Baggoo Baba, but he insisted on being auditioned. He said ‘You have to audition me like you have everybody else!’”

Even though the two main protagonists of the story are male, the core of the story of MOOR is the ‘Mother.’ Therefore the role of the women characters is very important. Samiya Mumtaz and Soniya Hussain, both beautiful actors in their own right, portray strong women who guide the men towards the right path and keep their consciences on the right track.

The Director of Photography and the Camera Department MOOR is Jami’s first feature film with Director of Photography Farhan Hafeez, who had previously worked with him on multiple commercials and music videos.

“With Farhan I felt like I was working with family,” says Jami. “We have a chemistry that goes way back. We have shot ads together and collaborated on so many projects, and for my first film I needed someone I was comfortable experimenting with.”

As soon as the idea of MOOR came about, Jami spoke to Farhan about coming on board because his style of shooting suited the story. “He has a very clean, simple style of shooting, no high-flying theories about cinematography, very straightforward,” says Jami. “I thought MOOR needed that kind of human feel. Also, Farhan is a very hard worker. He enters his own zone and doesn’t complain. It took us 13 days to shoot one scene, and that meant maintaining the lighting continuity for 13 days and hard work and focus. So it was difficult, but he adjusted himself accordingly.”

The Analog Motion Picture Camera Department team, which Jami established for his filming projects, has become an integral part of the industry since MOOR began shooting. “Waqas, Nabeel, Faraz, Akber, Michael, Irfan and Anwar are the core of the camera department and extremely hardworking,” says Jami proudly. Since MOOR they have worked on a variety of films including Good Morning Karachi, Downward Dog, Josh, Zinda Bhaag and O21. “Their synchronization, their chemistry and their results are so brilliant, that the demand of the Analog team increases by the day.”

Production Design One of the earliest hires for the film was Production Designer Tahir Mehmood, who had worked extensively with Jami on multiple projects since 1998.

“We know each other like brothers and we trust each other’s work.” says Jami. “Tahir’s clean approach to design, and his eye for color and detail is exactly what MOOR needed. My team was very much like a family affair.”

Because MOOR takes place in two locations that are very different from each other in all aspects, Tahir placed a great deal of importance on specific elements and details that Jami wanted to incorporate in the film’s design layout. “Tahir spent a great deal of time with us on research and coming up with the perfect individual color palettes for Balochistan and Karachi,” says Jami. “Wahid’s house had to be created with great detail, because it was the little props that carried the most meaning and pushed the story ahead. For instance, the tea kettle, the table on which Wahid breaks a glass and leaves a blood stain, these are all important motifs that carry the story ahead.” MOOR is not a glamorous film, and Tahir was able to capture the earthy, natural tones that Jami wanted.

While Tahir was production designer in Balochistan, Namsa Abbasi took on the role of both production designer and art director in Balochistan and Karachi. “The mood that was to be created in Karachi was of a loud, harsh, hyperactive city,” says Jami. “Namsa is new blood as far as production design goes, MOOR was her first feature film. So it made sense to get someone with fresh ideas, a new perspective and someone who added their own sensibility to the set design. She was brilliant at her work, her artistic style was splendid, and she handled her responsibilities with great care.”

Costume Design The Costume Designer responsibilities were split between Saima Ghazzanfar and Annie Zaidi. Because both of these women were already thoroughly immersed in the story of MOOR and the characters, they already had a very strong idea as to the kind of wardrobe that was required.

For example, for the character of Wahid’s mother, they found inspiration in the traditional Baloch ‘burqa.’ Light in color, supple material with soft folds, the Baloch burqa symbolized how this soft, innocent woman was bound by traditions and cultural rules. Lahore-based designer Tahir Hafeez was brought in to design it.

Ehsaan’s love interest Amber’s wardrobe was inspired by ‘khaddar’ material and block printing (both of which require willpower and stamina to produce) to convey the sense of an innately powerful woman who believes in truth and authenticity. Wahid’s wardrobe was inspired by earthy tones to reveal his connection to the earth and to show him as a part of his surroundings. The materials used for him are

course and weather-beaten to show his frame of mind. Baggoo Baba’s wardrobe is bursting with color. Aside from being patriotic and passionate, he is loyal, funny and witty – a lot of shades merged into this one character. His wardrobe required a lot of layering, to show the depth of his character.

While the wardrobe for each character was being designed, there was a thought process that connected each clothing item to the actor’s particular mood in a scene. For instance, in designing Ehsaan’s wardrobe, colour played a huge role. When he turned sinister, for instance getting into a fraudulent business and becoming more like his corrupt friend Imtisaal, the colour of his clothes becomes a direct contrast to his current frame of mind. He wears whites and lighter tones during his darkest days, almost as if he wants to make himself believe that what he is doing is right. Ehsaan also wears a shawl showing his attachments and connection to his deceased mother.

Make-Up Make-up played as important a role in character development as the wardrobe did. The team of makeup artists who came on board put in tremendous effort to ensure that each detail was executed with perfection. Since this was the first film for many, there was a lot of experimentation, especially in the special effects makeup department. There was a learning process in creating the aged looks for certain characters, as well as in making older actors look years younger than they actually were.

Materials were imported from abroad and once the team was able to move from the experimentation phase to perfection, they were able to create the looks on set with ease and confidence.

As Jami points out, “MOOR is all about the tiny details that create the depth in the story.�

Production MOOR began filming in Quetta at the beginning of January 2012, and the shoot continued for almost 100 days in total in both Balochistan and Karachi.

The stylistic approach of MOOR was clean and simple, and to maintain that simplicity, Jami decided to go with the RED camera.

In 2008 the RED MX came out and the Analog team worked hard to master the use of the RED MX and, eventually, the RED EPIC when it was introduced. Using the digital format provided “more freedom” in the words of Jami, and it was the first time RED was experimented with on a feature film in Pakistan.

The lighting and camerawork was tricky because in Balochistan wide shots and a very pure approach to shooting was used. “It was very difficult,” recalls Jami. “Muslim Bagh [in Quetta] was the core of the film – the same place that has been robbed of its beauty and life. And visually I wanted to make it look beautiful so that the audience feels the pain and understands what has been lost.” Hence the camera moves were very slow in Muslim Bagh because it is a ghost town. “Every shot is beautifully composed and shot within frames and doors. Everyone is stuck in a frame within a frame, to emphasize on how the people can’t move.”

On the other hand, the shooting style in Karachi was the com-

plete opposite. Camera work is fast paced – Steadicams and handheld cameras were commonly used, lighting was harsh and the framing was all close and tight to create a claustrophobic look. “This was my organic approach to Karachi, because this is the reality of the situation,” explains Jami. “I wanted to make Karachi look ugly.

Everyone looked at me weirdly, because it was a pretty weird theory. But Karachi is the city where Pushtoon villagers come seeking a better life, but get lost. They become servants who wash cars and do the dirty work. It is a dirty place for our villagers. And I wanted to highlight the reality of the situation in my story, using camera work and lighting to support it.”

Rehearsals with the actors began one month before the cameras rolled. For the senior Quetta actors, they were excited to work on a feature film after watching the downfall of cinema. As Abdul Qadir (Baggoo Baba) describes it, “We needed someone like Jami to come to us and pull us back out of the dead zone and give us the confidence to acknowledge our talent. Just like the creation of a diamond. It requires a skilled and passionate hand to turn a stone into a beautiful diamond, and that is what Jami has done for us.”

“It was a challenging shoot,” says Jami. “We were often shooting in freezing conditions. It was almost down to minus 15C. It took

a lot of getting used to. Some of us barely managed to shower in the 48-day spell we had in Quetta.” He adds laughing, “Except for [Assistant Director] Faibo of course. Faibo broke ice every morning, regardless of the weather, and made sure to shower.”

Before each day’s shoot began, Jami made it compulsory to select a music track that suited the atmosphere and played it on set so that everyone came on to the same page. “Everything down to the dolly movement had to come in sync with the music, and once everyone was on the same page we started the shoot. That became our thing, without music you couldn’t shoot. It helped us to write on set and come up with more ideas.”

The backbone of this grueling production schedule was the team of assistant directors (ADs). “My AD department was my strength.

Faibo, Fazal, Saad, Saima and Shani, they became the heart of MOOR,” says Jami. “They protected MOOR and if I made a mistake, Faibo and Fazal were the first to tell me that they did not agree.

It became a family affair. Faibo was the main motivation on set.

He was the first to wake up and the last to fall asleep. Last but not the least, this shoot would not have been possible if it wasn’t for my line producer, Faiz Mohammad. He made the impossible possible, especially in Quetta.”

Post-Production The post-production of MOOR was also a phase of discovery, especially in finding Sharp Image (the post production house), and Editors such as Rizwan A.Q. and Sourath Behan. MOOR is their first feature film as editors.

Rizwan is the main editor of the film. His past experience as an editor was on commercials, and it took Jami two months to convince him to come on board, because he was initially not confident about editing a feature. “It was my luck that he agreed, because he is such a great human being and it was perfect chemistry,” says Jami. “It was brilliant and we both learned a lot during the process of editing MOOR.” The post-production was a long, drawn-out process that took three years with the team encountering multiple challenges in a newly reviving industry. As the cinema industry evolved in the span of three years with the release of big films such as Waar and Na Maloom Afraad, audiences grew more savvy and their expectations also

became higher. “Because the edit kept on changing for improvement, we were lucky to get Sourath on board as a Co-Editor,” says Jami. “She had been with the film as post-production supervisor for a year and she knew the story and characters inside out, and was also able to see the film from the perspective of an outsider. Therefore, when she came on board as Co-Editor of the film, she was able to see things in a different way and with [Producer] Nadeem Mandviwalla helping us refine the edit for cinema, the team came into sync and we were able to produce a final cut that we are all proud of.”

Meanwhile, an international cut of MOOR began to be developed in 2015 under the supervision of filmmaker and KaraFilm Festival director Hasan Zaidi, who would serve as Co-Producer on the international version. Along with former Sundance International Features Programme director Alesia Weston, who served as a consultant, internationally renowned US-based film editors Madeleine Gavin and Bryan Cole were brought on board to rework the film for a global audience. Some of their

significant edits were later used to inform the Pakistan cut as well.

MOOR led to a lot of different enhancements in the cinema industry.

The setting up of the Davinci system for color grading (DI) at Sharp Image not only helped the film but also supported other filmmakers as they no longer needed to fly out of Pakistan to grade their projects. Jami wanted to maintain a grungy and low contrast look to the film to suit the mood of the story.

The Sound Designer Kashif Ejaz, and Music Mixer Isaaq produced results that Jami considers “out of this world.” Both hard workers and brilliant at their job, they were on board with the team from the beginning and maintained patience during the long process of post. Every change of the edit – a process that continued until just before release – was an extra dose of work for them, since they had to change their previous work on the older cut, and re-sync the new one. “It was not an easy task, but my team was family, and we had each other’s back.”

The MUSIC

Music is an indispensable part of film storytelling, serving to underline the emotions on screen. For this critical element, Jami turned towards long time collaborators, the Pakistani band ‘Strings’, consisting of Bilal Maqsood and Faisal Kapadia.

Strings are one of Pakistan’s all time popular pop bands, with Bilal on vocals and guitars and Faisal Kapadia on vocals. Formed over two decades ago, the band is renowned for its haunting music, its meaningful lyrics and energetic live performances. Whereas previously it was always a Strings project that Jami was working on as a director, this time Strings were entering Jami’s world.

“We have been friends for a very long time and we take care of each other,” says Jami. “After seven or eight mega-hit music videos, I know their style and they know how I work, so we knew what we wanted for MOOR. What Strings has done for MOOR is nothing short of incredible. The entire soundtrack, including all the songs, have been recorded using live instruments because we wanted everything about MOOR to be organic.” In addition to Strings, MOOR is lucky to have got the services of the wonderful lyricist of regular Strings wordsmith, Anwar Maqsood. His lyrics have infused an additional soulfulness to the songs and to the film.

The CAST

“Genuinely challenging.” That’s how Hameed Sheikh describes his role as Wahidullah Khan, aka Wahid. “In preparation for this role, I gained a lot of weight and adapted my performance to suit that of an elderly man in terms of posture, walking style and a Pushto dialect.”

Hameed Sheikh as Wahid Hameed Sheikh plays the role of a village train station-master in Zhob Balochistan. His character is complex: a generally simple man juggling the demands of being a father, a husband and the sole bread-winner of his family, and faced with tough survival choices.

As the central protagonist of MOOR, he is also caught between remaining loyal to his principles and his motherland on the one hand, and a better life for his family on the other.

Born on December 28th 1969, Hameed Sheikh is a well-known actor and producer from Quetta, Pakistan. He began his career in local theatre and school productions before moving into the television production industry with Pakistan Television (PTV). In 1984 he appeared in the drama Naqab Sang but then returned to the theatre.

However, his interest in productions continued and he also worked for CNN as a freelance producer, cameraman, and translator.

Sheikh’s film career took off in 2007. His first film appearance was in Khuda Kay Liye (2007), directed by Shoaib Mansoor.

The film went on to become the highest grossing film of 2007 and Sheikh’s performance was appreciated. Following this, Sheikh produced Kandhar Break (2008) — a political thriller that tells the story of an Englishman who must escape the Taliban regime in Afghanistan. He would later play Dost Mohammad, the head of Afghan intelligence in O21 (2014), co-directed by Jami. His low-key portrayal of the character, garnered Sheikh much critical recognition.

Samiya Mumtaz as Palwasha Samiya Mumtaz plays Palwasha, the wife to Wahid and mother to Ehsaan, the two male protagonists of MOOR and fighting a constant battle to instill moral values in both men. It is Palwasha’s sudden death that serves as a catalyst to the events of MOOR.

Born in 1970 in Karachi, Samiya Mumtaz is a Pakistani film, television and theatre actress based in Lahore, and also a pioneering entrepreneur in the green food movement in Pakistan. She has been a regular member of the activist theatre group Ajoka. She first appeared on screen in a drama serial Zard Dopehar which was broadcast on Pakistan Television (PTV) in 1995. The serial was directed by veteran television and Ajoka director Shahid Nadeem. Her other recent notable roles in have been in drama serials Yariyan and Maaye Ni. She received fulsome praise for her lead role in the TV serial Meri Zaat Zarra-e-Benishan, which is reputed to be the most successful serial broadcast on Geo TV. Following MOOR, Mumtaz was selected to play the role of Allah Rakhi in Pakistani feature film, Dukhtar (Daughter), which was released in September 2014. Dukhtar premiered at the 2014 Toronto International Film Festival and was selected as Pakistan’s official entry in for the 87th Academy Awards.

‘Working on Moor was an electrifying experience. I will always treasure each and every moment’.

“MOOR is a treasure and I hope it reaches the widest audience possible.�

Shaz Khan as Ehsaan Shaz plays the role of Wahid’s son Ehsaanullah Khan aka Ehsaan.

After the closure of the railway station in Zhob, Ehsaan migrates to Karachi at the urging of his mother but against his father’s wishes, in an attempt to make a better life for himself. However, he soon finds himself involved in dubious activities in his attempts to get ahead quickly.

Ehsaan only comes to recognize the importance of moral values after the death of his mother whose counsel and guidance had always been a source of strength for him.

Born as Shazli Hafeez Khan in Oxnard, California, Shaz is a Pakistani-American actor currently living in the US. He studied finance at Penn State University and joined a bank after but was frustrated with the lack of creativity in his job. During this time he would attend casting calls, and his raw energy was enough to secure him roles in local plays and films. He gradually came to the realization that acting was his true calling. He tendered his resignation from the bank and moved to New York City where he trained for three years at the Actors Studio Drama School, eventually receiving an MFA in Acting. At same time he continued working on independent movies and plays as well.

During his training years at the Actors Studio MFA Program, Shaz was always compared to a young Sean Penn, and although it was an ambitious comparison, there is no denying his ability to push boundaries to make his acting career shine. His skill at playing a wide range of ethnic roles due to his looks has certainly given him an edge in the industry as well.

After completing numerous independent short and feature films, Shaz moved to Los Angeles and wrapped production in October 2011 on Flutter in which he played Jake, a young man losing his battle with cancer. This performance was a hallmark in his growth as an actor.

Sonya Hussain as Amber Amber is Ehsaan’s love interest in MOOR but her character is, in many ways, interchangeable with Palwasha, Ehsaan’s mother. She is Ehsaan’s voice of conscience in Karachi and consistently advises him to do good and become an honourable man. Despite his rejection, she refuses to give up on him and stands by him through his darkest times.

Sonya Hussain is a Pakistani television actress and model from Karachi who has appeared in several TV serials, one-off plays and commercials. Her recent ventures on APlus, Teesri Manzil, and on Hum TV, Main Hari Piya have won her great praise from fans all over. Still a relatively new face in the Pakistan media industry, she is a rising star that will surely capture the hearts of many more with her great talent.

She is well known for her work in Don’t Jealous and also for her roles in Dareecha and Mujhay Sandal Kar Do. Highly dedicated to her work, Sonya always strives to deliver the best results.

‘The character of Amber is one that I will always cherish.’

“I am delighted and thankful to have been selected for such a wonderful role in MOOR. I had a great time and I know that this film will be unquestionably brilliant.�

Sultan Hussain as Lalu The villainous role of Lalu aka Sardar Khan is played by Sultan Hussain. Lalu ’s character — based on a real person — brings together the traits that have been responsible for the downfall not only of Pakistan Railways in Balochistan but of Pakistan itself: greedy, ambitious, grasping, insincere and ruthless where his own monetary interests are concerned. Lalu uses corrupt means to acquire railways land, with an eye towards selling off the iron tracks and disrupting the rail networks, which in turn benefits his road transport business. Lalu tries to lure Wahid into his scheme with promises of great riches and even enlists the help of Wahid’s elder brother Zahid to convince him, but is frustrated

by Wahid’s hesitation to sell out his sacred trust.

A veteran of the industry, Sultan Hussain has 26 years of experience in television and film. He has worked in almost 130 serials in the past 26 years and has also been a part of the Lahore film industry. He was delighted to have been chosen for the role and to become a part of MOOR’s technically accomplished production, which he admitted was a new experience for him.

“One of the most memorable experiences of my career. We were all shivering in the extreme temperatures and yet it didn’t seem like we were working on a project, since we were all having fun.”

Abdul Qadir as Baggoo Baba Baggoo is a loyal assistant to Stationmaster Wahid. He stands by his master and all his decisions because he recognizes in him a true and upright man. But Wahid also represents to him his only remaining family – the family of the trains.

Abdul Qadir, born on the 11th of June 1957, began his career in 1971 as a child artist for Radio Pakistan. He then went on to work for Pakistan Television (PTV) in 1974. He played the main lead in the drama Adam Zaday which was broadcast PTV in 1989 and was the first TV serial to have been shown in the SAARC countries. The serial won him PTV’s ‘Best Actor Award’ along with critical acclaim and much praise from audiences. There was no looking back for this star, who has appeared in many live stage shows as well as TV serials, leaving an indelible mark on Pakistani media.

Abdul Qadir has won many awards including the first Bolan Award in Quetta, the PTV Silver Jubilee Award, the ATV award and the Radio Pakistan Excellency Award among others, In 2009 he was awarded the Government of Pakistan’s ‘Pride of Performance’ Award in the national honours.

Ayaz Samoo as Imtisal Imtisal aka Imti is Ehsaan’s work colleague and friend. He eggs Ehsaan on in his drive to seek short-cuts to make money and characterizes the ‘friend’ who provides the wrong kind of influence. Going along with Imti’s advice takes a toll on Ehsaan’s personality and upbringing in the long run.

Born on 11th Feb in Karachi, Ayaz Samoo (also known as Sajid Billa) is the youngest and one of the most electrifying stand-up comedians from Pakistan. He displayed his exceptional skills in acting at a very young age while studying at the Habib Public School in Karachi.

His debut in the industry came in 2004 with a music video for Geo TV. After that there was no stopping him and he soon appeared in several television shows and telefilms on various Pakistani television channels including Geo TV, The Musik and Indus Music.

In 2006 he was selected to represent Pakistan by performing in the second season of The Great Indian Laughter Challenge. After that he performed in another stand-up comedy show Super Karara in Pakistan and gave successful performances on Indian TV shows such as Funjabi Chakde (Star One), Comedy Champions (Sahara One) and Comedy Club (Sony Sab). He participated on another Indian show Comedy Ka King Kaun? on Sab TV (India) in 2008 where he competed against 11 of the best Pakistani and Indian stand-ups and won the title of ‘Comedy Ka King.’ In 2009 he was asked to be a part of the successful stand-up comedy show Comedy Kings on ARY Digital.

“MOOR was the best learning experience of my life. It helped me discover my acting skills. Working with Jami bhai was a great experience since he made it easier for me to explore a negative role for the first time.”

Shabbir Rana as Zahid Shabbir Rana plays Zahidullah Khan aka Zahid, Wahid’s elder brother.

Although he is Wahid’s elder brother, he does not hold Wahid’s real interests at heart. Since childhood, when he dubbed his younger brother mentally handicapped and accused him of being responsible for their mother’s suicide, he has only attempted to dominate his younger sibling psychologically. He joins up with Lalu in his nefarious scheme to siphon off Pakistan Railways property and attempts to convince his brother that he can turn his world around with the money he will make from his corruption. He is the serpent in the garden, slowly seeding lies in his brother’s mind.

Shabbir Rana has been a part of Pakistani cinema since 1960. He developed a passion for this field at the age of 12 and was lucky that his first opportunity on-screen was a film appearance that sparked further desire in him. Since then his journey continues, and he has been active in radio, television and theatre as well as cinema.

“There is no dearth of opportunities in the industry but my role of Zahid Khan in this film is one that every actor aspires to play.”

“I feel honoured and privileged to have got the opportunity to work on MOOR. I am extremely blessed to be surrounded by a supportive family and colleagues who were so highly appreciative of my work, yet also quick to point out my mistakes so that I could perfect my act.”

Nayyar Eijaz as Talat Veteran film and television actor Nayyer Eijaz portrays Talat, Wahid’s friend and colleague in Pakistan Railways. Not only is he a confidant of Wahid’s and a guide to Amber, he is also Ehsaan’s connection to his family in Karachi.

Nayyer Eijaz landed his first acting break in 1983 at the age of 16 years while he was vacationing in Quetta during the summer. He was selected to play the lead actor in the television serial Zindagi Kis Kai Naam and gave a brilliant performance that was widely appreciated by audiences and critics alike.

His career as an actor took off graph and at one time he was playing

six different characters in leading TV serials such as Dasht, Dhuwaan, and Barish ke Baad among others. The pathbreaking TV serial Dhuwaan in particular is memorable for his 11-minute solo screen presence – a record that is still untouched till today.

He never looked back after that and his brilliant performances on both television and in film won him many awards and accolades. Although not all of his film roles have been villainous, his fame rests primarily on the negative roles he has played. Among the numerous films Eijaz has featured in are Bhai Log, Saltanat, The System, Na Maloom Afraad and O21.

“MOOR is sure to be a landmark film in Pakistan and I feel really thrilled to be a small part of it.”

Joshindar Chaggar as Sara Joshindar Chaggar plays the role of Sara, Wahid and Palwasha’s married daughter and Ehsaan’s sister. With a newly born child in tow, Sara arrives at the family home after her mother’s untimely death but is unable to do much to help her widower father given her own family commitments. All she can do is entreat her brother to do his familial duty and take care of their father who has been left all alone. In her interactions, one can feel the frustrations of a daughter whose loyalties are now divided between her old and new homes.

Known best in Pakistan for her appearance in Zeb and Haniya’s 2008 music video Aitebar and Jal’s Morey Piya, Joshinder is a performing artist, originally from Australia, and has been working in Karachi since 2007. A lover of dance and theatre, she has produced and created many original dance theatre works, including the critically acclaimed Dance Drama series Conversations. She recently performed in sculptor Amin Gulgee’s performance work Where’s the Apple, Joshinder? and wrote and performed in the movement-based play Blah & Blah for the 2014 International National Academy of Performing Arts (NAPA) theatre festival.

Joshindar has choreographed director Sabiha Sumar’s feature film Good Morning Karachi (2013) and director Iram Parveen Bilal’s film Josh (2013). She has also co-written and acted in Jami’s upcoming film Downward Dog, which is currently in post-production. She is presently in the midst of a 100-show marathon of her solo experimental dance drama She Flies with the Swallows.

Eshita Syed as Arzo

“MOOR is my first Pakistani film experience and my character in the film is fascinating. I am thankful to have been considered for this role and for my acting skills to have been utilized to the maximum.”

I. R. Omar as Asghar “MOOR is my first film experience. I hope I have been able to bring out the conflicted innocence of the character of Asghar.”

Eshita Syed plays the alluring and highly manipulative Arzo in MOOR. Arzo is Ehsaan’s former boss’ girlfriend or mistress but has also been cheating on him with Ehsaan. She is more interested in using them to get ahead in life herself. When Ehsaan and Imti break away to set up their own firm involved in shady work, she offers to facilitate their illegal work using her contacts in return for a cut of their profits.

Eshita Syed has been associated with the Pakistani drama industry since she was a teenager. She appeared in a music video Suno Ke Main Hoon Jawan by the band Noori, which served as a milestone in her career. Since then she has had the opportunity of working with some of the most senior artists in the industry such as Jawed Sheikh, Salman Shahid, Sakina Sammo, Sania Saeed, Ali Zafar and many more.

Her most recent projects include Ek Naee Cinderella and Aseerzaadi.

She is currently shooting for the TV serials Dayaar-e-Dil and Sudroz for Hum TV and has become well known not only for her striking looks but also her stunning performances.

Ishtiaq R. Omar plays Asghar Hussain, an innocent boy whose attempts to assuage his own guilty conscience provide the dramatic impulse to Ehsaan’s own attempts to come to terms with his own morals.

Ishtiaq is a graduate in Theatrical Arts from the National Academy of Performing Arts (NAPA) where he studied theatre with some of Pakistan’s legendary performers such as Zia Mohyeddin, Talat Hussain and Rahat Kazmi. He has been a part of various theatre productions since his graduation. Some of the productions he has worked in include MantoRama, in which he portrayed the great Urdu short-story writer, Saadat Hassan Manto. In Equus he played the role of the psychologically challenged yet brilliant 17-year-old Alan Strang, and in Anwar Maqsood’s Sawa 14 August he portrayed a Christian train station sweeper, both of which were well received by audiences.

After Sawa 14 August, he had the opportunity to work again with Anwar Maqsood on the theater production of his celebrated television drama Half Plate. In Half Plate he played Mirza Kareem Barelvi – a role that was played by the late Jamshed Ansari in the original PTV production. He has also appeared in couple of telefilms.

The Filmmakers

“MOOR is an attempt to help people understand the power of one — the wahid — individual. One person’s greed can cause havoc in society while another person’s integrity can save so many people from going astray.”

Jami [Writer / Director / Producer] Watching Star Wars in 1977 as a young boy, Jamshed Mahmood — popularly known as Jami — knew he was hooked to the magic of cinema. He went on to study film from the Art Centre, College of Design in Pasadena, USA, and in 1998 returned to his hometown Karachi, where he formed his own production company, AzadFilm.

Jami’s directorial debut with singer Najam Shiraz’s Pal Do Pal changed the landscape for music videos in Pakistan. Since then he has made numerous award winning, critically acclaimed videos for pop bands and singers including Strings, Atif Aslam, Ali Zafar, Fusion — Shafqat Amanat Ali, Ali Azmat and Hadiqa Kiyani. He has also been among the handful of sought out advertising directors.

In 2005 Jami’s drive and passion for cinema led him to build a motion picture gear company and production house, to provide support to a cinema industry still in its infancy. He has worked over a decade towards building a professional standard industry — gathering state-of-

the-art film equipment, ensuring international standards are met in productions, and building a team of professionals who understand cinema.

Although he began working on MOOR as its writer, producer and director in 2009, he has worked on numerous other feature film projects in addition since then in various capacities — Zinda Bhaag (2013, Associate Producer); Downward Dog (Unreleased, Producer and Director); and O21 (2014, Co-Director and Co-Producer). Except for Downward Dog which is still in post-production, all others have made it to theatrical release before his own passion project MOOR. Jami has always been outspoken against the unethical and corrupt methods that have seeped into the Pakistan film industry. With a strong portfolio spanning many styles, genres and techniques, Jami is a believer in purity and simplicity. His films are a reflection of his personality — sensitive, cutting edge, experimental, creative and soulful — elevating reality to the level of art.

“I am extremely enthusiastic and proud of how MOOR has taken shape — a story based on true events and with a deeply patriotic message. The movie belongs to the genre of meaningful cinema that Pakistani audiences deserve.”

Nadeem Mandviwalla [Producer] Nadeem H. Mandviwalla comes from an established business family of Karachi. The Mandviwalla family is originally from Mandvi, Kuch (India) and migrated to Karachi in 1857, establishing interests in diversified businesses in what is now Pakistan. The family’s association with the entertainment industry began with Snober Cinema in Lahore (19581983) and then with Nishat Cinema in Karachi, which was acquired by Nadeem’s father in 1963.

Nadeem Mandviwalla’s passion about the entertainment industry was instigated by Nishat Cinema, which he began managing in 1987.

Over the years, the cinema and film industry deteriorated. Given the industry recession, Nadeem’s family opted to diversify into other businesses but he preferred to remain in the industry he felt passionately about. Over the years he has become one of the largest film importers and distributors in Pakistan as well one of its leading cinema operators, and has to his credit the production of one film of Pakistani origin which

he co-produced. He is also the owner-operator of two of Pakistan’s pioneering multiplex cinemas, the three-screen Atrium Cinemas in Karachi and the five-screen Centaurus Mall Cineplex in Islamabad. He also operated the DHA Cinema in Lahore for a while.

His lobbying efforts on behalf of exhibitors (he is the Chairman, Pakistan Film Exhibitors Association) have resulted in the removal of price controls by the government on tickets, the removal of high provincial levies on tickets, the removal of restrictions on the import of films with Indian actors, and a renewed drive against the piracy of films.

In addition to his lobbying efforts on behalf of the film industry, Nadeem has been instrumental in introducing innovations in Pakistani cinemas such as the introduction of Stereo Surround Sound in Nishat Cinema in 1988, the introduction of Digital Surround Sound in Nishat Cinema in1996, and the introduction of Digital Cinema Projection at the Atrium Cinemas in 2010.

Nazira Ali [Co-Producer / Co-Writer Story]

Qurutulain Bakhteari [Executive Producer]

Nazira came to Pakistan in 2001 after marrying Jami. She had lived her childhood years in India, enjoying many wild and free days on farms and exploring a fantasy world through the classics of literature. The many dreamy years she spent as a child gave way to a multitude of stories scribbled in notebooks meant for schoolwork.

Nazira got a chance to explore her skills as a story-writer while working in television and commercials and, after marrying Jami, she began working with him on his productions. Having a background in psychology and therapy, she was able to contribute to the psychological aspect of each character in a story, an important asset to have while scripting for a film and in creating believable depth for the characters.

Currently managing Azad Film Company and the Analog Motion Picture Gear Company as their Chief Operating Officer, she has so far worked on two feature films as the storywriter and producer, MOOR and Downward Dog.

The Founding Director of the Institute for Development Studies and Practices, Dr Quratulain Bakhteari has dedicated her career to nurturing the next generation of social and political activists in Pakistan. Despite a tumultuous adolescence and young adult life that included living in a refugee camp near Karachi and the responsibility of three children by the age of 22, Dr Bakhteari managed to earn her Master’s Degree from Karachi University and, later, her doctorate from the Loughborough University of Technology in England.

Passionately involved in bettering the community, and encouraging others to do the same, Dr Bakhteari has worked with UNICEF throughout Pakistan, and founded the Institute for Development Studies and Practices. Her work has focused on healthcare, education, social activism and women empowerment - which she seeks to inspire her students to become involved in. Her organization, the IDSP, focuses on training students in learning centers and offering them the opportunity to be engaged in their local communities where they can think in innovative and creative ways to implement positive change. For changing the lives of over a million Pakistanis, and inspiring change that will have an impact on generations to come, Dr Bakhteari has been recognized as a Skoll Foundation Social Entrepreneur.

Dr. Bakhteari was also nominated from Pakistan for the coveted Nobel Peace Prize and has been selected to be a trustee for the network of home-based female workers in South Asia, Home Net South Asia.

Sharp Image [Executive Producer / Post-Production House] Sharp Image is a premium full-service animation and visual effects production studio working on TV commercials and feature films. The company employs high-end infrastructure and some of the most creative talent that enables them to consistently deliver world-class products and services.

Sharp Image is poised to become a global player in the media entertainment service industry and develop its own Intellectual Properties (“IP�) for the regional and international markets. Tahir Moosa and Amyn Farooqui are the co-founders and business partners of Sharp Image.

The multi talented Tahir Moosa is not only a founding partner, but is also an accomplished director, having spearheaded award-winning projects such as Mailkateers and Cocomo. He oversees the creative and commercial projects for Sharp Image and has been a proponent of the company’s growth in terms of new business ventures both regionally

and internationally. This includes the sourcing, development and production of kids and family entertainment properties with a view to making them global brands in the fields of TV, Home Entertainment, New Media and Licensed Merchandising.

Amyn Farooqui is the creative genius behind TV commercial animations and visual FX, and is also a founding partner. He facilitates advertising agencies, producers and both local and internation advertising film directors. His contribution to new business strategy and ventures and organizational structure has shaped Sharp Image into the company it is today. His portfolio as director/creative director includes illustrious brands such as LU Prince, Electrolux (Winner of TASI Artfest 2010, India), Omore, Ufone and Telenor animated FX TVCs.

Farhan Hafeez [Director of Photography] Originally from the Punjab, Farhan Hafeez came to Karachi in the early 2000s to pursue a career in cinematography. Even as a young child, when he didn’t know anything about the industry, he was a camera freak. He began as a wedding photographer, shooting all the weddings in his own family. Upon his sister’s encouragement he came to Karachi and landed his first job as a photographer.

For the next eight years he worked in the light departments of postproduction houses Post House and DigiBeta and got the opportunity to assist many foreign and local Directors of Photography (DoPs) in their work. This helped him gain a lot of experience and knowledge which he utilized later on when he began working as a DoP himself on commercials and music videos with directors such as Jami, Zaheeruddin and Yasir Jaswal. He has been working for seven years as a DoP. Farhan believes some of his best work has been with Jami because the director gave him the opening to experiment. He has been a part of some well-appreciated projects such as the music videos Main Tau Dekhoonga and Ab Kuchh Karna Parrega by the famous Pakistani band Strings, and Bum Phatta by star singer Ali Azmat. Farhan’s first feature film project MOOR was also with Jami, and he feels it has been the highlight of his career so far as a cinematographer. His work on MOOR opened up many other opportunities for him. He has worked as a DoP on the upcoming feature film Meri Jaan, and on O21 as an additional cinematographer.

Rizwan A.Q. [Editor] Rizwan A.Q. currently works at post-production house Sharp Image, and has been heading their Editing Department since January 2006. Up until 2011 his major experience as an editor was on television commercials, documentaries, company presentations and music videos and he has been fortunate to work with some of the best advertising directors in Pakistan such as Jami, Saqib Malik, Baber Sheikh and Asad ul Haq. Despite all his achievements, he still held on to his dream to one day be given an opportunity to work as an editor on a feature film, and this dream came true in 2011 when Jami approached him to edit MOOR. MOOR opened multiple doors for Rizwan. After MOOR he was approached to edit other feature films such as O21 (co-directed by Jami), Jalaibee (directed by Yasir Jaswal) and Wrong Number (by director Yasir Nawaz), and is currently working on his fifth feature, Jawani Phir Nahin Aani, directed by Nadeem Baig.

Sourath Behan [Co-Editor / Post-Production Supervisor] A graduate from SZABIST University with a major in Film and TV production, Sourath has been working under the banner of Azadfilm Company since 2012. Her first venture with them was the feature film Downward Dog where she came on board as an intern, and later was offered to work on two other feature films, MOOR and O21.

In January 2013 Sourath came on board as Script Supervisor for MOOR’s Karachi spell, and later on, continued as one of the Post-Production Supervisors on the film. In January 2014 Sourath was given the opportunity to edit a public service message titled Blind Folded for the Zara Sochiye Campaign, directed by Jami. This marked her entry as an editor, and she has since worked on commercials for brands such as HBL, Alfalah and Warid. Because of her skills and thoughtful editing, she quickly progressed to being credited as Co-Editor of MOOR.

Strings [Original Music]

Anwar Maqsood [Lyrics]

Strings are one of Pakistan’s all time most popular pop bands and consist of Bilal Maqsood on vocals and guitars and Faisal Kapadia on vocals. Formed over two decades ago, the band is particularly admired for its melodious music, meaningful lyrics and energetic live performances.

The band originally debuted in 1990 with the release of their selftitled album, which was followed by their second album, “Strings-2” in 1992. The album “Strings-2” included the critically acclaimed single Sar Kiye Yeh Pahar. The video of the song was first broadcast on MTV Asia and resulted in immediate fame for the band. After a reshuffle of the band’s original members and an eight year hiatus, Bilal and Faisal took the industry by storm with the release of the critically acclaimed album Duur and, four years later, Dhaani. Both albums enjoyed wide national and international popularity.

On the international circuit, their song Na Janay Kyun has the distinction of being part of the original soundtrack for the Indian release of Spiderman 2. The duo have also contributed to the soundtracks of numerous Bollywood motion pictures on several occasions, which has garnered them significant acclaim in India and the Subcontinent. The boys are also known for having collaborated with internationally renowned acts including Hari Haran, Euphoria, Indian Ocean, Atif Aslam and the actors Sanjay Dutt and John Abraham.

Strings made their debut on the critically acclaimed and wildly popular fusion music programme Coke Studio in Season 1 and came back again for Season 2 as featured artists. Strings took over Season 7 as producers of the entire project and are currently in the process of producing Season 8. MOOR is the first full length feature film Strings have provided the entire original score for.

Anwar Maqsood is a celebrated Pakistani scriptwriter, television host, satirist, humourist, lyricist, painter and infrequent actor. As a regular lyricist for the band Strings – his son Bilal is one of the members of the duo – he stepped in to provide the lyrics for the songs of MOOR when Strings came on board to compose the score.

Born on 7th September, 1935 in Hyderabad State (India), Maqsood studied at the Gulbarga Trust School in Aurangabad and has been associated for many years with PTV where he served as presenter for a number of its shows including Studio Dhai, Studio Paunay-Teen and Show Sha among others. He is also well known for penning successful dramas for television such as the series Aangan Terha and the humour programmes Fifty Fifty and Loose Talk among many others.

After almost 50 years in television he came back to writing for the theatre and has penned some widely appreciated plays such as Pawney 14 August, Sawa 14 August, Half Plate and, his most recent venture, Anwar Maqsood Ka Dharna.

He has won many awards including the prestigious national honour, the Hilal-e-Imtiaz, and a Lifetime Achievement Award at the 4th Pakistan Media Awards.

Tahir Mahmood [Production Designer]

Namsa Abbasi [Production Designer]

Tahir Mahmood is a Toronto-based designer with an incredibly diverse background in creative arts and design. He has been a graphic designer, new media artist and an art director. His last art direction project was for Academy Award-nominated director Deepa Mehta in her film adaptation of Salman Rushdie’s Midnight’s Children. The sum of all these experiences led him to discover his true passion for product design.

His design philosophy has been inspired by two very contrasting styles. On the one end, he is inspired by the clean lines and modernist aesthetic of the 1920’s German Bauhaus movement. On the other, he is also influenced by the ornate and grand 16th century Mughal architecture of his Indian ancestry. This juxtaposition of influences has led to his remarkably unique post-modern designs accentuated with a vibrant palette.

He designed his first product in 2009, and in a remarkably short span has multiplied his designs. In 2010 Tahir won the Design Exchange Award for his mortar and pestle and since then has been a rising design star.

A graduate from the Indus Valley School of Art and Architecture, with a major in communication design and a minor in filmmaking, Namsa Abbasi has made a name for herself as an Art Director and Production Designer in Pakistan. She has been active in the field for around nine years and has worked as an art director/production designer on about a 100 leading brand commercials, as well as on music videos with almost all the leading local directors in the country. Her most recent venture has been as an art director on Coke Studio Season 7. MOOR was her feature film debut, where she worked alongside Production Designer, Tahir Mahmood.

Namsa operates under the name Little Big Films, and aside from being an art director, she also does interior design, photography, graphic design, illustration, and occasionally teaches as well. Her goal is to contribute towards positive social change through filmmaking and ultimately work on a film of her own.

Saima Ghazanfar [Casting Director] Saima Ghazanfar is a film and advertising veteran with over 15 years of experience. She began her career in Karachi in 1999 at Manhattan International, a mainstream advertising agency, after completing her Masters in Mass Communication with Advertising as a major. At the agency she handled both her clients’ strategic and creative requirements.

Her advertising portfolio covers a wide spectrum of clients ranging from consumer goods (FMCGs) to telcos to financial institutions, and drawn from multinational, national and government sectors.

She has been an instrumental part of major local and international productions for various clients, working for brands such as Nestle´ Everyday, KFC, Packages (Rose Petal), HBL, Surf Excel, UBL, Silk Bank, Faisal Bank, Searle, Warid and Dalda to name a few. This exposure has made her into a true professional and a strong team member for any production. Saima won the Aurora Award for her global campaign for Reckitt Benckiser.

At Azad Film Company, Saima plays an integral role in formulating concepts, story lines, and directional vision for clients as well as satisfying their creative requirements. She also leads AzadKhayal – a concept generating company.

In 2010 she began working on MOOR as a casting director and stylist. She also served as the Associate Director on O21. Her flair for conceptualizing and writing has not only been limited to advertisements and she has written scripts for two feature films as well.

Carol Ann Noronha [Associate Producer / Post-Production Supervisor]

Straight after completing her A-Levels from The Lyceum School in 2012, Carol began working with the film company One Motion Pictures. Her first venture, the feature film O21 (co-directed by Jami and produced by Zeba Bakhtiar and Azaan Sami Khan) was a major career breakthrough for her. She began work on the film as an intern but over the span of two years that the film was in production, progressed to becoming the Script Editor and Post-Production Supervisor on it.

She has also worked with producer Meher Jaffri (Bodhiccita Works) on projects such as the short musical film The Waves, directed by Usman Riaz, and as 2nd Assistant Director for the music video Jab Koi featuring singer Zoe Viccaji (the song appeared on the original soundtrack of the feature film Seedlings).

In February 2015 Carol worked at the Berlinale Film Festival as part of the European Film Market and, upon returning, Jami called her on board as one of the Post-Production Supervisors for MOOR. She went on to become one of its Associate Producers.

International Version Team Unlike in the case of most Pakistani films, a significantly different cut of MOOR has been developed for global audiences and for international distribution including worldwide festivals. Most of this post-production has happened in the US over 2015.

The international re-edit has been overseen by Hasan Zaidi who is credited as a Co-Producer on the international version. Hasan is a filmmaker, a former film critic and a founding director of the KaraFilm Festival – the Karachi International Film Festival. He runs his own consulting and production company Tamarind Media. His own projects are produced under the banner of Tamarind Pictures. Among other projects he directed and produced Raat Chali Hai Jhoom Ke (The Long Night), Pakistan’s first digital feature, which went on to be showcased at many international festivals and garner critical appreciation around the world. He has been instrumental in bringing global cinema to Pakistan as well as introducing new Pakistani cinema to international audiences through KaraFilm. Hasan is currently working on the script for a new feature as well as a documentary on the swinging Karachi of the 1960s and ‘70s, both projects in collaboration with Azadfilm Company.

Alesia Weston, based in Los Angeles, served as a Creative Consultant to the international version of MOOR. Alesia headed up the International Feature Films Program at the Sundance Institute for nine years (2003-2012) and was also Executive Director of the Jerusalem Film Festival, Cinematheque and Archives from 2012-13. She was also

responsible for the Sundance international labs in the Middle East, India, Turkey and the selection and support of International Fellows at the Utah based labs. As a guide to a number of films through the years she has been thanked on multiple films including The Lunchbox, Wadjda, Beasts of the Southern Wild, Martha Marcy May Marlene, Amreeka and Paradise Now. Prior to Sundance, Alesia was a Creative Executive at Trigger Street Productions and in development at Imagine Entertainment, where she began her work in film. She also worked as a film researcher for the American Film Institute, working on their 100 Greatest Films lists in various categories.

Madeleine Gavin, based in New York City, has over 20 years of experience as an editor. She is known for her work on Mean Creek (2004), What Maisie Knew (2012) and Sleep Dealer (2008).

Bryan Gunnar Cole, based in Seattle, has established himself as a respected editor since graduating in 1998 with an MFA in Film from New York University with a raft of awards. He has worked in feature films (Arctic Son, Rock the Paint) as well as television (The First 48, Texas Ranch House). At the same time, he has also directed a number of documentaries such as Boomtown (2002). Madeleine and Bryan are both Consulting Editors on MOOR. Alex S. Pirrone who works as an editor at HBO in New York City, served as a Workflow Specialist for the post-production process in the US.

Pakistan Railways [Beginnings]

Images, clockwise from top left: Alexandria Bridge, Gujrat; Lahore Railway Station in the 1880s; A young British officer waits on the platform; Gulistan Station on the British military line; a tunnel on the Bolan Pass.

Images on this page are all sourced from Wikimedia Commons.

Four railway companies were operating in the sub-continent at the time of the British Raj, Scinde (Sindh) Railways, Indus Flotilla Company, Punjab Railway and Delhi Railways, which were purchased by the Secretary of State in 1885 and named North Western State Railway in January 1886. After independence, this was renamed to Pakistan Railways.

As Karachi grew into the country’s main seaport, a strong railway system across the country became essential.

Sir Henry Edward Frere, the Commissioner of Sindh, sought permission from Lord Dalhousie to begin a survey of Karachi and the possibilities of a railway line in 1858. On 13 May 1861, the first railway line was inaugurated between Karachi and Kotri. Five years later, the

Lahore–Multan line was inaugurated. By October 1876, three bridges on the Ravi, Chenab and Jhelum rivers linked Lahore to Jhelum.

During the second Afghan War, construction on a railway line up to Quetta began in order to get easier access to the frontier. In 1857, William Andrew suggested extending the tracks up to the Bolan Pass as a strategy to combat any possible threat by Russia.

In 1947 after Pakistan gained independence, 8,122 kilometres of railway were transferred to the country. However, today Pakistan railways owns approximately 7,791 km of track all across Pakistan, stretching from Torkham to Karachi. Not only has Pakistan Railways lost laid tracks, the conditions of the railways system has degenerated drastically due to mismanagement and corruption.