Q&A: Nimarta Narang

Meet Nimarta Narang - a freelance writer and journalist, script analyst and master’s student. When I first met Nimarta almost four years ago at The Oxford Union, I found myself immediately taken by her creative spirit. Her passion for writing coupled with a formidable work ethic was profoundly inspiring to both myself and our mutual friends. It is, therefore, no surprise that she has since forged an impressive, promising career in the film and writing industries.

Nimarta was born and raised in Bangkok, Thailand. Since then she has resided in London, Oxford, Boston, Minneapolis and Los Angeles. She credits her extensive travel to her own curiosity to explore the world. An ‘instilled narrative’ that getting an education in the Western world was a ‘ticket to success’ also factored into her globetrotting, with Nimarta following an impulse to ‘see what all the fuss was about’. Ultimately, Oxford and LA have proven to be Nimarta’s favourite places to live due to the ‘passionate individuals’ who dwell there and never cease to ‘surprise’ and ‘inspire’ her. 

Aside from travel, Nimarta is also motivated by academic pursuit, graduating from both Tufts University and the University of Oxford. She proceeded to work in a range of distinct fields, from journalism to psychology research to law to film. She is currently working on her debut novel.

Naturally, when penning questions for this interview, I struggled to decide on which area of Nimarta’s fascinating history to spotlight: her international experiences, the impetus behind her varied areas of study, or her upbringing in ‘a very Punjabi family’.  I soon discovered that each of her experiences inform the others. We spoke about writing, a collective shift towards diverse storytelling and cinema serving as a family bonding activity.

What made you want to work in the film industry?

I always loved the visual medium of storytelling. I loved going to the cinema and watching the big screen. My favourite part came afterwards when I could talk about the film with my family, especially my Dad. A lot of my bonding time with my father consisted of us going to watch Hindi cinema and having a lengthy discussion about the film afterwards - whether the storyline made sense, whether the acting was OK, and what we thought of the cinematography. Could the movie have been better? What beats were lacking? So it started as bonding activity that I ran with.

How would you define yourself professionally?

Even though I’m a freelance script analyst for production companies in the US and UK, I’m also a freelance writer for various online publications about topics that range from breaking news, entertainment, and culture/lifestyle. I’m also currently pursuing a master’s degree. I’ve been very lucky to have been able to travel for education and work – for example, I worked as an immigration/paralegal at a firm in Minneapolis prior to my time in LA. Last year, I was able to attend the Berlin Film Festival and Cannes Film Festival with a company I first started interning with in 2018.  I have been able to attend movie screenings and meet with filmmakers, distribution companies, sales agents, and creatives from around the world.

How was your experience at Cannes Film Festival?

Being at Cannes was one of the most surreal experiences of my life. I barely knew anyone and was very new to the whole scene, but I quickly took to the amazing food, scenery, and the very early and very late hours. I spoke with people I never thought I’d be able to interact with before. Even though I was barely even established as a creative, I was inspired by the energy and passion for cinema.

There is a wide misconception that LA or Hollywood is the hub of all entertainment and stories. With streaming devices and multiple platforms out there for stories to be shared, it’s clear that it is no longer the case. You don't have to be born into the industry or born in proximity to it. Anyone can share their stories. I see a lot more platforms and production companies out there with the aim of amplifying underrepresented voices. There is definitely a big movement in the industry right now.

Do you believe audiences are gravitating toward narratives told from more versatile perspectives?

I think with both the power of social media and the hunger for different voices, there is definitely a surge in interest. During lockdown, I wrote a short story called ‘The Housewives on Prem Road’. I was lucky enough to send along the story to people in film or publishing who are great readers and from different backgrounds. Now I feel very comfortable to share stories that are not catered to the white voice and white gaze. I don’t have to have a white protagonist in order for it to sell or be read. And I think that’s the major shift that’s happened, at least for me. I feel as though I don’t need to write about a world and immediately have a Wikipedia entry following in order to explain it. I trust and I want readers to meet me halfway. Growing up, whenever I read any books based in the US or the UK, I would have a dictionary sitting next to me just to look up words or phrases that I never knew growing up in Thailand. So, whenever I share work or read work by BIPOC writers and directors or creatives, I feel, as the  readers, we have to do the work. We are curious individuals; we are no longer lazy consumers. We’re a lot smarter than people make us out to be. I think because there’s such a range of platforms out there now, perhaps it is easier to get your voice heard. With that said, I’m still trying to figure that space out myself.

Is there anything audiences and consumers of film can do to further facilitate this shift?

Continue to be vocal. Speak up. We have so many social media platforms where people share and disseminate ideas. Audiences and consumers have a voice and realizing the power of that voice can be so impactful.

Considering how streaming services and platforms have developed, do you think it’s easier now for female writers and directors to share their work, or do they face similar challenges?

I took a couple of writing classes this past year. I was one of the few BIPOC writers in the room and every time I shared my work, the question would be ‘who’s your target audience’ and ‘who do you want reading this’. In other words, do you want American audiences to watch it (presumably to make a lot of money) or Thai audiences (where presumably you’d make less money)? None of the white students in the room were asked these questions. The types of questions I get asked in writing workshops to this date have been very challenging and annoying, but at the same time I’m actively trying to find other platforms to be able to find different work, share my work, and connect with other likeminded writers. It’s very important to find your community, regardless of profession, in order to find that support network and feel as though you’re not alone.

However, a lot of the publications I write for are catered to amplifying BIPOC writers and non-white voices, so that’s why I feel as though there is that bridge being made. With that said, I think that there definitely is still a challenge. Even if there are platforms and safe spaces developing, there is so much still to be done.

Could you expand on why representation and diversity of story is so crucial and important?Growing up, I never really saw South Asian characters in substantial roles in stories that were shared on global platforms. I saw the default white characters centered in many films and TV shows that were released from the US or the UK. Their stories became the norm in my high school and college experiences, which made me feel as though my story was less important. Representation and diversity are important because there is not only one story that should be considered the automatic default. Ever. 

What do you think productions companies etc. can do to accelerate progress and truly activate change?

We can’t be complacent.  This pandemic has shown us that there are so many issues within immigration, education and healthcare systems, not just the entertainment industry. To activate change, we need to go beyond the diversity hires and focus groups. We need to focus more on projects helmed by POC writers, directors, and creatives. The onus shouldn’t just be on the POC creatives to always initiate the conversation.

Are there any companies, streaming services or social media pages you think are doing a good job right now?

I think there are many companies that are doing great things. Especially after the BLM movement, there were writers, producers, and managers who offered mentorship programs for BIPOC creatives. They are actively working towards creating greater access for unrepresented voices.

Could you share more information on any creative pieces you’re currently working on? Perhaps your short story ‘The Housewives of ‘Prem Road’?

I actually started working on this short story mid-April, as I was feeling the weight of lockdown finally weighing on me. It’s about an Indian housewife who begins an Instagram business account once her daughter leaves for university. Experiencing empty nest syndrome, she channels her focus to this new venture until she meets a rival in the form of another housewife.

Finally, what advice would you give to young women looking to pursue a career in the film industry?

You deserve to be here. Your voice is so important. So many people will try to tell you that you’re too idealistic, too young, too inexperienced. But try to remember why you want to be part of the industry and why storytelling is important to you – hold onto that reason very tightly. Explore, explore, explore.