Kamal Ahmed
By: Nicole Holland
IFQ sits down with former Jerky Boy Grammy Nominee Kamal Ahmed as he discusses independent film, the reality of film distribution and his latest film “Rapturious.” In 2007, “Rapturious,” a horror feature directed by Ahmed, was picked up by ITN Distribution and licensed to TLA Releasing, for domestic DVD.
IFQ: Your films “Rapturious”, “God Has A Rap Sheet” and “Artists of Hell’s Kitchen” screened at the New York International Independent Film & Video Festival (NYIIFVF). Tell me about your experience at the NYIIFVF and the festival circuit, in general.
Kamal Ahmed: I always have a good time. There are a lot of indie filmmakers trying to hustle their films, and I believe in the support system.
IFQ: You chose to create and produce all of your films independently. Why?
KA: Well to be honest, Hollywood hasn’t been knocking on my door, so that’s the basic reason why. But if Hollywood ever did come a’ knocking, I would insist on having any film I’m involved with to have at least the “spirit” of indie filmmaking- (i.e. no suits from the studio on my set).
IFQ: What’s your opinion on independent films vs. studio films? Compare and contrast high budget and low budget.
KA: Indie films tackle subject matters that are “hush-hush.” Studio films have more luxury because of the budgets, but sometimes not having any luxuries can cause creativity. Note to Hollywood—what the hell is creativity?
IFQ: Your feature film directorial debut was “God Has A Rap Sheet.” Can you talk about it?
KA: I was compelled to write the story for whatever reason. It took me a year. When I shopped the script, people thought, “Hey, this isn’t a comedy like the ‘Jerky Boys.’ What the fuck is this?” So I knew it would be tough making the film because nobody wanted to finance it for any kind of money, real money that is. So we just had to make do and because I was so thick-headed and retarded I made it. And looking back, it’s really the kind of film one should make when they’re more established as a name director because it’s an “artistic” film. But what the fuck, it was a great experience.
IFQ: How did the concept of “Rapturious” evolve?
KA: I saw how much I struggled to find an audience for my first film, and then saw a lot of my friends make these horror films which found an audience right out of the box, so I wanted a taste. And besides I want to make a film in every genre I enjoy, and I certainly enjoy horror—although, I’m not an over zealous fan.
IFQ: Do you have any on set stories?
KA: We filmed one night in Robert Oppel’s apartment in Williamsburg, Brooklyn and it was running a little late, so these douchebag hipsters that lived upstairs came knocking on the door like tough guys demanding we stop shooting. I didn’t like their attitudes, so I looked at one of them and smashed what I thought was a prop of a beer bottle over my head to scare them, but it was a real bottle and blood poured all over my face without me even realizing it. The hipsters ran away in terror screaming, “That fucking guy is crazy; let’s get outta here!”
IFQ: As a director, what qualities do you look for in an actor?
KA: Being “organic.” I want an actor to not care if snot is showing in his nose or if his hair is fucked up. It’s all about being real. Truthfulness is key.
IFQ: When was your first interest in film?
KA: My mother has a cousin who worked for Warner Bros. in the 70’s. I met a lot of stars when I was a kid and always knew I somehow would be in that line of work.
IFQ: Which directors and writers influenced your directing and writing styles?
KA: I have so many films I watch and admire as well as directors and writers, but getting inspiration from life’s experiences is still my mentor. The only chance I got in this business is to have someone say, “I’ll give that guy credit—at least he’s trying to be original.”
IFQ: What advice do you have for writers or directors trying to get their project green-lighted, not discriminating between projects aligned with a distributor or if it’s an independent project?
KA: Believe in yourself because no one else in this racket will. And get ready to wait forever, unless you’re Ron Howard or something.
IFQ: “Rapturious”, “God Has A Rap Sheet” and “Artists of Hell’s Kitchen” all won awards at the New York International Independent Film & Video Festival (NYIIFVF). Did the awards help you in securing a distribution deal?
KA: Yes and no. If distributors like the movie, they’ll pick it up. If they don’t, no matter how many awards you won, they won’t pick it up. But winning an award certainly doesn’t hurt.
IFQ: How did “Rapturious” secure distribution?
KA: I walked into their office with my friend Luca Brasi and assured them either their brains or their signature would be on my contract.
IFQ: What qualities were you looking for upon signing with ITN Distribution?
KA: Someone who doesn’t cheat. And ITN is clean.
IFQ: How did the concept of “The Jerky Boys” evolve?
KA: We were two jerkoffs who use to get drunk and make these prank calls. When they were all put on tape, I used to make copies and give them out when I bounced in night clubs. They got big and people would cry laughing, so I knew we had something.
IFQ: “The Jerky Boys” sold over 4 million CDs and was nominated for a Grammy award for Best Comedy Album (1995). What led to the Jerky Boys breaking up?
KA: One of us got too big for his britches.
IFQ: Your friend Artie Lange has talked about you on the Howard Stern Show. Will you ever collaborate with Artie on a movie?
KA: It would have to be a movie that involved tummy tucks.
IFQ: Any upcoming projects?
KA: This short film based on a Jerky Boys call called “Uncle Freddy.”