Minhal Baig
@minhalbaig
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🎞️ We Grown Now (TIFF '23) 〰 @sonyclassics 🎞️ Hala (Sundance '19) 〰 @appletv 📺 TV: Criminal, BoJack Horseman, Ramy
Joined October 2021
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Thank you,
@FilmmakerMag
. If you're interested in how we brought the high-rises to life and what I'm working on next, read the interview here:
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2 weeks out from production & feeling incredibly grateful. I started writing this script in 2018 on nights & and weekends while staffing. Today, I walked onto the stage build and the reality of it all sunk in. It’s been a long journey and now I’m finally here. Surreal.
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I don’t have a driver’s license and I don’t know how to swim but I’m directing a film 🤷🏽♀️
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6 years ago, this short film I made with AFI grad students and Kickstarter money changed my life forever.
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There will be no production in Chicago until we receive a fair deal. Good luck trying to avoid us by changing your call times, sending out decoy call sheets, moving locations, etc.
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My deepest thanks to Michael Barker and Tom Bernard for their unwavering support and belief in our film. I am so honored & grateful that our film becomes a part of
@sonyclassics
distinguished legacy.
Minhal Baig’s ‘We Grown Now’ Lands at Sony Pictures Classics
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Kiyoshi Kurosawa’s CURE is the most terrified I’ve been watching a film in my life. What starts out as a hard boiled detective story ends up a frightening meditation on the unrealized, darkest parts of our souls.
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Today's picketing event outside NBC Towers in Chicago revealed that there are so many unions that have joined us in solidarity. Thank you to them, and our strike captains
@mrgilio
,
@ZaydDohrn
,
@bneveu
.
I gave a little speech, the text which I'll reproduce here: (1/12)
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We Grown Now comes out in theaters tomorrow. This film has taken me six years to make and it’s so incredibly rewarding to see it finally enter the world. My heart is so full.
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Deleting later, but for now: emerging out of my week-long trip to LA with so much gratitude that I'm making another film. Each one is a life-changing experience. I go away as one person and come back another. My heart feels so whole.
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Since 2018, I’ve worked on four shows that never saw the light of day. It’s exhausting & sad to staff on room after room like this—where a writer’s room is just treated like more development. The only project that went into production in those 5 years was my own feature.
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I'm in a space of dreaming and building something better. Too few distribs reach intended audiences of the films they release. They don't have financial resources, quality marketing or bandwidth. Successful distribution requires cultivating not only the art but also audience.
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It's heartbreaking to learn of
@Participant
's shuttering. They believed in and fought for genuine artistry in a business so centered on market considerations. I'm incredibly grateful we had the opportunity to work together on We Grown Now.
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I am no longer interested in waiting to be one of the few filmmakers who gets a lottery ticket. There is no agency in that. I want to build something better--not in 10-15 years, but now. The time is now.
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Today, I spoke to the
@FTC
about how vertical integration and consolidation in Hollywood is not only hurting filmmakers but worse for consumers in the long-run. Thank you so much to the commission for the space to speak!
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We Grown Now comes out in theaters on April 19. Thank you to the former Cabrini-Green residents who shared their stories. Thank you Symbolic Exhange, Participant and Stage 6, all of whom championed this film for years & years—and
@sonyclassics
, for bringing our 🎞️ to theaters.
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We Grown Now, in select theaters 4/19 in NY, LA & Chi.
How do you say goodbye to somebody?
#WeGrownNow
opens only in theaters April 19 in New York, Los Angeles & Chicago.
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We Grown Now is playing in NY, LA & Chi starting today:
NYC
Film Forum
AMC Lincoln Square 13
AMC Magic Johnson Harlem 9
LA
AMC Century City 15
Cinemark Baldwin Hills Crenshaw
Chicago
Siskel Film Center
AMC River East 21
Showplace ICON Theatre
AMC New City 14
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It's been an incredible journey with this film.
#WeGrownNow
goes nationwide in theaters today.
1992. Chicago. As Michael Jordan solidifies himself as a champion, a story of two young legends in their own right begins.
#WeGrownNow
is now playing in theaters nationwide.
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Thank you to the Teamsters and IATSE. Crews here are so supportive of our fight.
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@robsforman
@gabbyrevlugo
Leadership can spin this however they wish, but if you got everything you wanted with 3 weeks left before the contract expired... y'all didn't ask for enough.
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In theaters April 19 ❤️
Don’t be afraid to fly.
Watch the official trailer for
#WeGrownNow
. Only in theaters in New York, Los Angeles, and Chicago April 19. Coming soon to a theater near you.
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It's an absolute honor and privilege to work with the incredibly talented
@reid_iain
in adapting his haunting and profoundly beautiful novel, WE SPREAD for the screen. Words cannot express how thrilled I am.
‘Hala’ Director Minhal Baig, Author Ian Reid Team for ‘We Spread’ Movie Adaptation (Exclusive)
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9 years ago, I moved to LA with a few hundred dollars in my bank account and a dream to make films.
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30,000 steps before 9am. Thank you to all the amazing writers and crew who came out!
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Today, we had our third and final (sold out!) screening of We Grown Now at TIFF. I am beyond grateful for Toronto programmers and audiences for seeing us. My heart is whole.
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Past Lives is a beautifully understated film about a woman grieving & processing her childhood and past life. Celine Song's direction is excellent. Some lines of dialogue will stay with me for a long time.
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This past spring term, I taught two screenwriting classes at Yale. I don’t have an MFA (couldn’t afford one) and had never taught before but teaching was transformative.
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I’m so incredibly honored for We Grown Now to have received three
@filmindependent
Spirit Award nominations.
@stephaniefilo
, Pat Scola and Joe Pirro deserve all the recognition.
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Claire Mathon's work in Spencer is a psychologically unsettling, beautiful but ghostly nightmare.
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Anyone who has worked in a creative industry knows that it's in that extra space, the time that isn't optimized, where the magic happens. Creativity cannot be optimized. (9/12)
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Feature filmmaking—in the low budget/independent space—is not a sustainable livelihood. TV writing is how I pay my bills. If TV writing is no longer a sustainable career, my films go away, too. This fight is existential.
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It's the destruction of stable, long-term work environments that cultivate talent and enable brilliance, in favor of short-term gigs that cut every ounce of fat out of the process in service of the spreadsheet. (8/12)
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The AMPTP is made up of the studios. The AMPTP is with whom the WGA could not reach a deal. Independent film happens outside of the studios. That’s why it’s independent. Seeing writers on here rooting for indie films to be shut down is dystopian.
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The Teamsters. IATSE. SAG AFTRA. Thank you all for being with us. Supporting us. This is a historic moment. This isn’t a strike just for a contract, this is a strike for our continued existence. For our future. (12/12)
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The studio want us to feel desperate. So they make us feel powerless. Like we should just be lucky to have our jobs in the first place. They diminish us in the hopes that we never recognize our own power. But we make the only product they can sell. (5/12)
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I was told by more experienced writers that going to set to produce your episode was part of the job. I’ve never known it. This is by design. We have been paid less and less and expected to deliver more and more. And now we’ve reached a point of no-return. (4/12)
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This score is everything. Jay's work is truly special and working with Attacca Quartet was a dream.
The
#WeGrownNow
soundtrack is out today alongside the film’s expansion into theaters nationwide!
A tender coming-of-age story set in Chicago’s Cabrini-Green neighborhood,
#WeGrownNow
features a vibrant original score composed by
@jaywadley
, performed by the
@AttaccaQuartet
🎼
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I am so grateful to all of the amazing folks who I've met while organizing and on the picket lines. This strike has made me realize the incredible importance of community. Thank you WGA Neg Com.
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3) Artists have to say NO to conventional wisdom/ "this is the way things are"-type of thinking/norms that don't serve us or our storytelling.
4) Artists must work together in community. There won't be a single studio/prod co/person that saves our business. WE save our business.
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A few things must happen to build something better:
1) Hollywood MUST be broken up. Nothing new can grow w/o burning down existing system first.
2) Whatever grows in its place must prioritize quality storytelling and artists first. Let no one tell us that it's "unrealistic."
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So lucky to have worked with Ed,
@jordan_harper
&
@notanothersarah
, Cortney and John on this show. Criminals forever.
Prime Video has given a series order to ‘Criminal,’ a drama based on the multi-Eisner Award-winning graphic novel series created by Ed Brubaker, who writes the comic, and Sean Phillips, who illustrates it
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Anyone have examples of effective grassroots distribution? Where a film gained traction through screenings, events and word-of-mouth (not through P&A and traditional marketing)?
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This is what we have they don't: A job we love so much that we were wiling to risk it all for our future. And we will not settle. We will not fold. They have not expected for us to stand united, with the support of so many other unions who work alongside us. (11/12)
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By the time an independent writer/director has finished making a film, it's been (on average) a 5-7 year journey. It's exhausting. They don't (necessarily) want to be involved in the marketing and distribution of the film. It's more unpaid work.
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I strike because I love what I do. I want to be able to keep doing it for a living, for as long as I can. When I strike, I see so many other writers in solidarity. This is what we have that the studios don’t: community. (10/12)
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@jeremyoharris
I'm confused why anyone would put Bong Joon-ho on a timeline. Like... this man does not work for you???
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Many filmmakers leave independent film for studio jobs not only for financial reasons but because they want their work to reach a wider audience. Unless you are one of the chosen few, your work is released on a streaming service w/little to no marketing.
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The work exists siloed on a streaming service, with no opportunity to make anymore money through any other platforms/windows. Independent filmmaking--as it currently exists--is unsustainable for the artist.
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But there won’t be a future for them if we don’t fight now for what is ours, as writers and artists. We fight for us but we also fight for the future.
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I’ve become what I feared: a mom who takes 264745 photos of her baby everyday
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The words are where it all begins. We are the generators. Without us, they have nothing. And with this strike, they will recognize our power. We are striking because if we don’t, our jobs won’t exist. (6/12)
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My name is Minhal Baig & I’ve been a member of the Writer’s Guild of America since 2018. In the last few years of working in television writers’ rooms, I’ve gained experience and met lifelong friends. I’ve also witnessed the quick erosion of the writers’ room in real-time. (2/12)
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The TV writers’ room, a beloved institution that has made a creative format possible, will be gone. The studios have taken and taken from us and we have had enough. Now is the time to fight. And it's not just for us - the mini-roomification of our economy is spreading. (7/12)
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Those windows no longer exist. A streamer buys your film--oftentimes all territories, all rights (even the ones they don't use), for the longest window possible. The distributor doesn't even maximize their own revenue. The entire system is fundamentally broken.
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Several weeks ago I saw Joyland. Saim's direction is confident and assured; Alina Khan is a delight and Ali Junejo is a star. This is a milestone in Pakistani cinema. It's grounded, heartbreaking and real.
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Worst Person in the World had me in tears. Joachim Trier perfectly captures millennial angst and anxiety in Julie. Renate’s performance is astonishing. My favorite film of all year.
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Working with students was a welcome respite from the cynicism of our business. I looked forward to living in their words, pages and worlds. I am feeling hopeful for the future of film because of them.
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I've had the opportunity to shoot in Chicago for my last two films. The crews here are phenomenal.
Talked to Gov. J.B. Pritzker about his recent Hollywood sales pitch re: IL film production. To answer the Tribune's headline--I'd say yes, it's working.
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WGA strike efforts in Chicago to shut down production detailed here--credit to
@mrgilio
&
@ZaydDohrn
&
@bneveu
for organizing efforts!
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Writers’ rooms that were once 20-week long jobs became shorter and shorter. The rooms got smaller. There were fewer opportunities for lower-level writers. Staff writers practically became non-existent. (3/12)
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Back in the day, an independent film had several different "windows" of revenue. Traditionally, films were released theatrically, then have additional lives on DVD, pay-per-view (VOD) and on TV (multiple times!) Not to mention non-theatrical & educational screenings.
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I am flying back home tomorrow. The last two weeks of picketing in LA has shown me what solidarity looks like--it's been incredibly inspiring.
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@ashleyn1cole
The fact that you had to explain the difference between a mattress and a TV show 🤦🏽♀️
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@ElyseHollander
Short film lead to a feature I directed. I regret nothing but I did crowdfund & didn't go to film school. For writer-directors, making short films is a great learning experience/helps one discover voice/etc.
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So much has already been written about Oppenheimer so it feels superfluous to add my two cents: Chris Nolan pushes subjectivity in a way I’ve never seen before. The direction, editing & score is at a peak. A masterpiece.
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Two years later, I've finally cleared my decks.
Sorry to report that it's one year later and my situation is exactly the same.
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The Umbrellas of Cherbourg is not only a decadent visual feast but a surprisingly honest and earnest depiction of young love. Hits you where it hurts! Credit to
@alicewadd
for this recommend.
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With 2021 quickly coming to a close, I’m focusing on all the things that worked out over what didn’t: Finally moved out of LA (for good), bought a dream house, got an overall deal, staffed on two shows with amazing people, wrote 2 pilots & 3 movies that I’m super proud of.
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@franklinleonard
This is on-point. As you already know at IL schools, a lot of these “strivers” were kids from working-class families who didn’t have safety nets or the option to work w/dad after graduation.
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I write long texts like emotional voiceovers, meant to be experienced while slowly sliding to the floor in existential despair.
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James Wong Howe’s work in Frankenheimer’s SECONDS is radical, unsettling and risky. The film was released in 1966. Howe’s recognition is well-deserved and long overdue.
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@franklinleonard
You only need one: Ryuichi Sakamoto Restaurant Playlist. Tired of bad restaurant playlists, he made one of his own for his favorite restaurant in New York.
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Our film opens at one of my favorite theaters in Chicago on April 19!
@filmcenter
🌟 Opens 4/5: LA CHIMERA (Alice Rohrwacher)
🌟 Opens 4/12: FREE TIME (Ryan Martin Brown)
🌟 Opens 4/12: THE TUBA THIEVES (Alison O'Daniel)
🌟 Opens 4/19: WE GROWN NOW (Minhal Baig)
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The moody, non-linear editing is one of the most striking parts of The Limey. Time moves by emotion, not chronology.
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@MonicaBeletsky
@BenBlacker
First staff job was an incoming call about Ramy. I got the job after an interview with the showrunnner. A couple weeks after that room ended, my agent told me the showrunner of BoJack Horseman wanted to meet with me. I took the meeting, and that's how the second job happened.
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So happy to see We Grown Now make this list. Premiere is tomorrow at 3pm, get your tickets 🎟️
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Taking this job was an unusual choice for me. I was writing several features and in a writer’s room at the same time. The logistics were crushing. And yet, I looked forward to every Friday in New Haven.
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Jennifer Lawrence's performance in Causeway is incredibly special. Profound in how restrained and honest it feels.
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One of my favorites of the festival so far, Bye Bye Tiberias is an emotional and devastating documentary about how deeply displacement affects the intimate relationships between four generations of women in director Lina Soulem's family.
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On
@JamesSchamus
's recommendation, I watched PLAYGROUND by Laura Wandel. The film is a tense, harrowing watch, with one of the best child performances I've ever seen.
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Solidarity is our sword.
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@Carlos_Film
We have different definitions of original studio film. Yes, she did - but she did not create the character. It’s not a meaningful distinction for the audience but it’s meaningful in how a project gets made.
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That final shot of Heat is heartbreakingly beautiful. Both men have sacrificed human connection to be where they are. There is a shared understanding that this is their inescapable nature.
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