The idea that a Nepali film should have four songs and four action scenes is still there. If this can be realized in the movies made now, the movies made by the new and the old generation will be separated. According to what people have learned from childhood, their psychology has become.

It is not easy for a new generation to make a new style of film after studying film making. 

filmmakers should also be able to move according to time . It would be easy for the current generation to make a film according to the current times. The new generation has seen the present time, and has understood it more closely than the old generation . The filmmakers of the world are making films in new ways. 

We should also watch more and more films from around the world. Our language may be different, our culture may be different, but the spirit of the world is the same. How are they telling the story ? What is their story telling style? We should also be aware of this. Storytelling style is important in cinema. A good cinema can only be made if all these are combined.  It is not necessary to go to college for

film making, but you need to study . In our society, film making is only considered as entertainment. While it is also a means of looking at the society . The new generation is difficult to discover by the manufacturer. The question arises as to what kind of film they make . 

I was born in Rukum, but grew up in Dang . When I grew up it was a time of civil war . Rukum and Rolpa are always associated with conflict . Seeing and experiencing everything, the people here are Maoists, the idea that this village belongs to Maoists came to my mind . But there are other beauties. Every house has a different story. That feeling was not given . Those stories never came . I was interested in literature since childhood.

When I started studying film making, I came to the point of view that something different should be done from the traditional trends in the Nepali film industry. A different kind of film did not come in Nepal at that time . While I was studying, films of different styles like 'Kaalo Kothi' and 'Seto Surya' came. At the same time, I also chose this area to see if the story can be presented differently.  15 years have passed to see if

can enter the global market by doing something different. But the producers accuse me of 'making a documentary film'. A film is a film. Along with the current new generation, studious people have also preferred such films. 

is distinguished as festival film and non-festival film in Nepal.  It is called Nepali film and documentary film. This is the problem faced by many directors for some time now. Don't work, this is the work of the learned, the educated. I am 32 years old and I have not understood and thought about anything else in life except for films . Manufacturers don't believe . How can we earn money by making films at this time? How to make a hit movie? What kind of film makes a hit? It seems that the idea that money is earned is going on. 

The producer intervenes in the decision of what the story of the movie will be, and who will keep the actors. How much is the producer himself, the hero/heroine himself . The director is under pressure from the start. How to make a movie commercial is under the pressure of the producer from the story to the choice of actors . The East test that it is preferred in the East, the West test that it is preferred in the West is put into the movie . The artist is chosen because this artist is popular among adults and among the youth. It's beyond what the story calls for. Artists are selected based on who is active in the market. Finally, the movie becomes like 'Camel'. 

movie itself is neither commercial nor non-commercial. Commercial is the movie that earns money. However, in Nepal, movies made in Bollywood formula are called commercial, movies made without songs and fights are called non-commercial. This is probably just for general understanding, not a formula . Because of this, new film directors have faced many difficulties. 

How many makers left this field because of the old style . I haven't found the movie I'm looking for yet. Couldn't make it . I shot the first short film 'Lomba' around 2012 and edited it only after five years . Because I felt that more needs to be done to reach the global market .  Meanwhile, I had become mentally weak. During this study I realized that it is necessary to study .  With the development of

technology, it has become easier to study now. How many books are not available in Nepal, but can be studied with the help of internet. Even after reading and understanding, there is a tendency to hate new directors here . They are not given the opportunity to express their art . The manufacturer does not believe . 

After 13 years I got an opportunity to direct the film 'Gharzwai' . The producer asked me to make a commercial film . What is a commercial? My argument was that the film that earns money is commercial. But they said to make a film in the same old way .

In the current situation, I have to choose two ways - either I have to leave the country to lead a life . Either the same old style had to be adopted . In recent films, I have been trying to choose the middle path .  A

producer can be made by mixing festival films and old fashioned  I have started trying to understand . This is reflected in 'Gharzwai' - where an attempt has been made to cover both the local story and the style of the market. The story of their community is clearly seen and the old style of the market is also presented.  It is not easy for the new generation to make a film just by persuading the

producer . New directors face difficulties from finding a team to shooting. The old actors don't trust the new director . Even when working in one's responsibilities, due to old age, undue respect is required . Not looking at how the work is done, assuming that it is new and thinking about how it can be weakened is difficult. 

In Nepal, unlike abroad, the vision of the director is not given importance . The old generation used to respect the work of the director, now everyone acts as if they know . If the film is good, they say 'we made it', if it is bad, they say 'the director spoiled it'. If we talk about roles, the director has a role not only during shooting, but also after shooting, which scene to keep. Cinema is a directorial medium. The director should be free to say whatever he wants. So not only the producer, anyone can raise questions about him. 

becomes easier after one/two films are good. I am experiencing that from my son-in-law. However, thousands of experiences have been lost without getting the opportunity here . I am lucky to survive. Film colleges in Nepal produce hundreds of students every year. But looking at the statistics of how many of them managed to stay in the film industry after studying, it is a true illustration. 

film is the language of a scene . If you understand how to express your point of view or expression through video, i.e. pictures, there would be a big change in this field . In this area, the bases of enjoying life were also increasing. It is difficult to survive only by directing films . My experience is that it takes at least two years to make a good film. Go-come during filming, go/come while editing, and 'send' the payment received is OK. It is even more difficult for a new filmmaker or director to survive . For those who came to Kathmandu to find a future, let's not talk about this expensive. 

Those who make five-six films in a year have earned money, but it is not right to drown the producer by making such a film. There are also examples of those who prioritize work only and have gone abroad for financial reasons. If there is a basis for living financially in the work you are doing, the results will also be good. Actors who act here are offered by paying lakhs. But the director is not paid respectably . In Nepal, the film market is small, there are no theaters everywhere, the number of viewers is limited .

As the migration of young people abroad is increasing in Nepal, it is causing serious problems . I also did journalism before the film because I didn't see a basis to survive only for this reason . I have also been participating in film awards. In addition to writing and directing films, I am currently working at Gorkhapatra Sansthan . I regularly work on Magar language news and articles published in Gorkhapatra. I am working in fiction films for a living in Nepal, while internationally I am involved in documentary film making . This profession can be difficult for those who only want to enjoy the art field . If an alternative way of living can be found, then only on the basis of interest one can enjoy this field .

cinema is also a genre that is easily understood by common people. Other than cinema, no other medium of art can make you feel so deeply. What cannot be said by speaking or writing can be easily said through cinema. A story can be told very effectively through cinema. That is why cinema is necessary for society. Looking at the old movies of Indian director Satyajit Ray, we can see the society of yesteryear. What was the world like yesterday? What was society like? What would politics be like? Let's imagine that. All of them are seen in his movies. That's why cinema is important for the society. Even in Nepal, today's young generation likes films that represent the society and traditional topics.

There is no significant investment in the film sector from the state in Nepal. Although there is some investment in the Film Development Board, its role seems to be mainly to collect tax on the registration of films . When the film industry gets no help with the problem . There is still a lot of work to do to make our film industry, which has a history of 60 years, even more prosperous. There can be countless reasons behind this. One of the reasons is the lack of accessible and convenient film cities and studios. This means that Nepali film makers are compromising in some places and bearing the burden of unnecessary expenses in some places. Limited production, forced to shoot in remote and unorganized places, lack of professional studios, etc. have added challenges to the Nepali film industry. There is neither a film city nor a big studio in Nepal that is equipped with facilities and can keep up with the changes that have come in today's cyber age. Even in the capital Kathmandu, which produces the most manpower from the technical equipment needed for films, there is no studio or film city with facilities. Investing in Film City is investing in the nation's culture, economy and identity.