Unpacking the Journey of Spiritual Traveller and Multi-award-winning Filmmaker Uzair Merchant

As someone who grew up in Dubai, it feels especially meaningful to interview Uzair Merchant, a true trailblazer who has made a name for himself in an industry where breaking through from our part of the world is a rare achievement. The US and UK often dominate the film scene, but Uzair’s journey proves that no dream is too far-fetched.

From Dubai to London, New York, and now Vancouver, Uzair takes us on a journey through his life as a modern-day alchemist and filmmaker, where each city has left its mark on his creative evolution.

Uzair, you’ve often been described as a spiritual traveller in various media. Could you elaborate on what that means to you?

“Have you ever read The Alchemist? The essence of that journey lies in realising that the search itself is what truly matters. As an artist, you never really know where you will end up. With each project, you may have a vision, a destination in mind, but it rarely unfolds exactly as planned. In fact, if everything aligns perfectly, it often signals something amiss.

The spiritual traveller aspect comes into play as you learn to navigate the universe’s flow. You take a step, and the universe responds, allowing you to create together. If you cling too tightly to a rigid vision of how things should be, life has a way of surprising you—often sweeping you off your feet and reminding you to embrace the unexpected.”

Uzair’s journey is a testament to the beauty of adaptability and the art of embracing the unknown.

Having been born and raised in Dubai, I’ve witnessed the film scene evolve dramatically. Once a challenging landscape for inspiration, the city now brims with creative opportunities. How did you nurture your passion for filmmaking?

“For the past decade, I’ve been writing a book titled Are We Living in God’s Head? It’s an exploration of various religious texts—from the Bible to the Quran, the Torah, the Bhagavad Gita, and beyond. I’ve read and analysed each of them multiple times. This pursuit began when I was just seven or eight years old in Dubai.

I also have a deep-rooted connection to martial arts, having trained in karate for over 30 years. Starting at three years old, I learnt that the journey of mastery is ongoing. No matter how long you practise, returning to the basics always reveals new insights. This mindset has shaped my approach: dig deeper, push further, and even when you think you’ve reached the limit, there’s always more to uncover.”

You were raised in Dubai but have lived in multiple cities. How has each city affected your career?

I was born in India but grew up in Dubai, leaving for the UK at 17 to attend university. Interestingly, I ended up as roommates with your cousin’s husband—just a reminder of how small Dubai can feel! I spent nearly six years in Nottingham and London, where my artistic journey truly began. This transition was a significant mental shift, turning my world upside down and challenging me to redefine my perspective.

In my first week of art foundation, I was encouraged to forget everything I had learnt in high school and start anew. This freedom was exhilarating; it was the first time anyone had urged me to forge my own path in art. After returning to Dubai, I attended the New York Film Academy, where I had the chance to work with 16mm black-and-white film, reminiscent of the World War II era. Immersing myself in filmmaking in such a cinematic city was an incredible experience.

Now, I teach production design at the Academy and lead masterclasses, sharing the knowledge I’ve gained. Ultimately, Vancouver became my true home—it’s the first place where I really felt settled. The natural beauty here resonates with my soul, fostering a sense of peace that enhances my creativity. It’s a beautiful chapter in my artistic journey.

Throughout this entire journey, what would you say was the most pivotal point for your career?

Moving to Nottingham was pivotal in my journey, transforming me from an artist into a professional. My time in Dubai further shaped my career, allowing me to work on major films and large-scale projects, like my recent collaboration with Dubai Police to create one of the largest holographic screens for a cinematic experience—an opportunity you rarely find elsewhere.

Vancouver has also played a crucial role in my development as an artist. Here, I found stability—a rarity in the film industry—thanks to my membership in the union, which fosters a strong work ethic and collaboration. Having worked on significant projects, I felt the need to shift my focus from collaborating with others to creating my own work. This led me to establish my own production company, navigating the transition between working for others and pursuing my personal artistic vision. It’s this blending of experiences that defines my journey as an artist.

What is the one moment in your journey that you would say you are most proud of, a moment you truly cherish?

One moment in my journey that I cherish most is working on the film Misfits in Abu Dhabi. It was a full-circle experience for me as an artist and production designer, being the first Hollywood film fully shot in the UAE. Growing up in the desert, if you had told me 20 years ago that I’d be on set with Pierce Brosnan and Tim Roth, I would have never believed it.

What makes this moment even more special is the backstory: my first major feature was Skyfall, the James Bond film. During my interview, I presented a paper analysing every James Bond logo, a nod to my childhood spent watching Bond films, especially those featuring Pierce Brosnan. Fast forward ten years to Misfits, where the director shared with Pierce how he brought me on board. Standing there, I felt overwhelmed as Pierce hugged me and praised my work, telling me our paths would cross again. I told him how our journeys intertwined—from that semiotics paper to Skyfall and now this moment. It truly felt like serendipity.

Your work takes you beyond film; you have also launched your own production company, BKreativ Productions, in Vancouver. Can you tell us about it?

For about 12 years, I’ve been developing my own little Marvel Universe, which I kicked off back at university. I always said it would take me 13 years to bring it to life, and this year marks that milestone. Right now, I’m in the thick of it. I’ve published two of my scripts as books, and I’m currently working on the third, while finishing up the fourth. Over the past three years, I’ve also created original bilingual music—English, Arabic, and Hindi—for each of them, along with four soundtracks and short trailers. This whole project is my “Creative Universe,” inspired by the story of Adam and Eve and spanning a timeline of past, present, and future.

In my universe, Adam dreams of the future and writes a book called the Voynich Manuscript, a real, mysterious text that no one knows the language of or who wrote it. In the story, every time Adam goes to sleep, he writes this book, which humanity uses as a sort of time guide. I relate to that experience because every time I wake up, it feels like I’ve lived multiple lives in different realms. Interestingly, our brains are actually more active when we sleep than when we’re awake, making you wonder about the worlds we visit while dreaming.

I also worked on Superman and Lois, which was one of the few shows that kept filming during COVID. I’ve always wanted to do something for Marvel, so I worked on Deadpool, and for DC, it was Superman. I was fortunate enough to be part of two 50th-anniversary films—Star Trek Beyond and Skyfall. I hadn’t planned it that way, but how many people can say they worked on two iconic anniversary films?

Now, I feel like I’ve paid my dues in the Western film industry, and I’m ready to build my own universe from this side of the world.

What advice would you give to young people in the Middle East trying to get into the film or production industry? How should they go about it?

I’ve recently partnered with two business associates—one from the States and one from India—both of whom are high-level executives in the studio world. Together, we’re launching a film course aimed at enhancing the industry in this region. Just last week, we finalised the details for our initiative, which we plan to tour around Australia and various government entities here in the UAE. It’s an exciting step forward!

While I’ve taught masterclasses at different universities, I realised it doesn’t help the industry much when films come to the region, shoot, and then leave without making a lasting impact. They often hire top-tier local crew for secondary roles, but that doesn’t contribute to real growth in the area.

That’s where our course comes in. It’s a three-day masterclass called the Golden Ratio Academy, focusing on production, design, and distribution. The three of us—along with my partners, who have impressive backgrounds—will be teaching these sessions. One partner produced for James Cameron for eight years, and the other was the vice president of Lionsgate Studios in India and headed Sony Marketing there.

We teamed up to address the gap we see in the industry. We’ve just completed our pitch deck and are reaching out to the right people to get this off the ground. There’s a significant lack of opportunities in the region, and we’re keen to change that.

It doesn’t make sense for someone to study filmmaking without a platform to apply what they learn. Our goal is twofold: we want to provide quality education and simultaneously bring more productions to the region. This way, students can directly apply their skills in real-world situations, bridging the gap between theory and practice.

Uzair isn’t just a filmmaker; he’s a force of creativity and innovation, both in his personal work and through his production company, BKreativ. In our conversation, he opens up about his mindset, creative process, and the philosophy that drives him forward. His impressive body of work, which includes acclaimed projects like Star Trek Beyond and Misfits, reflects his dedication to making room for more talent from Dubai on the global stage.

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