MONGOLIAN ART DIRECTOR TALKS ABOUT HIS LIFE BEHIND THE CAMERA
...To be honest, I might be called an art director but in reality, I’m required to work like a carpenter, builder, plasterer and painter. Yet, not many people know how much effort art directors pour into their work. They ask me if I paint just the backgro
Had art director N.Batjargal worked in front of the camera and not behind it as he always does, he might have received the glory and attention he deserves. He has assisted in the making of over 60 films since he first joined the film industry in 1988.
N.Batjargal delves into his unconventional insights about the Mongolian film industry in the interview below.
When did you first join the film industry?
I graduated from the Mongolian School of Fine Arts in 1988 under instructor Ts.Bat-Ekh. I started interning at Kino Uildver as an art director assistant immediately after graduating. In the same year, I got to assist art director O.Nyamdavaa with his creative visions for all the sets and locations in “Seruun Duganii Mukhul” film, which was written by S.Erdene and directed by the late B.Damchaa.
It was the debut film for actors U.Batbaatar, I.Odonchimeg, and me. We really were fresh graduates back then.
How many productions have you worked on with O.Nyamdavaa? What did he usually tell you?
We worked together on around 10 films. He was a man of few words and didn’t like to gossip. He demonstrated what it means to be an art director through his actions. He made me do a lot of things.
One time, he even asked me to bring him sketches of temples. I showed him two different sketches. He picked one of them and told me to get the same temple built in Khentii Province. That was the temple filmed in “Seruun Duganii Mukhul” film. I find it so fascinating now that I think about it.
How many films have you worked on as an assistant and main art director?
I list every single film production I ever participated in. Since “Seruun Duganii Mukhul”, I have worked on 61 films. I worked as an assistant art director for first 30 films and as the main art director for the remaining films.
What did you work on most recently?
I planned sets and locations for “Uur Tsaigaasai” film by director J.Sengdorj last month. It will probably premiere at the end of May.
Have you ever made theater stage designs or do you only work exclusively on film sets?
Working at a theater and working in a film production is very different in terms of space and technicalities. I was given a chance to work at the State Academic Theater of Drama for three years. I assisted People’s Painter Ch.Gungaasukh at the time. During that period, I noticed so many differences between the theater and film industry. That’s also when I realized that I wasn’t suited for theatrical productions.
The national Kino Uildver shut down in the early 1990s and many people lost their jobs. What did you do after the establishment shut down?
I suddenly lost the only source of income I had so I tried trading for a while. I wasn’t born to be a salesman. People are supposed to increase their money through trade, but money kept decreasing and eventually, I became bankrupt. Luckily, State Merited Artist and director J.Bunder hired me at Orchlon Film Company. I worked there until 1997.
Every director has a few actors that they enjoy working with. Like so, do you have any close directors?
I’m used to working with directors J.Sengedorj, A.Munkhsukh, O.Bat-Ulzii and D.Zolbayar. I’m not the nicest or friendliest person to work with. It’s common for the staff to have controversial ideas and opinions during film productions so I prefer working with people with whom I can see eye to eye and communicate with.
Do you have a particular film genre that you enjoy working on?
The role of an art director is more significant and evident in historical films so I find this type of films more interesting. You have to do tons of research for historical films. The good thing is that you can incorporate your own ideas and imagination to documented resources.
You often build full-scale scenery and sets for film productions, including the setting of Sukhbaatar Square in “Buu Mart” and palaces in “Anu Khatan” and “Ukhej Ul Bolno, Chinggis Khaan”. When there are pre-made sets, why do you go through all this trouble to create new ones?
The quality of films should be the first priority. Moreover, I just feel like something is missing when I visit pre-made sets. The film crew wanted to film a scene at Sukhbaatar Square but there were some problems. After contemplating for a long time, I decided to transform the open area outside the Youth Theater in Darkhan city into Sukhbaatar Square. The statue of D.Sukhbaatar riding a horse was built in the exact same size as the original one in Ulaanbaatar.
Last summer, I was asked to participate in the production of an Inner Mongolian film. For that film, I built a very long Chinese road.
What kinds of challenges do art directors face?
Mostly financial constraints. After reading scripts, I have to plan out the sets that need to be created and calculate its total cost. I can do exactly what I want only if I’m given the amount of money I estimated for sets. One producer nearly fainted when he saw the budget I made for sets. It’s hard to create something great with a low budget. Some directors tell me to manage somehow but how can I? I mean, I’m not some kind of genie or magician.
Wasn’t there a time when art directors weren’t hired to save filming costs?
Yes, there was. I guess it can’t be helped considering how much it costs to produce a film and how much return it gives back. Now, things have changed. People now value the effort art directors put into their work.
Large film productions are hiring a team of art assistants. I had four assistants during the filming of “Buu Mart” and led over 20 assistants for “Anu Khatan”.
Nowadays, films are being made without storyboards. Does it make your work easier?
Developing storyboards is like building walls for a building. This process simplifies the next step and the one after it. It reduces the chances of facing financial problems. However, hardly any film (in Mongolia) makes storyboards these days.
Lately, China and Inner Mongolia have been offering more jobs to Mongolian art directors. What makes Mongolian art directors better than foreign experts?
The skills of Mongolians will be recognized no matter where they work. Mongolians are very good at multitasking and quick to adapt. Over- seas, they have different people for creating and painting sets, arranging costumes, doing makeup for actors, and crafting small decorations. In Mongolia, one person manages all these tasks. If this is not considered an advantage or skill, then I don’t know what can be regarded as one’s best trait. I think that Chinese producers offer jobs to Mongolian art directors because of this. They prefer working with Mongolians especially on historical films and series.
Is it true that China provides better working conditions for art directors than Mongolia? What was it like working on the production of “Torguud Van” Chinese film?
It was much better. “Torguud Van” wouldn’t be considered a film with a high production cost in China. Even so, I was allowed to buy everything I needed for sets and do whatever I wanted. I departed to China with a truck loaded with 10 tons of items and materials.
How many films can you handle in a year?
I usually participate in historic films so I can manage two films at most in a year. It takes much longer to produce historic films.
Most Mongolian films omit the names of art directors even though they execute one of the most important jobs. Do ever regret joining the film industry?
To be honest, I might be called an art director but in reality, I’m required to work like a carpenter, builder, plasterer and painter. Yet, not many people know how much effort art directors pour into their work. They ask me if I paint just the backgrounds of sets.
Still, I have never regretted becoming an art director. I enjoy doing my job and I’m proud of what I do.
Do you keep track of other art directors’ work while watching films? Which film had the most impressive sets?
I prefer encouragement over criticism. Each and every artist in Mongolia is striving to do their best in whatever they do.
I have quite a few students of my own, including N.Bolor-Erdene and N.Tumenkhuu who were my assistants. I’m glad that they’re now working independently. I’m sure a bright future is ahead of them.
Is it true that you founded an association for professional film art directors?
Yes. The association is aimed to secure the position of art directors, promote and increase the value of their work, and support art directors in Mongolia. At present, over 40 art directors and assistants have joined the association, including young artists from Movie Art studio.
Our association will protect the rights of members and ensure that they fulfill their responsibilities.
Can you tell us about your collection of antiques, props and souvenirs from films?
I didn’t understand the significance of small items when I was young but when I turned 40, I became more sentimental of my work. That’s when I decided to start collecting things so that I don’t have to ask people here and there to lend me things I need for sets.
Now, I have a collection of over 1,000 souvenirs and antiques. Rather than really old items, I mainly collect things dating back to 1960 to 1990. They might seem like garbage to other collectors but they’re meaningful to me.
Sometimes I try to clean out the storage but I find nothing to throw out. I have things that can furnish four socialist-style homes.
Do you plan to launch an exhibition with all the items you collected while working in the film industry?
I don’t have such plans at the moment but who knows what will happen in the future. In the meantime, I’ll continue to collect things.