TravellersMagicians&

a film by Khyentse Norbu

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TravellersMagicians&

A ZEITGEIST FILMS RELEASE

TravellersMagicians&

Written and Directed byKhyentse Norbu

Produced by Raymond Steiner and Malcolm WatsonExecutive Producer Jeremy Thomas

Director of Photography Alan KozlowskiEdited by John Scott and Lisa-Anne Morris

Bhutan, 2004In Dzongkha with English subtitles

Running Time: 108 minutesAspect Ratio: 1:1.85

35mm • Color • Dolby SR/SRD

Press contact:SASHA BERMAN

SHOTWELL MEDIA2721 2nd St. # 217

Santa Monica, CA 90405tel: 310-450-5571

SashaBerman@earthlink.net

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n the Buddhist kingdom of Bhutan, nestled deep in theHimalayas, two men seek to escape their mundanelives. Dondup, an educated university graduate decidesthat he will be better off picking grapes in the US thanworking as a government officer in a remote rural

village. Tashi, a restless farm youth studying magic, cannotbear the thought of a life consigned to his village. Through atrick of his brother, he is delivered into a dream world ofseduction and intrigue.

The two men embark on parallel, if separate, journeys. Theiryearning is a common one – for a better and different life.

Dondup, delayed by the timeless pace of his village, is forcedto hitchhike through the beautiful wild countryside of Bhutanto reach his goal. He shares the road with a monk, an appleseller, a papermaker and his beautiful young daughter, Sonam.

Throughout the journey the perceptive, yet mischievous monkrelates the story of Tashi. It is a mystical fable of lust, jealousyand murder, that holds up a mirror to the restless Dondup,and his blossoming attraction to the innocent Sonam.

The cataclysmic conclusion of the monk’s tale leavesDondup with a dilemma – is the grass truly greener on the other side?

n September 29, 2002, the cameras started toroll on the first feature film to be made in thepristine beauty of the Himalayan kingdom ofBhutan.

More than 108 cast and crew came together – from Bhutan,Australia, Germany, India, Canada and the US – to work withaward-winning filmmaker Khyentse Norbu on the first featurefilm to be made in his homeland. The writer/director of TheCup matched experienced international film professionals withBhutan’s own budding filmmakers, giving them experienceand the inspiration to produce future Bhutanese films.

As in Khyentse Norbu’s first film, The Cup, no professionalactors were used. The cast is drawn from across the countryand include the chief regulator of the country’s banking andfinancial institutions, a colonel in the King’s Bodyguard, amonk trained in pure mathematics, a senior researcher withthe government strategic planning think tank, employees ofthe local TV broadcasting corporation, a school principal,school children, farmers and local gomchen (householderpractitioners and meditators).

Travellers & Magicians was shot entirely in the Dzongkha

dialect, the official language of Bhutan. During shooting ofTravellers & Magicians in the home of the casting director, thefirst official Dzongkha dictionary was created. As few of thecast spoke the 'new' national language, they had to beschooled by an on-set dialogue coach.

In keeping with the ways of the country, many majorproduction decisions were determined by mo, an ancientmethod of divination performed by specially skilled lamas.The mo dictated principal cast, crew and even the first day ofshooting.

Also in line with director Khyentse Norbu’s Buddhist beliefs,special religious ceremonies known as pujas, were performedthroughout the production to remove obstacles, quell localdemons and increase auspiciousness.

Travellers & Magicians was shot on Kodak colour film using aSuper 16mm camera package of an Aaton XTR Prod and anAaton A-Minima (for steadycam). The negative was processedin Bangkok's leading laboratory which enabled telecine rushesto be available in good turnaround time for viewing in Bhutan.Post Production was undertaken in Australia and was thecountry’s first fully digitally graded feature film.

Travellers & Magicians

ISynopsis

About the production

Two men, one chasing loveends up in a dream.

The other, chasing a dream,leaves love behind.

O

As the inspiration for the fictitiousShangrila of James Hilton’s novel LostHorizon, Bhutan has long fascinated theworld. The country and people haveremained delightfully unspoiled, isolated by

natural geography and deliberate government policy.Roughly the size of Switzerland, but with a population ofapproximately 700,000, it is sandwiched between the twomost populous nations on earth – India and China.

Travellers & Magicians opens a window for the first time ina feature film, on this tiny Buddhist kingdom nestled inthe Himalayas. The Bhutanese have developed a singularlyunique approach to life which is beautifully and sensitivelyportrayed in the film. Bhutan is a country where the Kingis also the head of the government, the people wearnational costume by law and Gross National Happiness is,by royal decree, considered more important that GrossNational Product.

Until the 1960s Bhutan had no financial currency, roads,electricity, telephones, schools, hospitals, postal servicenor outside visitors. The people enjoyed their simple life,travelling everywhere by foot or on horseback, barteringgoods and remaining blissfully unconnected from thetechnological changes sweeping the rest of the world.

Only 40 years ago, the King decided, that as part of hisplan to unify the largely rural country, it would develop anational language. Of the dozen or so dialects, he choseDzongkha, spoken by about a quarter of the population. Itwas, like all the country’s dialects, an oral language onlyand the government’s first step was to create a writtenform. Filmed in Dzongkha, Travellers & Magiciansrepresents a significant ripening of the process.

The country has more Buddhist monks than soldiers, andby law holds more than 60% of the land mass under forestat any one time. In the social and environmental turmoil oftoday’s world, Bhutan is a precious jewel.

Travellers & Magicians

AAbout Bhutan

Travellers & Magicians opens a window for the first time

on this tiny buddhist Kingdomnestled in the Himalayas.

ravellers & Magicians is Khyentse Norbu'sfollow-up to his internationally successful1999 feature The Cup (Phörpa). After makingits world premiere at the Cannes Film Festival,The Cup won critical acclaim and festival

awards around the world, as well as being distributed inover 40 countries. The New York Times named KhyentseNorbu “a born filmmaker” and London’s Evening Standardcalled him “one of the hottest new directorial talentsaround.”

The Cup is Khyentse Norbu's semi-autobiographical tale ofa group of monks obsessed with the World Cup soccer final.The surprise international hit helped humanise the image ofTibetan monks, too often portrayed as one dimensionalsaints. Shot in a Tibetan refugee colony in the Himalayanfoothills of northern India, The Cup was made with a castand crew of mostly monks and novices. Amazingly, theaverage scene required only three takes, which directorKhyentse Norbu attributed to their powers of meditation.

Filmmaking credentials aside, Khyentse Norbu is alsoknown as His Eminence Dzongsar Jamyang KhyentseRinpoche. He is one of the most important incarnate lamasin the Tibetan Buddhist tradition and a member of one ofBhutan’s most noble families. Born in a remote area ofeastern Bhutan in the Year of the Metal Ox (1961), he isthe son of contemporary Buddhist master Thinley NorbuRinpoche, and grandson of both tantric yogi Lama SonamZangpo and H.H. Dudjom Rinpoche.

At the age of seven, Khyentse Norbu was recognised as thethird incarnation of Jamyang Khyentse Wangpo, the non-sectarian saint, scholar and principal lama of Tibet'sDzongsar Monastery. Dzongsar Monastery is renowned as acentre of non-sectarian scholarship and contemplation,having produced many of the greatest Tibetan Buddhistmasters, scholars and practitioners of the last century.

Raised in strict Buddhist monasteries and institutions inBhutan and Sikkim, Khyentse Norbu was trained by some ofthe greatest living masters of Vajrayana Buddhism. He has

About Khyentse Norbu

T

“When I said I was going to makea film, people were surprised.

Many thought I was joking, evenup to the last minute.”

continued his non-sectarian heritage by founding retreatcentres, schools of philosophy and charitable foundationsaround the world. When not making films, he teachesBuddhist philosophy throughout Asia, North and SouthAmerica, Europe and Australia. Although his work schedulerequires constant travel, he spends several months eachyear in strict meditative retreat.

Khyentse Norbu’s first encounter with film was as a 19-year-old monk. While travelling from his home to college, hecaught a glimpse of a Bollywood epic on TV at an Indianrailway station. Soon after, Raymond Steiner (then directingchildren’s films in India) gave him his first lesson inphotography. Khyentse Norbu continued his Buddhiststudies, but his interest in film never wavered. He begantravelling and teaching, eventually making his way toLondon’s School of Oriental and African Studies. He studiedduring the day but it was London’s cinema halls that werehis true classroom.

In the early 90s, he befriended producer Jeremy Thomas,then in pre-production for Bernardo Bertolucci’s LittleBuddha. Inspired by their conversations, Khyentse Norbuenrolled in a four-week course at the New York FilmAcademy. Thomas introduced Khyentse Norbu to Bertolucciwho enlisted him as a consultant on Little Buddha and casthim in a small role. While working on the film, KhyentseNorbu paid keen attention to Bertolucci, absorbingeverything the director had to teach. “He’s almost like myfilm guru,” said Khyentse Norbu. Both Bertolucci andThomas encouraged Khyentse Norbu to make his own films.As executive producer, Thomas was instrumental in raisingfunds for The Cup.

The extensive film library at Khyentse Norbu’s Paro, Bhutanhome reveals his eclectic taste. Natural Born Killers is filednext to Chinese art film Warm Water Under The Bridge.Dirty Dancing is filed next to Kurosawa’s Dodeskaden.Among his favourite directors are Tarkovsky, De Sica, Ozu,Satyajit Ray and the new wave of Iranian filmmakers. He isnever without the movie schedule of whichever city he findshimself in.

Origins

Every time I travel from west to east in Bhutan, I see thesepeople waiting for cars. That sight for me is something verysentimental and I’ve always thought I would write a storyabout them. "Izuni Odoriko", a story by Japanese authorYasunari Kawabata, also gave me some ideas. It is about agroup of travellers and an infatuation between a dancer girland a school boy. A big part of Travellers & Magicians isactually adapted from a Buddhist fable about two brothers,one aspiring to become a magician.

It is a story within a story. I liked this structure because itsuited the characters. These kinds of travellers have a lot oftime and in order to entertain themselves they tell a lot ofstories. I also think it makes the film interesting.

The character of Dondup represents a certain restlessness thatyou can find among some Bhutanese youth.

Balancing Filmmaking and Buddishm

People ask “You are a Buddhist lama, why do you make film?”This question is a bit puzzling. It indicates to me that fromcertain standpoints working in film is viewed as almostsacrilegious, like I am breaking some kind of holy rule. At thesame time, I understand. People automatically associate filmwith money, sex and violence because there are so many suchfilms coming out of Hollywood and Bollywood. But if only theyhad access to films by the likes of Ozu, Satyajit Ray,Antonioni, people would understand that filmmaking doesn’thave to be like that. In fact it is a tool. Film is a medium andBuddhism is a science. You can be a scientist and at the sametime, you can be a filmmaker.

The Concept of Reincarnation

I guess the concept of reincarnation and the laws ofcitizenship and naturalisation don’t work together. I amrecognised as a reincarnation of one of the great Tibetanmasters — although I feel that for the first time in the historyof karma, karma made a mistake. Regardless, in this life I amBhutanese. And in many ways, I am proud of beingBhutanese. But my Buddhist training comes from the Tibetantradition, so I feel very loyal and sympathetic to Tibetanculture and people. While I am not a Tibetan citizen, I haveundertaken the responsibility of several Tibetan monasteriesand schools and I’ve done this for a couple of reasons. First,

as a service to the Buddha dharma which, broadly speaking,Tibetans are maintaining at the moment by preserving it as aliving system. And secondly, because I am a reincarnation ofthis Tibetan master, I am entrusted to continue his work.

More Emphasis on Wisdom

Between ethics, morality, and wisdom, Buddhism has always putmore emphasis on wisdom. Wisdom surpasses behaviour. Someof the more conservative generations might raise their eyebrowsat what I do and what I say. But what they have forgotten is thattheir so-called “right thing to do” and their revered traditionswere once upon a time very modern and progressive. I haveoften heard that some people feel I am Westernised, I guesspartly because of my association with Westerners, but I totallydisagree. I may be slightly modern, this is true. But when itcomes to Buddhist teaching itself, I totally oppose peopleattempting to make Buddhism more adaptable to the West or tothe modern world. It is not required. Buddhism has always beenup to date. From the moment Buddha taught, the essence ofthe teachings hasn’t changed. And it shouldn’t change.

A Bit of Buddhist Influence

It’s not as if Buddhism, like some other religions, is againstidolatry. For centuries Buddhism has adopted the method ofstatues and artistic representation in order to express messagesof compassion, love, wisdom. Film could be seen as a modernday thangka [a traditional Buddhist painting]. Having said that,I am not claiming that either of my films are spiritual, thoughbecause of my obvious background, you might find a little bit ofBuddhist influence in both works.

A Love of Film

I make films because I love films. I love the whole concept –telling a story with pictures, the framing, the pacing, the sound,the dialogue. I like the fact that you can present what you see inyour mind’s eye. You look at the whole picture, but your mindhas chosen to focus only on one thing – let’s say, this person’seyes - and you can demonstrate that choice, that vision withinthe four corners of film. Film is one of the most powerfulmediums that we have today.

Working in Bhutan

Aside from the actual process of filmmaking, this time there wassomething else that I really enjoyed. For the first time I had the

Comments from Writer-Director Khyentse Norbu

Q What kind of music do you like? Which singers?

A Billie Holiday. Muddy Waters. John Lee Hooker. I also like operas, especially sung by countertenors. Lately I am into techno too.

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opportunity to work with the ordinary Bhutanese people – sittogether with them, eat with them, travel with them. I haveexperienced so many things that I have never had the opportunityto before in Bhutan like learning how women put on a kira(traditional, elaborately draped floor-length dress worn bywomen). This has been very important to me.

Bhutanese Youth

We are driving our people away from the dharma using what theyare trying to escape from. I see these young people who arewanting direction but no one is giving them any. All they get issymbols and blessing cords. People these days are not satisfiedwith it and rightfully so. Buddhism is much more than a symbolor touching the head. It’s all very well having a beautifulceremony and all that, but such things can be obstacles indisguise. They create a big gap between me and the people. Withlamas like myself, apart from the usual habitual blessings(putting my hands over their heads) and audiences, there is littlecommunication and practically no philosophical exchange.

In the West, students have less of that gap. They express whatthey want to express. They ask questions. They cry in front of me,they laugh in front of me, and I get close to them. They see bothmy bad side and my good side. And it is important for me to havethat kind of relationship.

I would like to sit next to the Bhutanese young people and letthem talk about anything - drugs, sex, money - whatever theywant to talk about. This is why I didn’t hesitate when I wasinvited to a nightclub in Thimphu. If it wasn’t for the bad music,I would have stayed longer.

The young Bhutanese are so open and so fresh. Even though theymay not have extensive Buddhist education, just the fact thatthey were born and raised in a Buddhist country means theenergy is there.

Changing Bhutan

Change is inevitable. Bhutanese must realise that. But Bhutanmust change with its own character. Modernisation of Bhutan isfine, but what I am worried about is that Bhutanese culture couldbe levelled by it’s immediate and influential neighbours. WhileBhutanese cultural preservationists might spend their timeworrying about the invasion by western culture, they don’t realisethat the Bollywood culture has already insinuated itself intoBhutan. The arrival of ZTV, a sports channel that only showscricket, Hindi soap operas playing in shops in Thimphu - that's

worrisome. It’s easy for a tourist who comes for two weeks to getenchanted because they feel that they’re in a medieval timewarp, but it is very dangerous for Bhutanese to fall into thattrap. The tourist doesn’t have to stay there, but the Bhutanesemust go on and face the 22nd century.

Bhutanese Values

While the Bhutanese live by values which agree, on the mostpart, with universal systems and morals, there is also a uniqueset of values, particular to Bhutan that is unlike anything foundin other Asian countries. For example, in many parts of Bhutanthe subject of sex is not so taboo as it is in China, India or evenTibet. While a puritanical Tibetan, Chinese or Indian might thinkthe Bhutanese are primitive upon seeing phalluses painted onwalls and hanging here and there, what they don’t realize is thatnon-existence of such inhibition can be a blessing. Othercultures have lost this sense of freedom or openness, in turnpossibly making them into sexually repressed societies. So-called sophistication may have made their minds narrow andrigid, depriving them of a source of happiness. Unfortunately,Bhutanese may be learning to have that self-consciousness.

Bhutanese Films

For a nation that doesn’t have a film school or any sort of schoolfor media arts, and no access to film equipment or even goodfilms, I must say I am very impressed. The filmmakers in Bhutanmust now remember to create and keep their own style. But theyhave to work very hard. In many ways there are so many badfilms and the blame actually goes to the audience because that’swhat they want. The audience must demand better.

Future Films

I have several more stories that I have written particularly forBhutan. One that I hope to make is a simple love story. I noticethat many Bollywood and Hollywood films over- sensationaliseromance and it doesn’t necessarily happen like that. It can be avery simple, very ordinary, and at times corny, but at the sametime significant, like missing someone’s presence.

I don’t see myself changing my profession into fulltimefilmmaker, but I definitely might make a few more films. Makingthe second film created a lot of pressure because while the firstone is kind of a novelty, the second one is where one is tested. Ihope people’s expectations are not sky high.

excerpts from an interview by Noa Jones

Comments from Writer-Director Khyentse Norbu continued

Q Who is your favourite modern writer?

A Milan Kundera and Yukio Mishima. Gita Mehta’s River Sutra is outstanding.

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Introducing...

ondup is played by Tshewang Dendup, aproducer and reporter for the BhutanBroadcasting Service (BBS). It seems everyone

in Bhutan knows Tshewang. He stands out in a crowd.He certainly stood out the day Khyentse Norbu spottedhim amidst 25,000 people while conducting aceremony in 2001. Tshewang was there not as aworshipper but as part of the BBS crew covering theevent. “When he beckoned, I thought he was going toreprimand me because there were nine cameras and itwas a spiritual event,” he recalled. Instead, KhyentseNorbu said, “Would you like to come for an audition?”Tshewang readily agreed and he became the firstperson to be cast in the film.

The character of Dondup represents the modernisationof Bhutan and Tshewang truly embodies transition. Hehas a son living in Toronto, posters of Che Guevera andJohn Lennon hanging in his living room, and wears adenim gho (traditional Bhutanese dress), the only onein existence, which is featured in the film. Yet he alsohas a deep understanding of his culture and a greatrespect for his country.

Tshewang was born in the Year of the Iron Dog (1970).His parents are from the eastern Bhutanese town ofRadhi but Tshewang was raised in Samtse on theIndian border. Growing up he was exceptional and notjust because he preferred to run naked wheneverpossible. He graduated top of his class and was sent toSherubtse college, Bhutan’s only college that awardsdegrees, graduating in 1993 to take up a post at BBS.He took leave during the 1999 and 2000 school yearsto accept a scholarship to UC Berkeley, in California,where he received a Master’s Degree in BroadcastJournalism with an emphasis on documentaryproduction. He is currently writing a novel.

Dondup... played by Tshewang Dendup

onam Lhamo was born in the Year of theEarth Dragon (1988) in Gelephu, Bhutan. Sheis captain of her class at Lungten Zampa

Middle Secondary School in Thimphu.

Sonam, the character, represents the unadulteratedbeauty of Bhutan. “I feel very fortunate and lucky torepresent a country like ours,” she says. “Some peopledon’t even know Bhutan exists or they look down on it.But this film will certainly show that even Bhutan issomething special.” Sonam Lhamo is special, herself.She is courteous but not cold, delicate but not fragile,attractive but not overtly, lovely but not aware of herloveliness. And she’s smart. One of the brighteststudents in her class. Khyentse Norbu recalls meetingher for the first time. “She was fresh like a lemon. Shewas even wearing green.”

Acting, meeting new people, and joining impromptudance parties at the camp, were all part of the fun forthe young actress but working with Khyentse Norbuwas the highlight. “Because religion plays a veryimportant role in our country and its once in a blue moon that you even get to see lamas andRinpoches,” she says. “I was very fortunate to beacting in his film.”

Sonam Lhamo hopes to help Bhutanese women andfamilies by becoming a gynaecologist.

Sonam...played by Sonam Lhamo

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f all the roles, Tashi was the most demandingto fill. Casting Director Karma Yangki simplycouldn’t find someone enigmatic, good

looking, and sharp enough. A few days before theforeign crew was due in Bhutan she spotted BBSproducer Lhakpa at a pay phone in the rain. Shechased him up the main street of Thimphu calling out “Tashi.”

Lhakpa didn’t know much about Khyentse Norbu. “Iwas told that more than 100 people had auditionedand been rejected for the same role,” he said. “But Idid it my way and luckily I got it.

He spent much of his three weeks on set drenchedto the bone, running through thickets, or eating thesame meal take after take. But he never complained.

Lhakpa was born in the Year of the Fire Dragon(1976) He studied in Motithang High School thenreceived his Bachelor of Business Administrationfrom University of Madras in Chennai, India.

Tashi...played by Lhakpa Dorji

eki Yangzom plays the youngwife of Agay. Early in 2002,Deki Yangzom accepted a

last-minute invitation to a dinnerparty held by her cousin ChoingTshomo. She came straight from herday job in the HR department of theRoyal Monetary Authority of Bhutanto find herself in the middle of animpromptu casting call. “There wereso many beautiful girls there I didn’tthink I had a chance,” she says. “Iwas so shocked when they called meback.” Deki didn’t know that LouiseRodd, a tarot card reader fromEngland, had spotted Deki from thecrowd and whispered to KhyentseRinpoche, “she’s the one.” Rinpocheagreed, Deki’s husband and familygave her their blessings and she

Deki...played by Deki Yangzom

accepted the role. “I was extremelyhappy and overwhelmed,” she says.“I had never acted before nor evenbeen to a filming set, I really didn’tknow what to expect - camera, lights,makeup and so on. And I knew wewould be camping.”

Deki probably had the shiniest gumboots in camp. Her fastidiousness isreflected also in her acting. She tookthe roll seriously and applied herselfthoroughly. It was challenging. Deki’smilitary father is from Tashigang andher mother from Mongar, bothSharshogkpa speaking easterners. But amongst friends, Deki oftenspeaks English. “Getting down thedialogue in Dzongkha was tough,”she admitted.

“The character that I had in the filmhad nothing really to do with myreality. But suppression andinhibition do exist in such aconservative society.” Acting wasexciting but, she says, “the mostmemorable moment was when Ireceived the ‘lung’ (blessing) of theseven line prayer from Rinpoche atChelela Camp.

Deki was born in Thimphu in the Yearof the Fire Dragon (1976). Shestudied in Khalingpong and later atLady Keane College in Shillong,India. She is married and has a twoyear old daughter.

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espite looking very much at ease in robes, SonamKinga is really not a monk but a researcher at theCentre for Bhutan Studies (www.bhutanstudies.org.bt).

He is the author and editor of numerous books and reportson Bhutan including “Gross National Happiness” and“Impact of Reforms on Bhutanese Social Organisation.” Hestudied in Canada and Japan and speaks eight languages.His forthcoming Rinzang Lhaden is a translation ofSophocles’ play Antigone from English to Dzongkha.

Originally contacted by Prayer FlagPictures in March 2002 to translateKhyentse Norbu’s English script intoDzongkha, he was tricked into doinga screen test and soon after wasoffered the role. Two weeks beforefilming was to begin, KhyentseNorbu invited him to increase hisinvolvement by staying with thecrew for the entire shoot, serving asdialogue coach.

“I naturally enjoyed acting themonk,” he said. “To be what you areactually not is exciting. Actingdemands thinking, integrating andfinally expressing the character of a person you impersonate. It was most challenging, making it most enjoyable.”

As a founding member of theNational Film Review Board, SonamKinga has seen nearly everyBhutanese film. Although he enjoys

film, he says that the stories of‘love entrapment’ in the majority ofBhutanese films ” often make themtiring and uninspiring. He said thethemes, expressed through song,are influenced by Hindi films aboutlove triangles. He said thatKhyentse Norbu’s film comes at acrucial moment in the Bhutanesefilm industry. “It will not only showhow a Bhutanese film can be madewithout the Bollywoodaccoutrements but also show how afilm can be Bhutanese in theme,story, setting, environment and ofcourse, in spirit.”

Sonam Kinga was born in the Yearof the Water Bull (1973) in remoteHaa, near the Bhutan-China borderbut was raised in different parts ofthe country as his laymonk-turned-soldier father kept moving. He ismarried and lives in Thimphu.

The Monk... played by Sonam Kinga

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aymond’s experience spans film, theatre, design andpublishing in America, Australia and the subcontinent.Some of the productions and personalities that he has

been involved with include MGMs 2001: A Space Odyssey,Paramount’s The Adventurers, Fox’s Ferngully...the LastRainforest, Apple Corp’s Sergeant Pepper, His Holiness the14th Dalai Lama, MoMA (NYC), Billy Fields, Fred Weintraub,Apple, Microsoft, and many others. Raymond has beenassociated with Khyentse Norbu for more than 25 years,meeting him in India when Khyentse Norbu was a student ata Sakya College and Raymond was directing children’s TV. He produced and designed the production of his first featurefilm, The Cup.

Raymond is pictured above with Neten Chokling Rinpoche,another keen filmmaker. After Travellers & Magicians they hopeto work together on a feature film on the life of Milarepa.

Raymond Steiner... Producerand Production Designer

al Watson has worked for Khyentse Norbu full timesince 1990, mainly in India, Bhutan and Canada. Hewas schooled in Architecture and has wide experience

in civil engineering, financial and organisational management.Mal has designed and constructed various retreat centers,schools for Buddhist Philosophy and also directs otherprojects for the various charitable activities of KhyentseNorbu. These skills, and his long association with KhyentseNorbu led Mal to successfully co-produce/manage KhyentseNorbu’s last production, The Cup.

Mal (left) is pictured with Tom Lembcke, key grip.

Mal Watson... Producerand Production Manager

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lan began working as a cinematographer in 1979 andwas Director Of Photography on such films as “For UsThe Living” and documentaries featuring Jackson

Browne, Kenny Loggins, Lionel Richie, Ravi Shankar andmany others. In 1982 he developed the technology, filmedand directed a 360-degree, 70mm film for EnvirovisionTheaters. In 1993 he innovated and filmed a 10-screenpresentation on Chinese culture for “Hawpaw Village,” amajor theme park in Singapore. In 1994, Alan won the ACEAward for Best Music Special of the Year” for the DisneyDocumentary “Jackson Brown - Going Home.” He currentlyserves as a multi media technology and facilities consultant toPaul Allen’s Vulcan Northwest in Seattle and London.

Alan has been a student of Ravi Shankar since 1978 and hasperformed with him worldwide in such venues as CarnegieHall and London’s Royal Opera House. He co-produced withGeorge Harrison “In Celebration,” a four-CD collectors editionof Ravi Shankar’s works on Shankar’s 75th birthday.

In 1984 Alan founded Visual Eyes, later called Pacific OceanPost, a film and television post-production facility in SantaMonica, California employing more than 300 special effects,animation, sound and editorial professionals. Under Alan’sleadership, Pacific Ocean Post helped bring home the VisualEffect Oscars (tm) for Independence Day (1997), Titanic(1998) and What Dreams May Come (1999).

Alan has travelled throughout Tibet, Nepal and India, wherehe has filmed and photographed extensively, He presentlyserves on the boards of Khyentse Norbu’s White LotusFoundation and The Ravi Shankar Foundation.

Alan Kozlowski... Director of Photography

ohn Scott has edited a multitude of excellent filmsover the years including Khyentse Norbu’s first featurefilm, The Cup. His latest include Phillip Noyce

productions Rabbit Proof Fence and The Quiet American andJonathan Glazer’s Sexy Beast. Having worked with manygreat Australian directors such as Fred Schepisi and PaulCox, John has been at the forefront of Australian industry’srenaissance over the past twenty-five years. He won theAustralian Film Institute’s Best Editing Award for PhillipNoyce’s Newsfront and Vincent Ward’s Navigator. John hasbeen based in London since 1997 and was “very excited”about returning once again to work on Khyentse Norbu’sTravellers & Magicians.

After studying History of Art and Fine Arts in England, Lisa-Anne Morris worked as a photographer at Sothebys. Shethen moved into films in the mid-eighties assisting on suchprojects as UnderCover, produced in Australia. Since thenshe has worked as editor on many documentaries anddramas most notably Video Dance, which won the silvermedal Award for best documentary at the New YorkInternational Film and Television Festival, and Not aBedroom War which was nominated for AFI, ATOM andHuman Rights awards. Her feature film credits haveincluded The Cup, Rabbit Proof Fence and most recentlyThe Quiet American as Visual Effects Editor.

John Scott and Lisa-Anne Morris... Film Editors

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Cast(In order of appearance)

Dondup’s WorldSquinting Man Gup Kado Duba

Village Head Lt. Col. Dasho KadoBowman Pema TsheringArchers Mani Dorji

Jigme DrukpaNim GyeltshenMangi Ap NorbuPemba TsheringNim TashiPem DorjiWangchuk

Postmaster Tshering DorjiDondup Tshewang Dendup

Phunsok Jigme DrukpaPost Runner Gurula

Phallus Singer Phub ThinleyPhallus Handlers Sonam Choepel

Phuntsho DolmaDasho Yeshi Dorji& villagers of Chendebji

Village Lady Tshering YangchenAppleman Ap Dochu

Sedan Driver Kezang NorbuSedan Passenger Sonam Dorji

The Monk Sonam Kinga

Tata Truck Driver Samdrup DorjiBeetlenut Lady Ugyen Tshomo

Drunk man Dechen DorjeeSonam Sonam Lhamo

Sonam’s Father Dasho Adab SangyeBus Driver His Eminence Neten Chokling

Bus Passengers LungtenKarma SherubJigme WangchukPema Wangchuk

Tractor Driver Ugyen WangchukTractor Operator Apa Mindu

Tractor Passenger Tadin Norbu

The Villagers of ChendebjiMangi Ap Norbu Goley Dorji

Kinley Zam SumdaThinley Gyem Phub DorjiKinzang Dem Phub SangyeChhimi Dem Choki Lahm

Wangchuk Norbu Thinley WangmoGyem Tenzin GyemoChhimi Zam Tandi ZangmoPhub Rinzin Sangay Lhamo

Dorji Pem SumchoThinley Gyep Sanga Budha

Chogye Sithup Tenzing LhamKinlem Kencho Wangmo

Lemo Dorji BudhaTshering Wangmo Rinzinla

Travellers & Magicians Credits

Written and Directed by Khyentse Norbu

Produced by Raymond Steiner and Malcolm Watson

Executive Producer Jeremy Thomas

Director of Photography Alan Kozlowski

Edited by John Scott and Lisa-Anne Morris

Nim Buthri Dophu TashiNimchu Passang Gyem

Kinzang Wangchuk Sumcho BudhaThinley Dem Kinzang WangmoPhub Gyem Sangay Wangmo

Pem Dorji Norbu ZangmoPhuchu Dem Taza Wangmo

Phub Dem Sithay PemSithar Om Tashim

Ugyen Dorji Khandu OmGangchu Dorji ZamPelzang Kezang Wangmo

Sonam Norbu Tandin NorbuTenzin Wangmo Karma

Nidup Lham Tshoki LhamTobgayla Ugyen Pem

Tenzin Dem Tenzin WangmoKarma Lotey

Tashi’s WorldFarmer Dasho Bato Karp

Tashi Lhakpa DorjiRice girl Karma Yangki

Karma Namgay DorjeeGirls in the field Kelzang Lhadon

Aum Daw GyemTendi ZangmoAum Chenzom

Magic Teacher Venerable Lungtaen GyatsoMagic Students Lama Yeshi Dendup

Lama DawpuTsampa WangchukTsampa Tshering PhuntshoSonam ChoepelPelden DorjiTenzin ThinleyLungten

Agay Gomchen PenjoreDeki Deki Yangzom

Unit Manager Pema Wangchuk1st Assistant Director

(Dondup’s World) Isaiah Seret

1st Assistant Director(Tashi’s World) Dean Steiner

Court Jester Sonam ChoepelAssistant to the Producers Phuntsho Tobgyel

Technical Co-ordinator Jo Juhanson

Casting Director Karma YangkiTalent Co-ordinator Choing Tshomo

Dialogue Coach Sonam KingaTutor to Sonam Lhamo Yeshey Wangdi

Script Supervisor Amelia ChowContinuity (Tashi’s World) Isaiah Seret

Script Assistant Ugyen Tshering

Production Manager Malcolm WatsonProduction Secretary Phuntsho WangmoLocation Secretaries Noa Jones

Wangye TsheringLocation Bookkeeper Sonam Dorji

Location Doctor Dr. Thinley NorbuProduction Assistants Sonam Dorji (the monk)0

Karma NidupKarma Wangchuk

Camera Operator Alan KozlowskiSteadicam Operator Alan Kozlowski

1st Assistant Camera Eric Blair2nd Assistant Camera Stephen Kozlowski

Camera Assistant Chencho DorjiCamera Assistant Pelden Dorji

Video Assist Tandin Norbu

Location Sound Recordist Andrew BellettyBoom Operator Nicole Lazaroff

Sound Assistant Sherub Dorji

Lighting Designer Ray PeshckeChief Lighting Technician Ray Peshcke

Best Boy Karma SherubHead Electrician Jigme Wangchuk

Electrician KailashKreative Lighting Crew Sanjay Kumar Sharma

Sanker DuttTamizuddinRavienderDevi Singh AdhikariYusef KhanArshad AliAnil Kumar

Generator Crew K.S.PandayMahindra Patel

Key Grip Tom LembckeFlocam Aerial Dolly Tom Lembcke

Senior Grip (Tashi’s World) Kencho TenzinGeneral Assistants Chewang

Loday GyamtshoTashi Tshering

Carpenters (Tashi’s World) Sancha RajPurna Subha

Carpenters (Dondup’s World) Sangay DorjiYeshiKinley Tshering

Production Designer Raymond SteinerArt Director Ugyen Wangchuk (the monk)

Assistant Art Director Ugyen Wangchuk (the elder)Prop Master Karma GurmeySet Dresser Dechen Dorjee

Key Make-up & Hair Artist Claudia BahlsMake-up Assistant Karma Dechhen Dolma

Hair Assistant Phuntsho Dolma

Costume Designers Claudia BahlsJamyang Choden

Wardrobe Assistant Ugyen Tshomo

Animal Wrangler Ap BokhuHorse Trainer Catherine Ryan

Stunt Rider His Eminence Neten Chokling

Rain Effects Thimphu Fire BrigadeCaptain Karma Tshering

Stills Photography Catherine RyanClaudia Bahls

Pre Production Supervisor Khaling KarmaSet & Camp Construction Tshewang Lhendup

Sonam DorjiSangye TenzinNgawangSonam TenzinChekuTandinJigme TenzinWangchukSamten WangdiUgyen DorjiTashi LekjayBumpa ZangpoUgyen TsheringThukten DorjiSancha RajPurna Subha

Catering Manager Pema WangdiPurchasing Officer Karma Loday

Store in Charge Tshewang Lhuendup

Head Cooks Yeshe LamaRigzin DorjiSangye Tenzin

Catering Staff Sangay WangdiTashi PhuntsoUgyen DorjiNgawangTun TunTshewang ThinleyLoday GyeltshenLobzangNgawang GyeltshenTenzinTshering NamgyeBumpa ZangpoUgyen TsheringSonam Dorji

Accommodation Manager Dorjee PenjorAccommodation Assistants Samten Wangdi

Tashi LekjayDumo ChodonSangay PemaGurulaDorji WangdiUgyen Dorji

Drivers LungtenWangchukNeten DorjiNimaDorjiDeepenNgyanamBuddha Kumar LepchaIndra PradhanUttam ThapaTenzin ThinleyLal Bdr. KhatiThinley

Location & Set Security Peljab Dorji DubaChuma YangtenChuma Tshering DubaChuma Sangay Dorji

Post Production Supervisor Raymond Steiner

Avid Editing Facilities Spectrum Films, Sydney, Australia

Negative Processing Kantana Animation Co., Ltd,Bangkok, Thailand

Production Manager Pison Santawanpas

Telecine & Avid Sync Oriental Post Co., Ltd, Bangkok, Thailand

Producer Salisa Attawa-angkulProject Co-ordinator Kamonthip Tachasakulmas

Supervising Sound Editor Andrew Plain Dialogue Editor Bronwyn Murphy

Atmos/FX Editor Nada Mikas Additional FX Editor Lidia Tamplenizza

Assistant Editor Lidia Tamplenizza Foley Feet ‘N Frames Pty Ltd

John Simpson Adrien Medhurst

ADR Recordist Andrew Wright Music Editor Linda Murdoch Sound Mixer Robert Sullivan

Sound Editing Facility Huzzah Sound, Sydney, Australia

Mix Facility Soundfirm Australia

Negative Extraction Negative Cutting Services, Sydney, Australia

Additional Time Lapse Sequences Simon Carroll

Digital Intermediate / VFX Rising Sun Pictures, Sydney , Australia

Digital Intermediate Supervisor Tim CrosbieDigital Intermediate Producer Edwina Hayes

VFX Artists Will GammonBen RobertsBryan JonesJason VallerKyle GoodsellJason MadiganAdam PaschkeTim Kings-LynnDan Wills

Titles Evan ShipardResearch and Development Didier Elzinga

Joe ConnellanDominic Glynn

Technical Supervisors Anthony MenasseMatthew Aldous

Film Recording Facility Weta Digital Ltd, Wellington, New Zealand

Film Recording Manager Pete WilliamsFilm Recording Supervisor Nick Booth

Film Recording Engineer Roman GadnerFilm Recording Technicians Mohan Ramachandran

Jess Cowley

Digital IntermediateColour Grade and Scans Digital Pictures,

Sydney, AustraliaDigital Film Colourist Siggy Ferstl

Executive Producer Jackie LeeProducer Warwick Boulter

Digital Negative Processing The Film Unit, Wellington, New Zealand

Dolby Consultant Bruce Emery

Traditional Music Recordist Andrew Belletty

Music“Special Times”

written & performed by David Hykes

“Times to the True”written & performed by David Hykes

“Hit the Road”written & performed by Michal the Girl

“Hook, Line & Sink Me”written & performed by Michal the Girl

“Wake Up”written by Ben Fink performed by King Clam

“Yak Song” (Voice) Traditionalperformed by Sonam Dorji

“Yak Song” (Instrumental) Traditionalperformed by Jigme Drukpa

“In This World”written & performed by Jigme Drukpa

“Nyi Semki”written & performed by Dechen Dorjee

“YakDoof”written by Ben Fink

performed by Sonam Dorji, Ben Fink & John Napier

Soundtrack out on CD visit: www.travellersandmagicians.com

Subtitling Services Special Broadcasting Service,Sydney, Australia

Subtitling Pema WangdiZosia Hoey

Editor Andrew McCormick

Legal Services, Simpsons Solicitors,Australia Sydney, Australia

Shane SimpsonAnna FitzGerald

Accounting Services, Christopher Coote & Co, Australia Sydney, Australia

Accounting & Legal Services, Chan, Li, Law & Co. ,Hong Kong Hong Kong

Johnny Li

Production Office, Florence KohHong Kong Lizzy TamInsurances Film Insurance Underwriting

AgenciesSydney, Australia

Collection Account Management Fintage House

Special Thanks to....

Queen Mother’s Secretariat

Her Majesty The Queen Mother Ashi Kesang Choden Wangchuck

Royal Government of Bhutan

Special Commission for Cultural Affairs

Ministry of Foreign Affairs

Royal Bhutan Police

Centre for Bhutan Studies

Bhutan Broadcasting Service Corporation

Bhutan Telecom

Druk Air Corporation Limited

Royal Academy of Performing Arts

Forest Department (Department of Forestry Services)

Forest Development Corporation

KMT Press Pvt Ltd Phuntsholing

Natsho Fabrication Workshop Phuntsholing

Apple Computer

Orgyen Tobgyal Rinpoche

Khenpo Sonam Tashi and monks of Chokyi Gyatso Institute,Dewathang Ramesh Sharma

Cristina Ochagavia

Calendar Girls: Claudia Bahls, Durja Martin, Paloma Fataar, ChrissieWilson, Christine Berry, Jen Sincero & Noa Jones

Thank you for your confidence and support ...Nancy Lee Florence Koh

Sabrina Au Yang Mazy KwongAmy Lee May Gu

Angie Tsai Kris YaoMaree Tenzin Claudia BahlsMichelle Lin Deva Shih Chia Chang

Su-Ching Chou Barbara MaManoel Vidal James Nelson (JSP)

© 2003 Prayer Flag Pictures

Filmed entirely on location in the Kingdom of Bhutan