Reza Dahya is a Toronto-based filmmaker behind the critically acclaimed debut feature film BOXCUTTER. He first made his mark helping shape Toronto’s hip-hop music scene as the host and producer of OTA Live on the iconic FLOW 93.5 FM radio station. He transitioned into filmmaking with his short films, ESHA and the crowd-funded FIVE DOLLARS, which premiered at the TIFF Kids International Film Festival, screened internationally and aired on CBC’s Canadian Reflections. An alumnus of the Canadian Film Centre’s Directors Lab, Dahya also directed the CFC short, CHAMELEON, and independent THE WORST PART.
We had the pleasure of sitting down with Reza to talk Boxcutter, his experience at the CFC, and the role of music in storytelling. Read more in the Alumni Spotlight below.
Congratulations on your debut feature film Boxcutter! We’re biased, but we absolutely loved it. Can you walk us through what the process of completing the film was like?
I love it too! The process was pretty conventional. Work on the script. Work on building the team. Work on getting the funding. Work on the production. Work on post. Work on promoting the film. Lots of work!!!
Your path to filmmaker wasn’t exactly linear – what were the beginning stages of your career like?
Well, I started in music. Working in music was always my dream. I interned at FLOW 93.5 FM in Toronto back in the day, then got hired on the street team. I worked my way up as a board operator, producer, and then finally got on-air. I also had a studio with friends from TMU and spent a lot of time working with artists as an engineer and producer. While I was still on-air I made my first short film and it’s been a journey from there.
Reza Dahya on set of Boxcutter
Photo Credit: Kenya Jade Pinto, Roya DelSol
Speaking of your background – radio as a host and producer on FLOW 93.5 FM. How does your experience in audio storytelling influence the way you edit and structure your films?
It’s funny because even back then storytelling was important to me. We used to do this 30-minute long segment called The Unauthorized Biography which was a weekly pre-produced feature chronicling an artist’s life through their music. It had a beginning, middle and end just like a movie script. So I was just always into it. I do think my experience working with music has definitely impacted how I edit though for sure. Cuts need to be in rhythm for me.
You completed the Directors Lab at the CFC, Can you share how the program helped advance your career as a Director? And What are some highlights from your time in the program?
Coming from music world, the CFC was a major turning point for me because it introduced me to this entire new world of Canadian film that I wasn’t aware of. I had seen traces of it at TIFF and things like that but to really be immersed in it was really valuable for me. The highlights were building relationships with my fellow filmmakers, and getting a TIFF pass for the first time :).
Given the centrality of music in Boxcutter, how did you approach selecting and integrating the soundtrack that complements the film’s energy and themes?
From inception of the idea to the beginning of the edit was about 6 years. During that time I would always have the film in the back of my mind and so whenever a song would come on that I think fit the vibe I was going for, I’d put it in a playlist. That playlist got revised over the years and so when it was time to start cutting I just pulled from those songs. Sometimes, they were a perfect fit and other times not. I remember being stuck on a particular scene and was just riding the subway listening to music and this one song came on and I was like, yep that’s it.
You collaborated with CFC alum Ashton James for the lead role as Rome. What was it about his performance that made him the right choice for Rome, and how did you approach working together?
Ashton is a really honest and empathetic performer. You’d have to ask him but I think he relates to Rome in many ways. He balanced Rome’s confidence and insecurity delicately and with ease. He was completely believable and always present. This was his first feature and he also led the cast with so much grace and class. He’s a leading man for sure and I’m lucky that he was #1 on the call sheet for my first feature.
Boxcutter cast and crew on set
Photo Credit: Kenya Jade Pinto, Roya DelSol
What role does mentorship play in the film industry, and have you had any mentors who significantly shaped your career?
I haven’t actually. I’m open to connecting with someone though and who knows, maybe I’ll mentor someone one day.
What do you think sets Canadian cinema apart on the global stage, and where do you see it heading in the next decade?
Canadians of course! I think Canadians have a lot to say about the world. I know there’s huge challenges but I think we need to focus on marketing Canadian films to Canadians first and then worry about the rest of the world.
What advice would you give someone starting out in film? Or what advice would you give current or future CFC residents looking to make the most of their experience?
I would offer up that they learn about themselves and work towards becoming more open and empathetic people. As far as I can tell, that’s the only way to connect with characters and tell authentic stories that will resonate deeply with others.
What’s next for you? Can you tell us more about your upcoming projects and what types of projects you’d like to be involved with in the future?
I wish I had a next project lined up but honestly, I don’t. Next for me is trying to crack the one or two ideas that I have and see if anything comes of those. In the meantime, try to get some work in TV and maybe start a career as a working director. Crazier things have happened!
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