Filmmakers
Jamyang Khyentse Norbu Rinpoche
His Eminence Dzongsar Jamyang Khyentse Rinpoche, popularly known as Khyentse Norbu, is one of the most important incarnate lamas in Tibetan Buddhist tradition and a member of one of Bhutan's most noble families.
He was born in Bhutan in 1961 to a family of poets and yogis. He is the son of contemporary Buddhist master Thinley Norbu Rinpoche and grandson of both tantric yogi Lama Sonam Zangpo and H.H. Dudjom Rinpoche.
At age seven, he was recognised as the incarnation of Jamyang Khyentse Chokyi Lodroe, who in turn was the incarnation of Jamyang Khyentse Wangpo.
Raised on strict Buddhist monasteries and institutions in Bhutan and Sikkim, Khyentse Norbu's first encounter with film was as a 19-year-old monk. He was on his way to Rajpur to study at Sakya College when, at an Indian railway station, he caught a glimpse of a Bollywood epic on TV, which sparked his interest and intrigued him to get into film. He continued his studies, but his interest in the film never wavered.
In 1999, his first feature film Phorpa (The Cup), became an international success. The journey from a small Himalayan kingdom to Hollywood spans great geographical and intellectual distances.
He began travelling and teaching, eventually making his way to London's School of Oriental and African Studies. He also enrolled in a four-week course at the New York Film Academy.
He was enlisted as a consultant in Bernardo Burtolucci's film, Little Buddha. He also played a role in the film. While working on the film, Norbu paid keen attention to Bertolucci, absorbing everything the director had to teach. "He is almost like my guru," Norbu said.
The Cup, a semi-autobiographical tale of monks obsessed with the World Cup football championship final, helped humanise the image of Tibetan monks who often are portrayed as one-dimensional saints.
The cast crew are all genuine monks along with several highly regarded re-incarnate lamas, supported by a few crucial professionals.
Although most of the cast had never seen a movie camera and dialogue was improvised, the average scene required only three takes, a tribute, Norbu says, to the power of meditation. He also relied on "mos", an ancient Buddhist divination system, to make key decisions, such as casting, production schedules and even choosing which film stock to be used.
"No matter what we do we still have some kind of superstition necessary," he said. The Cup was invited to play in the Cannes Film Festival's prestigious Director's Fortnight and went on to win critical acclaim and awards at festivals around the world. His double-life as film director and Buddhist master captivated journalists.
The Independent named Khyentse Norbu, "Most inscrutable filmmaker" of the festival. London's Evening Standard called him "One of the hottest new directorial talents around".