French Release of “Meeting the Buddha” – Interview with director Márta György Kessler

It’s definitely special! France is such an important part of the history: the 16th Karmapa established Dhagpo Kagyu Ling here when he first came and asked Lama Jigme Rinpoche to stay on. We also filmed here at Dhagpo and in the surrounding area where the16th Karmapa conducted pujas.

Plus we interviewed Jigme Rinpoche and Trinlay Rinpoche. It’s all part of the story of how the 16th Karmapa’s teaching and vision came to the West and continues to this day. Furthermore, we had access in France to footage filmed by Arnaud Desjardins[2]. He was one of the first to film the 16th Karmapa in the 1960s in Sikkim after his escape from Tibet, and took amazing shots that we used in the film.

Lama Jigme Rinpoche is a very key participant in this project. His support at so many levels has been very strong and very precious all along. I’m really so appreciative. From the start, he agreed to be the main advisor on all aspects of the 16th Karmapa’s life, and anything related to Tibetan Buddhism and the Karma Kagyu lineage. He shared his vision about the film and gave us advice on the structure of the story line. I met him many times – I don’t even know how often! He was always available to give advice on so many different details, and this was really very precious.

He also gave me a copy of Shamar Rinpoche’s book on the life story of the 16th Karmapa which only exists in Tibetan and that we had translated. He saw different cuts of the film while we worked on it.

Making such a film is a process, with a lot of research involved. Many questions come up along the way. As we developed the storyline, I came back to consult Rinpoche on many aspects – on which sources to use, which images, who to interview, what to include or not to include.

He also looked at all the animations in the film. He was very precise – for example indicating exactly how the 16th Karmapa’s room should be or he would send me pictures on how different aspects of Tibet should be shown. My favorite story was when the film was in the very final stages. At one point he was laughing and said “The ear of the horse doesn’t look like that!” It was so funny. So sometimes when we thought we were done, it was not the case!

Another aspect is that when I worked on the film about Hannah ^[3], I was looking for footage about the 16th Karmapa. I asked Jigme Rinpoche if he knew someone who might have this. He replied, “I have something in my storage.” In fact there were five boxes of 8 mm footage film. “Someone gave the 16th Karmapa a film camera as a gift in the mid-1960s. I took it and was filming,” he told me. Rinpoche gave me these five boxes, which I took to London and had digitalized. We used some of the material in the Hannah film but a lot in this one. It is an absolute treasure – from Rumtek, America when he was travelling with the 16th Karmapa and other places. So when I introduce Jigme Rinpoche, I also introduce him as a cameraman!

I met Kamapa before we started to edit as well as during the production process. I presented him the project as well as a list of people who we planned to interview. He was so kind, giving comments and going through the content. He suggested several more interviews to do, including with Khenpo Chödrak Rinpoche. He also said it would be good that we film in Bhutan and suggested whom to interview. I went to KIBI before we finished the edit and gave it to him, he watched it, gave a bit of feedback and he was very happy with it.

Karmapa wrote a beautiful message to us about the film :

I think that everybody is touched in a different way, which is good. Those with a little interest in Tibet or in Buddhism often tell us how interesting they find the stories of people portrayed in the film. Sometimes it’s just a feeling. In Australia, I was invited to an exchange with people belonging to a school of Chinese Buddhism. and were really inspired by the story.

 

The same goes for people from other schools of Tibetan Buddhism who have come to see the film. I’m always proud when young people are excited about the film and give their feedback. I think people are touched because it’s a life story. It’s not just about one person, but about many lamas who appear throughout the film. I think these examples stay with people, it’s the emotional part.

I hope the film moves many people. Since we are all unique, different things resonate with each of us, so I think everyone should find their own message in the film. What stands out most for me is the powerful presence of the great 16th Karmapa, his vision of bringing Buddhism around the world, and the idealism and devotion of his Western students, Lama Ole and Hannah Nydahl. In fact, Buddhist practitioners have mentioned that watching it made them feel truly closer to the Karmapa. I hope the film sparks curiosity about Buddhism and encourages people to explore it.

[1] French author and filmmaker (1925-2011) who introduced the general public to the wisdom of Tibetan masters. In 1983, he offered very favourable conditions for Dhagpo to acquire his property in Le Bost (Auvergne) where the 16th Karmapa had given the Black Crown ceremony. The future site of Dhagpo Kundreul Ling housed the first three-year traditional retreat the same year. https://dhagpo.org/en/march-17-1984-first-three-year-retreat/

[2] “Hannah : Buddhism’s Untold Story” (2014). A film on Hannah Nydahl (1946-2007), a Danish teacher and translator and student of the 16th Karmapa who with her husband Lama Ole, helped to bring the authentic teachings of the Karma Kagyu to the West.