>> NOW TO AN INTIMATE LOOK AT FAMILY, ROOFS, AND THE AMERICAN DREAM.

JOURNALIST KARLA MURTHY 'S FATHER LEFT INDIA FOR THE U. S. IN SEARCH OF A BETTER LIFE.

THROUGH A SERIES OF PHONE CALLS RECORDED OVER THE COURSE OF TWO DECADES, HER FATHER SHARED HIS EXPERIENCES BEING A FIRST GENERATION AMERICAN CAUGHT BETWEEN TWO WORLDS.

>> WHEN I USED TO SLEEP ON THE STREET, LOOKING AT THE STARS, SOME DAYS, SOME HOW, MY LIFE WOULD CHANGE.

>> YOU ANSWERED MY PRAYERS.

WHY NOW?

>> NOW, THESE RECORDINGS AND OLD FOOTAGE HAVE CULMINATED IN MURTHY'S DIRECTORIAL DEBUT AND SHE JOINS HARI SREENIVASAN TO TALK ABOUT WHAT RETRACING HER FATHER'S STEPS HAVE TAUGHT HER.

>> KARLA MURTHY, THANK YOU SO MUCH FOR JOINING US.

YOU DIRECTED A REALLY PERSONAL FILM WITH YOUR FATHER CALLED THE GAS STATION ATTENDANT AND IT IS JUST THIS BEAUTIFUL LOOK WITH ALL OF THESE RECORDINGS AND PHOTOGRAPHS YOU HAVE OF YOUR LIFE WITH HIM .

WHAT QUESTIONS MADE YOU WANT TO DO THIS FILM IN THE FIRST PLACE?

>> THIS FILM WAS BORN OUT OF THAT NEED AND THAT DESIRE TO REALLY UNDERSTAND MY DAD AND HIS LIFE AND TO UNDERSTAND THE DECISIONS HE MADE.

IT WAS A CHANCE FOR ME TO GO BACK TO STORIES I HAD HEARD MY ENTIRE LIFE OF HOW HE CAME TO THIS COUNTRY FROM INDIA.

AS A KID WHEN I HEARD THE STORIES, IT WAS LIKE A FAIRYTALE WITH A HAPPY ENDING AND I KIND OF EQUATE IT TO LYRICS OF A SONG THAT YOU MEMORIZE AS A KID AND THEN ONE DAY YOU REALIZE WHAT THOSE LYRICS ACTUALLY MEAN.

I HAD THAT MOMENT AS I WAS MAKING THIS FILM AND TRYING TO UNDERSTAND HIS LIFE AND GOING BACK TO WHAT IT WAS LIKE FOR HIM TO LIVE ON THE STREETS OF INDIA AND HOW THAT EXPERIENCE SHAPED WHO HE WAS HERE IN THIS COUNTRY.

>> HERE I AM RELIVING THE PAST WHILE TRYING TO LIVE IN THE PRESENT.

WONDERING WHAT IT MEANS TO BE A GOOD FATHER, A GOOD DAUGHTER, A GOOD MOTHER.

>> I LOVE YOU.

>> DAD?

HOW DID YOU GET UP AND KEEP GOING?

>> SO, YOUR FATHER GREW UP IN INDIA AT THE AGE OF 10, HE RUNS AWAY FROM HOME.

WHAT KIND OF LIFE DID HE LEAD BEFORE HE GOT TO THE U. S. ?

HOW DID THAT SHAPE HIS FUTURE HERE?

>> YEAH.

I WAS --BEING ABLE TO MAKE THIS FILM ALLOWED ME TO REALLY TRY AND PUT MYSELF IN THE SHOES OF MY DAD AND THEN TRYING TO FILL IN --MAKE IT MUCH MORE OF A VISCERAL EXPERIENCE.

ONE OF THE THINGS THAT OCCURRED TO ME AS I WAS MAKING THIS FILM WAS FOR HIM TO SURVIVE ON THE STREETS --HE RAN AWAY FROM HOME WHEN HE WAS 10 YEARS OLD AND WAS LIVING ALL OVER INDIA.

TO SURVIVE, HE HAD TO KEEP GOING.

HE HAD TO KEEP GOING FROM JOB TO JOB JUST TO SURVIVE.

WHEN HE CAME TO THE STATES, HE DID THE SAME THING BUT FOR ME AS A TEENAGER, GROWING UP, I WAS SO MYSTIFIED.

I WANTED MY DAD TO HAVE ONE JOB BUT HE KEPT GOING FROM JOB TO JOB TO JOB.

I WAS LIKE, WHY CAN'T HE BE LIKE OTHER DADS AND STICK WITH THE ONE THING?

IT OCCURRED TO ME THAT THAT IS HOW HE SURVIVED IN INDIA AND THOSE EXPERIENCES IMPRINTED ON HIM AND THAT WAS JUST A SURVIVAL SKILL.

HE CONTINUES TO USE IT HERE.

>> THERE IS ONE SCENE, YOUR SON WHEN YOU ARE MAKING THIS FILM IS ABOUT AS OLD AS YOUR DAD WAS.

AS I WAS MAKING THIS FILM, MY YOUNGER SON TURNED 10.

IT OCCURRED TO ME, MY SON HUNGRY, LIVING, SLEEPING ON THE SIDEWALK.

IT BROKE MY HEART.

AND, TO IMAGINE THAT MY DAD -- IT TOOK ME HAVING MY OWN KID TO UNDERSTAND WHAT IT WAS LIKE FOR MY DAD AND THAT IS TRUE FOR A LOT OF FAMILIES.

AS YOU GET OLDER, YOU START TO --YOU BLAME YOUR PARENTS FOR EVERYTHING GROWING UP AND THEN WHEN YOU BECOME APPARENT, YOU KIND OF GET IT.

I HAD THAT MOMENT WITH HIM.

THERE WAS AN IMAGERY OF A BOY RUNNING IN THE FILM TO KIND OF REPRESENT MY DAD AND HIS RESILIENCE AND HIS ABILITY TO KEEP GOING.

THAT WASN'T MY SON.

AS I MADE THE FILM AND I REALIZED, THAT SHOULD BE FOOTAGE OF MY KIDS BECAUSE MY DAD'S WILL TO SURVIVE IN INDIA IS WHAT LED TO US SURVIVING, US EXISTING IN THE WORLD AND MY KIDS.

I WANTED TO SHOW HOW THE LINEAGE AND THE INHERITANCE OF THAT STORY MANIFESTED AND EMBODIED IN MY OWN CHILDREN.

>> THIS IS AN INCREDIBLE MOMENT OF LUCK.

TELL US A LITTLE BIT ABOUT WHAT HAPPENS AND HOW THAT CHANGED THE COURSE OF HIS LIFE AND LED TO YOURS.

>> I REALLY WANTED TO EXPLORE THESE MACRO MICRO FORCES THAT AFFECTED -- >> GOING BACK TO THOSE STORIES AND PAINTING THEM DIFFERENT BASED ON WHO I AM RIGHT NOW AND IN THIS MOMENT.

I ALSO WONDER WHY YOU CHOSE SPECIFICALLY TO FOCUS ON THE GAS STATION ATTENDANT.

IN A WAY, IT SHATTERS THIS MODEL MINORITY MYTH.

THIS MUST BE THE STORY OF A SUCCESSFUL RAGS TO RICHES STORY.

A KID WAS HOMELESS.

THAT WOULD BE EASY FOR A LOT OF PEOPLE TO BELIEVE.

>> I TRY NOT TO LET MY MIND GO TO THOSE PLACES.

I COULD NOT STOP THINKING OF HOW PEOPLE WOULD SEE MY DAD NOW IT IS THE BUTT OF A JOKE.

>> THE SCAPEGOAT >> EVERY TIME I SEE YOU, I HOPE YOU DISAPPEAR.

>> THIS?

>> I KEPT THOSE THOUGHTS TO MYSELF.

>> WHY DID YOU SPECIFICALLY SAY THIS IS THE JOB WE ARE GOING TO TALK ABOUT?

OBVIOUSLY, THROUGH THESE RECORDINGS, HE WAS WORKING THE NIGHT SHIFT.

>> I THINK IT WAS EXACTLY THAT.

I WANTED TO INVITE AUDIENCES TO GET TO KNOW THIS PERSON THAT THEY PROBABLY SEE EVERY DAY IN THEIR LIFE AND JUST PASS BY, THE GAS STATION ATTENDANT, THE CONVENIENCE STORE CLERK.

THERE ARE THESE TROPES, WHEN YOU THINK ABOUT IMMIGRANT NARRATIVES.

IT IS LIKE, WE ARE OFTEN DEFINED BY THE WORK THAT WE DO AS A GAS STATION ATTENDANT.

WE GET THE JOB DONE.

THERE IS ALSO THE BIG TROOP, ALSO THE THINGS --I REALLY WANTED MY FILM TO SHOW SOMEONE, TO INVITE PEOPLE TO SEE THE EXPANSE OF THEIR LIFE AND NOT LIKE A NARROW WINDOW BUT , MY DAD MAKES MISTAKES.

HE IS HUMAN AND FLAWED LIKE THE REST OF US AND I WANTED YOU TO STILL FALL IN LOVE WITH HIM AND MAYBE FEEL LIKE YOU COULD HAVE BEEN HIS FRIEND BY THE END OF THE FILM.

>> HELLO?

>> DAD?

>> HI.

IT IS KARLA.

>> HELLO, SWEETIE.

>> HOW'S IT GOING?

>> HELLO, MY LOVE.

>> IS IT BUSY?

>> IT COMES AND GOES.

>> IT HAS KIND OF SLOW DOWN.

I READ THE PAPER AND KEEP MYSELF BUSY.

>> ARE YOU GOING TO TRY TO CLOSE THE STORE?

>> I DON'T KNOW YET.

WE SPENT SOME MONEY FOR ADVERTISEMENTS AND IT DID NOT WORK.

>> NOT EVEN PEOPLE FROM THE CHURCH?

>> NOT EVEN PEOPLE FROM THE CHURCH.

>> ONE OF THE THINGS YOU TALK ABOUT WHICH I DON'T SEE PEOPLE IN OUR SALVATION COMMUNITY TALK ABOUT IS THE FINANCIAL MISTAKES THAT YOU MADE, THE DEBT THAT HE INCURRED, THAT YOU HELPED BAIL HIM OUT OF.

THERE IS A LOT OF STIGMA AND SHAME BY TALKING ABOUT THAT AND I AM ASSUMING THIS WAS AN ACTIVE CHOICE FOR YOU TO DISCUSS THIS.

>> IT WAS.

A LOT OF THIS FILM IS ABOUT RECONCILING DIFFICULT MOMENTS THAT I HAD WITH MY DAD AND THAT WAS ONE OF THEM.

ALSO, AS I HAVE BEEN TRAVELING WITH THE FILM, WE PREMIERED LAST YEAR AND I HAVE BEEN ALL OVER THE COUNTRY WITH A FILM OF ALL DIFFERENT AUDIENCES AND SO MANY PEOPLE I LIKE, THAT HAPPENED TO MY FAMILY TOO.

IT IS SO COMMON, THESE FINANCIAL HARDSHIPS AND IS DIFFICULT MONEY SITUATIONS WITHIN FAMILIES THAT NO ONE WANTS TO TALK ABOUT.

I FEEL REALLY GRATIFIED FOR PUTTING THAT IN THERE AND OPENING UP BACKDOOR FOR PEOPLE TO TALK ABOUT THAT STUFF MORE BECAUSE ONCE IT IS OUT IN THE OPEN AND THERE IS SO MUCH GUILT AND SHAME ABOUT THIS KIND OF STUFF AND JUST TO KEEP IT WITHIN FAMILIES BUT MAYBE WE COULD HAVE JUST HELPED EACH OTHER OUT RIGHT NOW IN THE SITUATIONS WITH FINANCIAL HARDSHIP AND I FEEL LIKE THERE IS SO MUCH ROOM FOR CONVERSATION AND DIALOGUE ABOUT THAT THAT CAN BE HEALING FOR FAMILIES TOO.

>> YEAH.

WHAT DID YOU FIGURE OUT WAS YOUR DAD'S, I GUESS, BIG AMERICAN DREAM AND MAYBE WHAT DOES THAT TEACH YOU ABOUT HOW YOURS MIGHT HAVE BEEN INFLUENCED BY IT, HOW DIFFERENT IT IS?

>> THE AMERICAN DREAM.

IT IS A DREAM.

THE AMERICAN DREAM IS, YOU GET THE GOLDEN TICKET TO COME HERE.

YOU LOOK --WORK REALLY HARD.

DON'T BREAK ANY LAWS AND THEN YOU CAN MAKE IT.

PULL YOURSELF UP BY THE BOOTSTRAPS AND THEN, BAM, MODEL MINORITY.

IT IS TRUE FOR SOME PEOPLE BUT NOT FOR MANY.

FOR ME, IT IS UNDERSTANDING IN MY DAD'S EYES WAS VERY DIFFERENT.

YES, HE DID GET THE GREAT GOLDEN TICKET TO COME HERE BUT IT CONTINUED TO BE A STRUGGLE FOR HIM AND FOR OUR FAMILIES FINANCIALLY BUT ALSO, I MEAN, I ALSO OWE A LOT TO THIS COUNTRY.

I MOTHER CAME HERE TO WORK AS A NURSE IN THE PHILIPPINES AND I WOULD NOT BE HERE IF IT WEREN'T FOR THAT OPPORTUNITY FOR THEM TO COME TO THIS COUNTRY.

MY KIDS WOULD NOT EXIST.

MY HUSBAND'S FAMILY IS FROM LEBANON.

THEY CAME HERE TO FLEE THE CIVIL WAR.

THERE IS THIS PROMISE OF THAT, OF THE AMERICAN DREAM.

I HAVE A VERY COMPLICATED RELATIONSHIP WITH IT.

>> IN HIS WORDS, HE GOT WHAT HE WANTED.

>> WHEN A USED TWO SLEEP ON THE STREET, LOOKING AT THE STARS , I WOULD SAY SOMEDAY, SOMEHOW, MY LIFE WOULD CHANGE.

I WANT TO HAVE A FAMILY WITH MY WIFE.

I CAN HOLD HANDS WITH MY KIDS.

THAT WAS MY DREAM.

>> HE WANTED A FAMILY AND HE WANTED --IT IS SOMETHING THAT HE DIDN'T GET A CHANCE TO HAVE AS A KID.

>> IT WENT BACK DOWN TO BASICS, TO HAVING A ROOF OVER OUR HEADS, WHICH HE DIDN'T HAVE AS A KID.

HIS DREAM IS TO HAVE A FAMILY AND BRING THEM BACK TO INDIA AND WALK THROUGH THE GARDENS.

THAT WAS HIS DREAM.

THAT IS WHAT HE SAID AND WE DID THAT.

IN MANY WAYS, BEING ABLE TO HAVE A FAMILY AND TO GIVE THEM THE BASICS WAS ALL HE NEEDED.

STILL, IT WAS STRUGGLE.

IT WASN'T LIKE HE --IT WAS STILL DIFFICULT.

>> YEAH.

YOU START THE FILM OUT WITH A QUOTE BY LILA MILANI.

HUMANITY IS FUNDAMENTALLY A STORY OF MIGRATION.

WHY WAS THAT IMPORTANT?

RIGHT NOW, THERE IS A CONVERSATION ABOUT IMMIGRATION, MIGRATION IN THIS COUNTRY AND ALL OVER THE PLANET.

>> IT WAS ONE OF THOSE MOMENTS WHEN I WAS THINKING ABOUT THE WORLD THAT MY FILM WOULD BE BORN INTO AND I REALLY WANTED PEOPLE TO SEE THE UNIVERSAL -- TO BE INTRODUCED TO THIS FILM IN A VERY UNIVERSAL WAY AND TO SEE THAT MY FATHER'S LIFE AND HIS STORY IS VERY UNIVERSAL IN TERMS OF IMMIGRATION AND MIGRATION AND, I DON'T KNOW, THIS IS A LITTLE BIT OFF OF IT BUT IT REMINDS ME ANYTIME ANYONE GOES UP TO SPACE AND AND THEY HAVE THIS EPIPHANY LIKE , WE ARE ALL ONE WORLD AND WE ARE ALL ONE BEING AND FOR ME, I WAS HAVING THOSE MOMENTS A LOT WHEN I WAS MAKING THIS FILM AND THINKING ABOUT, HOW CAN YOU SEE THIS FILM IN A MUCH MORE UNIVERSAL WAY?

IT IS TRUE THAT WE ARE A SPECIES THAT IS CONSTANTLY MIGRATING.

IT IS NOT UNNATURAL BUT YET, WE ARE HAVING THESE CONVERSATIONS ABOUT BORDERS AND I JUST WANTED PEOPLE TO UNDERSTAND THAT THIS IS A HISTORY THAT GOES FAR BACK.

THIS IS PART OF WHO WE ARE AS A HUMAN SPECIES, TO BE MIGRATING AND WE DO THIS OUT OF NEED, OUT OF TRYING TO SURVIVE, NOT TO TAKE FROM OTHER COUNTRIES BUT AS A MEANS OF SURVIVAL.

>> THIS WAS KIND OF A LOVE LETTER TO YOUR DAD AND IT REALLY PUT A LOT OF THINGS HE WANTED TO GET THROUGH.

YOU HAVE SAID BEFORE THAT YOU WANT US, IN THE AUDIENCE, TO GET TO KNOW HIM AND BY THE END OF IT, YOU TOTALLY SUCCEEDED IN THAT THERE IS A PART OF ME THAT GRIEVES FOR YOUR DAD.

I AM VERY HAPPY I GOT A CHANCE TO GET THIS GLIMPSE INTO HIS LIFE AND IT IS REALLY REMARKABLE.

>> THANK YOU.

THANK YOU.

I ALSO WANT THIS FILM TO BE A CALL TO ACTION FOR PEOPLE WATCHING IT, TO ALSO GET TO KNOW THEIR PARENTS' STORIES IN A VERY INTIMATE WAY AND, YEAH, TO OPEN THAT DOOR FOR DIALOGUE INTERGENERATIONAL HE.

IT DOESN'T EVEN HAVE TO BE IMMIGRANT HISTORY.

THERE ARE SO MANY THINGS THAT YOU CAN LEARN FROM DIFFERENT GENERATIONS AND TO OPEN THAT DIALOGUE AND TO REALLY OPEN THE DOOR TO BECOME JUST MORE EMPATHETIC WITH EACH OTHER.

WE JUST NEED A LOT MORE EMPATHY IN THIS WORLD RIGHT NOW.