Every producer faces the challenge of translating a script's creative vision into a logistical reality. But for a film like A Nice Indian Boy—a story centered on the "bigness of love" within a queer, South Asian context—that responsibility goes deeper.
This is the domain of Line Producer Amanda Verhagen. Her job was to build the infrastructure to support the film's specific cultural and emotional needs, all while managing the practical constraints of an independent production.
No Film School sat down with Verhagen to discuss the nuts and bolts of her process, from practical crewing strategies to the powerful impact of feeling seen on screen.
Let's dive in.
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NFS: What initially drew you to A Nice Indian Boy, and what made it a story you felt compelled to help bring to life?
Amanda Verhagen: Jonathan Groff’s character Jay says it perfectly, “The bigness of love” is what led me crashing face-first into this spectacular, dynamic, and colorful world of A Nice Indian Boy. Beyond Groff and Karan Soni’s love story, this film features a multitude of relationships from well-meaning but confused parents, siblings who think they know better, to the co-worker who just won’t leave well enough alone.
Everyone in A Nice Indian Boy is navigating love and relationships in their own way. The film looks beyond the binary and into the heart of what it means to care for someone, even when it means learning to stretch a little.
This was a rare and special script with relevance beyond the South Asian and Queer communities. It speaks to a universal truth that we all just want to be accepted by our peers, our families, and ourselves.
NFS: As the line producer, how did you ensure that the film’s creative vision, especially around queer and South Asian representation, was supported within logistical constraints?
AV: The crewing process is akin to assembling a superhero team. From Production Designer to Gaffer, this team has to deeply connect to the material, fight for the director's vision against impossible circumstances, and work well in high-pressure situations. It’s incredibly important to choose the right people to support the film.
For A Nice Indian Boy, we needed all of those qualities, as well as focusing on highlighting talents within South Asian and Queer communities. With careful crewing, the film had over 55% South Asian and Queer crew members, which led to authenticity on screen and in the small details.
Where it wasn’t possible to crew from these communities directly, we worked with expert vendors. Our Costume Designer, Flo Barrett, worked with an incredible designer out of India and Surrey for the wedding outfits, Dave Singh at Well Groomed, to custom-build each of the Marathi Saris and Shivanis for the wedding scenes.
NFS: From a production standpoint, what decisions or practices behind the scenes helped create space for that authenticity to emerge on screen?
AV: Emotional safety is as important as physical safety on set. When the cast and crew feel comfortable in the space, they make better films. I am proud to say that the small steps I take on set make big differences.
I started including pronouns on call sheets, cast and crew lists, and headshots a few years ago. This has become a favorite for many crew members, as they feel they are being respected in the workplace for who they are. This is especially important when we are working with Queer content and filmmakers.
Additionally, I have a ‘no jerks allowed’ policy. We work with new people on every production, and it can be challenging to find out if folks will gel together quickly. However, I find being completely transparent about the content of a film like A Nice Indian Boy is the first step. When speaking to the crew, I always let them know it’s a Queer South Asian Rom Com, and their reaction often lets me know if they will work well with the team.
Amanda VerhagenCredit: Impact 24
NFS: How did you approach hiring and assembling the crew to ensure a culturally sensitive and inclusive environment during production?
AV: To ensure our crew reflects not only the film we’re making, but also the world it’s being shown in, we ask our departments to look beyond their typical resources and hires. Of course, we always want to hire the best person for the job. But we also want to see where we can find opportunities to give someone a chance.
I believe in hiring ‘attitude over experience.’ We have to spend 12+ hours together a day. I would much rather spend it with someone who problem-solves and has a kind demeanor than someone with a large resume who is only in it for sandwich time and a paycheque. Skills can be taught, but outlook is inherent to the person.
NFS: Was there a specific moment, either on set or after release, when you realized the film’s impact on audiences and what it meant to them personally?
AV: Everyone hopes their movies will change lives. I can’t believe this one actually did. After A Nice Indian Boy came out, I got a call from a friend that their Queer teen was struggling with kids in school. After watching our film, this kid felt so seen that they said for the first time in their life, they felt like they not only could find love someday, but also deserved it. Their demeanor had completely changed. They started doing better in school, being more social, and even picked up filmmaking. Never underestimate the power of feeling seen and heard.
NFS: How has your experience working on A Nice Indian Boy influenced the kind of projects or stories you want to support as a line producer moving forward?
AV: A Nice Indian Boy has been an adventure that is hard to beat. There is a certain buzzing throughout filming that you can’t see, but everyone can feel, when we’re all working towards something we truly believe in. This is rare air, and one that I will spend the rest of my career trying to recapture.
Director Roshan Sethi galvanized the talent and passion from the cast and crew and channeled this energy on screen. Iconic producers Renee Witt, Dan Bekerman, Angela Cardon, and Charlie McSpadden worked with me side-by-side, where we led with kindness, empathy, and ingenuity. This team, this film, and the impact it has are an experience that will never leave me, and I am thankful for every contribution towards this.
