From Hyderabad to Hollywood: Tony Rakshith on stamina, storytelling, and building films from the ground up

Tony Rakshith didn’t grow up dreaming small. Raised in Hyderabad, he discovered Hollywood cinema as something altogether different—films defined by scale, sound, and cinematic ambition. “Hollywood movies are grand in scale. The music, action, and cinematography still make them unique,” he says. For a non-native viewer, that spectacle was magnetic, planting the seed for a future far from home.

That future did not begin in film. Rakshith completed his undergraduate degree in computers and electronics, only to realize the path wasn’t his. Leaving it behind felt less like a gamble than a relief. “Walking away from it actually felt more comforting than risky,” he says. What replaced it was writing and directing—the act of inventing characters and shaping emotional experience from nothing. “Creating dynamics between characters that don’t even exist yet is an incredibly exciting feeling.”

Film school in Los Angeles turned that excitement into discipline. Long days on set revealed the physical and mental reality of filmmaking. “You have to prepare yourself to work 12 to 14 hours a day on set,” Rakshith recalls. The experience clarified what commitment really means. Quoting Ridley Scott, he adds: “The first thing you need as a filmmaker is stamina.”

One day thriller with situational humor

That endurance paid off in his thesis short, A Week, a revenge thriller layered with situational comedy. Rakshith trusted the project because it stayed with him. “If a story stays with me and I don’t forget it, I know it’s the right film to make.” The humor wasn’t driven by punchlines. “The comedy comes from the situations themselves and the actors’ performances,” he explains, letting tone emerge organically.

Produced on a tight budget and shot entirely in one day, A Week nearly collapsed under logistical pressure. “Having to shoot everything in one day nearly broke us,” he admits. With sunset hitting at 5:30 p.m., light became a constant problem. “That’s another big lesson I learned on set: you have to be a problem solver.”

The payoff came at the Academy Award-qualifying LA Shorts International Film Festival, where audience reaction confirmed the balance of tone. “They were laughing throughout and even clapped at the end,” Rakshith says. “That night boosted my confidence as a filmmaker.” The film went on to earn a Silver Award for Best Crime Short Film and received strong critical notices.

Hands on shorts sharpen a director

For Rakshith, short films aren’t about prestige or profit. They are training grounds. “Just finishing the movie and getting it seen is already a huge achievement,” he says. Financial returns are rare, but the creative return is essential. “You’re really investing in yourself, honing your craft, and the risk is absolutely worth it.”

That mindset explains his fully hands-on approach. On A Week, Rakshith wrote, directed, edited, produced, and personally handled props, costumes, and visual design. “When you’re involved in running everything, it makes you a much better director.” The process forced him to study body language and psychology at a granular level—why a character chooses one dress over another, how objects communicate inner life.

His second short, Double Edged, reflects that evolution. One lesson was non-negotiable. “Never schedule a shot at sunset—hahah.” More importantly, his communication matured. “I’ve become more vocal, and my vision is much clearer now,” he says, creating a stronger working environment for actors and collaborators.

Editing shapes rakshith rising thriller cinema

Editing remains central to how Rakshith thinks. Cutting his own footage taught him continuity, rhythm, and restraint. “You start directing with the edit in mind,” he explains. When something doesn’t work, he adapts. “I find a way to fix it in post-production and move on.”

Now completed and entering the festival circuit, Double Edged marks another step forward. Rakshith is increasingly drawn to feature-length thrillers with complex characters, projects that allow depth without sacrificing momentum. Long-term, he hopes consistency defines his work. “I want people to talk about my films with genuine excitement—to feel a signature energy, no matter the genre.”

Relevant links

A Week review – Cinemacy: https://cinemacy.com/a-week-review/

A Week review – Film Threat: https://filmthreat.com/reviews/a-week-short-drama-review/

Discover the filmmaker in motion

Short film: https://youtu.be/sYhR1cHmLIo?si=A5brFIgZp–lEZ9y

Director reel: https://youtu.be/8w01VT4BXh0