By Azizul Hoque Shiplu, Founder and Film Director, Libanza Films
When an international film crew arrives in Bangladesh, there is often one person working quietly behind the scenes to make sure the production can actually happen: the fixer.
The word “fixer” can sound deceptively simple. To someone unfamiliar with the production industry, it might suggest someone who arranges a few locations, hires a driver and helps the crew find a restaurant. In professional filmmaking, the role is far more important.
A good film fixer is the local connection between a foreign production and the country in which it is working. They understand how things operate locally, know who to contact, understand cultural expectations, help navigate permissions and logistics, and solve problems that a visiting crew may not even know exist.
After more than eighteen years in commercial film production, I would describe a good fixer as someone who makes the unfamiliar familiar. They do not replace the producer or director. They make it possible for those people to do their jobs without spending every hour trying to understand the local environment.
For international filmmakers considering Bangladesh, understanding what a fixer actually does is an important part of planning a successful production.
A Film Fixer Is Your Local Production Expert
Every country has its own production culture. There are different ways of approaching locations, communicating with authorities, hiring crew, arranging transportation and working with local communities. Procedures that seem obvious to a Bangladeshi production professional may be completely unfamiliar to someone arriving from another country.
A fixer provides that local knowledge.
The role can begin before the crew even arrives in Bangladesh. A foreign producer may send a brief describing the story, proposed filming dates, locations and people they want to interview. The fixer can research what is realistically possible, identify potential locations, check access, contact local organisations, research interview subjects, investigate transportation and determine what permissions may be required.
The best fixers do not simply solve problems after they happen. They help prevent problems from happening in the first place.
Location Research and Scouting
Location work is one of the most visible parts of a fixer’s job.
Bangladesh offers an extraordinary variety of locations, from the densely populated streets of Dhaka to rural villages, rivers, tea gardens, industrial areas, historic neighbourhoods, coastal landscapes and fishing communities.
But a location that looks perfect in a photograph may be completely unsuitable for filming.
A fixer evaluates the practical side of the location. Can the crew reach it? Who controls the property? Is permission required? How busy is the area? Is there enough space for equipment? Can vehicles get close? Is the sound environment workable?
Suppose a documentary producer finds a market online and wants to film there for an entire morning. A local fixer may know that the market becomes extremely crowded at a particular time, access is difficult for vehicles, or filming requires additional permission.
Instead of discovering this on the shooting day, the production can make a better decision during pre-production. That is the value of local knowledge.
Finding People and Arranging Interviews
For documentary, television and news productions, a fixer can also play a major role in finding people.
A foreign producer may know the type of person they want to interview but have no idea how to locate them in Bangladesh. The fixer can conduct preliminary research, identify potential interviewees, make initial contact and help arrange meetings.
They may also help the producer understand who the person is, what language they speak, how they are connected to the story and what practical arrangements are required.
The producer and director remain responsible for the editorial direction. The fixer’s job is to make access possible and help the visiting team understand the local context.
For documentary filmmaking, that distinction is important. A good fixer should open doors without deciding what the filmmaker should see once the door is open.
Translation and Cultural Understanding
Translation is often associated with fixing, but professional fixing involves much more than converting Bangla into English.
Language carries cultural meaning. A direct translation may communicate the words while missing the context behind them.
A skilled local fixer can explain what an interview subject means, clarify local terminology and help the production understand references that may not be obvious to foreign filmmakers.
They can also help the crew understand local customs, social expectations and appropriate ways of approaching people.
This becomes particularly important when filming people who are not accustomed to speaking with international media. The fixer helps make sure both sides understand one another without taking creative control away from the filmmaker.
Helping With Permissions and Access
Filming in Bangladesh can involve different permissions depending on the production, location and nature of the work.
Government-controlled locations, private properties, protected areas and certain sensitive locations may require specific approvals. Professional foreign productions can also have visa, clearance and documentation requirements.
As a practical guide to permit timelines: the Ministry of Information filming permit takes 10 to 21 working days to process. Productions requiring drone footage need a separate CAAB (Civil Aviation Authority of Bangladesh) drone permit – this takes 3 to 4 additional weeks for urban Dhaka locations after the Ministry of Information permit is received. Rohingya camp access at Cox’s Bazar requires an RRRC permit, which adds a further 2 to 3 weeks. Sundarbans Forest Department permits require 4 to 6 weeks. Chittagong Hill Tracts special affairs clearance requires 6 to 8 weeks. These timelines are not negotiable, which is why a local production partner should be engaged at least 6 to 8 weeks before the intended shoot date – and for complex multi-location productions, 10 to 12 weeks is more realistic.
A fixer can help identify which permissions need to be investigated and communicate with appropriate local contacts. This does not mean a fixer can guarantee approval. A professional fixer coordinates the process and helps the production navigate the local system; the relevant authority remains responsible for granting or refusing permission.
Arranging Local Crew and Equipment
A foreign production rarely needs to bring every member of its crew from overseas.
Depending on the project, the fixer or local production company may help source camera assistants, sound professionals, lighting technicians, production assistants, drivers, location managers, researchers and other specialists.
A small documentary crew may need only a fixer, driver and local assistant, while a commercial production may require a much larger team.
The same principle applies to equipment. Some crews bring their own cameras, lenses and specialist equipment, while others rent locally. A fixer with strong production connections can help identify reliable suppliers and confirm what is realistically available.
Production companies such as Libanza Films coordinate local crew hire and equipment rental as part of a complete fixer package – confirming availability before the crew’s flights are booked, and managing carnet documentation for any equipment travelling internationally.
Transportation and Drivers
Transportation becomes more complicated when a production has to move people and equipment through an unfamiliar city.
Dhaka, in particular, requires realistic planning around traffic and travel times. A journey that appears short on a map can take significantly longer during busy periods.
A fixer can arrange appropriate vehicles, drivers and transportation schedules based on the actual requirements of the production. For productions travelling outside Dhaka, the plan may also involve long-distance vehicles, boats or other local transportation.
The fixer needs to think beyond simply booking a vehicle. Can it reach the location? Where will it wait? Can equipment be loaded safely? What happens if the vehicle becomes unavailable? These details can make the difference between a smooth shooting day and a delayed one.
Community Relations and Local Access
Some of the most valuable filming locations are neighbourhoods, workshops, markets, farms, fishing communities or privately owned properties.
A foreign crew arriving with cameras can attract considerable attention. Without proper communication, people may not understand why the crew is there or what it intends to film.
A local fixer can introduce the crew, explain the project, coordinate access and help establish an environment where filming can take place respectfully. This is particularly important when working on sensitive documentary stories. Access is not simply a logistical matter. It is also a matter of trust.
Handling Problems on the Shooting Day
This is where the difference between an inexperienced fixer and an experienced one becomes obvious.
Production rarely goes exactly according to plan. A location may suddenly become unavailable. A vehicle may break down. A contributor may cancel. Weather may change. Equipment may develop a problem.
An experienced fixer does not simply report the problem and wait for instructions. They assess the situation, identify realistic alternatives and communicate those options to the producer.
Perhaps another location can be arranged. Perhaps an interview can be moved. Perhaps the schedule needs to be rearranged or replacement equipment sourced. The director or producer still makes the final creative decision. The fixer’s job is to make sure there are practical options.
Fixer vs. Local Producer
The terms “fixer” and “local producer” are sometimes used interchangeably, but they can represent different levels of responsibility.
A fixer may focus on research, access, translation, locations and day-to-day assistance. A local producer or line producer may take responsibility for broader production management, including budgeting, staffing, logistics, scheduling and local execution.
A large international commercial production may need a full local production company rather than a single fixer. A small documentary crew may need exactly the opposite: one highly capable person who understands the story, speaks the language and can solve problems quickly.
Before agreeing to a fee, the production should establish exactly what the fixer is expected to handle.
What Should a Foreign Crew Tell the Fixer?
The more information a fixer receives, the better they can prepare.
A useful initial brief should explain the type of production, proposed dates, number of crew members, intended locations and shooting requirements. The producer should also explain whether they need research, interviews, translation, transportation, accommodation, equipment, casting or location scouting.
If the production involves sensitive subjects or special requirements, those should be communicated early. A fixer cannot prepare properly for information they do not have.
What Makes a Good Film Fixer?
Experience matters, but experience alone is not enough.
A good fixer needs local knowledge, communication skills, patience and the ability to remain calm when circumstances change. They also need to understand the boundaries of their role.
A fixer should not make editorial decisions for the director or promise permissions they cannot guarantee. They should communicate problems honestly and give the producer realistic options. Trust is essential.
The best fixers are also good listeners. They understand what the filmmaker is trying to achieve, not simply what the filmmaker has asked for.
If a director says, “I need a location that feels authentic but is visually quiet,” an experienced fixer understands that the request is about more than finding an address. That is the difference between someone who arranges things and someone who understands production.
How Much Does a Film Fixer in Bangladesh Cost?
Fixer costs in Bangladesh vary based on the scope of work, number of shoot days, locations, research requirements and the size of the local team provided.
As a practical guide: fixer-only support for a small international crew – covering permits, logistics and on-set coordination while the visiting team brings their own equipment – typically starts from USD 2,000 for a short production. A hybrid package where the local partner also supplies a Director of Photography, camera assistant, sound recordist and production vehicle starts from USD 5,000. A complete local production with full crew, all equipment, all permits and post-production support starts from USD 8,000 to USD 25,000 and above, depending on shoot duration, locations and delivery requirements.
Foreign producers should request a quotation based on actual production requirements rather than relying on a generic daily rate. The cheapest fixer may not be the least expensive option if limited local experience results in delays, missed locations or additional production costs.
Final Thoughts
A film fixer in Bangladesh is much more than a translator, driver or location scout.
They are the person who helps a foreign production understand how Bangladesh works from the inside. They help filmmakers find people and places that may otherwise remain inaccessible. They help navigate local procedures, coordinate logistics, communicate with communities and solve problems when the shooting day refuses to follow the schedule.
But perhaps the most valuable thing a good fixer provides is confidence.
When a foreign crew knows that someone experienced is on the ground, the filmmakers can spend less time worrying about whether a location will work, whether the vehicle will arrive or how they will communicate with a local community. They can concentrate on the story.
After more than eighteen years in commercial film production, I have come to believe that the best fixers are the people whose work you notice least. If everything is going smoothly, you may hardly think about them. But when the unexpected happens – and in filmmaking, it always does – you suddenly understand exactly why having the right person on the ground matters.
For international filmmakers coming to Bangladesh, a good film fixer is not simply someone who helps you get things done. They are your local production intelligence, your connection to the country, and often the person who turns a difficult shooting day into a successful one.
About the Author
Azizul Hoque Shiplu is the Founder and Film Director of Libanza Films, a professional film production company and international film fixer based in Gulshan, Dhaka, Bangladesh. Trained at the Zahir Raihan Film Institute and a former director at Ogilvy and Mather Bangladesh, Azizul has overseen international production support for crews from the United States, United Kingdom, UAE, Belgium, France and twelve other countries – including productions for Al Arabiya News (UAE), RagingNation Films (Los Angeles) and MiracleFeet (USA).
