Anjum Rajabali is one of the best known screenwriters in the Hindi film industry today. Over the course of last three decades, he has given us films like Ghulam, Pukar, The Legend of Bhagat Singh, Raajneeti, and Aarakshan , among others. As part of the Progressive Writers Group, Rajabali has played an instrumental role in fighting for the writers’ rights in the Indian film industry. He is the Head of Screenwriting at Whistling Woods as well as the Honorary Head of Screenplay Writing at the Film and Television Institute of India (FTII). He regularly conducts workshops, seminars and conferences aimed at educating the young minds about the nuances of screenwriting.
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In which language are the screenplays primarily written for Hindi films?
A screenplay has two parts. The first is the action part. The second is the dialogue part. The action part is written in English which includes scene heading, description characters’ name, etc. Since the spoken dialogue for Hindi films is primarily in Hindi, we also write that part in Hindi only. However, if there are any English dialogues or words that need to be spoken then we write that in English so as to avoid any confusion.
While writing screenplays for Hindi films do you write it keeping the interval in the mind or do you write the entire thing first and then tweak it around to divide it into two parts?
During my early years as a screenwriter from say Drohkaal to Ghulam to Kachche Dhaage, I used to write the entire screenplay in one flow first and only later on I would introduce the interval into it. But as I grew more experienced I began to realise the true importance of the interval. After all, it is a place where the entire narrative gets broken as the audience steps out of your story’s world. So it must come at a time that despite stepping away for a ten minute break the audience must have the curiosity to come back and witness the rest of the story unfold. Therefore, we try to place the interval at a moment where the story takes a dramatic turn. As a screenwriter you should be able to raise enough questions for the audience so that they come back after the interval looking for the answers. It’s not that they would run away but the idea is to keep their minds engaged with the world of the film. It’s best to plan it at the story level itself so that it can naturally flow into the screenplay. So, yes, it is a challenge for a screenwriter to split up the film into two equal halves keeping the interval point in mind.
Lip sync songs have been an integral part of Hindi films. How are they written into the screenplay?
Lip sync songs have always been an important element in our films. So a professional screenwriter working in Hindi cinema has to look for ways to incorporate them into the narrative. The songs not only add to our films aesthetically but can often serve as an important trope to take the story forward and so the screenwriter should be able to explore the possibilities.
Now, it is always better if the script already has a provision for it otherwise it can look rather forceful. However, it is true that in the recent times our writers and filmmakers have shown some reluctance to incorporate lip sync songs. Perhaps, it is to do with an inclination towards achieving a greater sense of realism in contemporary films.
In case of a disagreement between the screenwriter and the director what kind of creative control does the screenwriter enjoy?
The screenwriter usually brings his/her vision to the table. The director, on the other hand, may have a completely different take to the story. So there is bound to be some negotiation between the two visions.
The important thing is that if the writer is able to present the vision well then the director is expected to at least consider it and from there on they can work towards a common goal. However, in case there is a complete disagreement then it is usually done the way the director wants it. The thing is that it is the director who is in control of things on the sets. The writer’s job is to offer a story to the director who must interpret it in order to present it to actors, crew members, and the audiences, ultimately. Therefore, it is important for the writer and the director to have a healthy working relationship.
Tell us about your work with Progressive Writers Group and how it is helping writers fight various injustices.
The Progressive Writers Group through the executive committee of Screenwriters Association has been able to raise important issues aimed at empowering the writers. As screenwriters we have already started witnessing a lot of positive changes. The amendment in the Copyright Act has been of great help to the writers. Also, the producers today are aware of the hard work and efforts of the writers, more than over.
Also, we are trying to inculcate a culture of continuous learning by organising workshops, master classes, and granting fellowships. So the level of professionalism is constantly improving and the producers are witnessing the growth very closely. As a result the producers accept and understand that the union represents the writers and is responsible for guarding their interests. So the major difference today is that collective bargaining is possible which I believe is important for every profession. This has given a boost to the negotiating power that the writers have traditionally enjoyed in the industry.
You are both a screenwriting practitioner as well as a teacher. How do the two roles vary?
Earlier I used to get completely drained. After taking lectures in Pune for two days when I used to return to Mumbai it would take me two days to regain my energy. So basically I would be teaching for two days but it used to cost me four days. But now I have been able to strike a balance. So the moment I am done with teaching I am able to switch back to my practice. Now over time I have realised that these two aspects tend to benefit each other. When I write the difficulties I go through actually make me even more empathetic and sensitive towards the problems faced by my students. So I am able to understand their struggle better.
Also, I am constantly looking for solutions and breakthroughs to problems, mine as well as the ones faced by my students. Now, I haven’t shared this with anyone, perhaps I haven’t been able to articulate this before, but, honestly speaking as a teacher, there is always a strong urge to share everything new that comes to me with my students, whether it is anything exciting that I discover or if I come across any interesting anecdote or a good book or a film. So the first thought that comes to my mind is how I can present it in my next class so that the students can benefit from it. So in that sense I see myself as a teacher who is working around the clock.
On the other hand when you are working with young minds the questions raised by them make you think about things from a completely different angle which ultimately benefit me in my work as a professional screenwriter which in turn benefit my scripts.
