Archive for April, 2016

When it comes to screenwriting, Anjum Rajabali is probably the best teacher/mentor in B-town. He organises a screenwriting workshop almost every year. We had posted about this workshop on our blog. Our friend Dipti Kharude attended the workshop this year. Here’s her extensive notes from the workshop.

Do read and thank her for putting it all together.

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In the early 2000s, I had a juvenile blog. I remember blogging about how, if there were one extravagant thing I’d want in my own house; it had to be a space for screening films. Another stray line from that same blog comes to mind. It was more like an affirmation – Wish I could make a film that would be an expression of the explosion in my heart. The bang I was referring to was a visceral reaction to incandescent instants on the silver screen. Filmmaking seemed nothing short of wizardry.

Movie clubs were magical places then. They made the idea of cinema palpable and more importantly accessible. The most spellbinding moments on screen could be traced back to a web of words on paper – the script or the screenplay – that sacrosanct document where imagination flourished.

Once I began ‘adulting’, this curiosity got sidetracked and the searing zeal waned into a tepid fascination. It was only after rupturing the shackles of a job that I submitted myself to the lure of cinema again. This time though, I decided to approach it scientifically and registered for the 5-day Screenwriting Workshop by Anjum Rajabali.

Despite the academic approach, it upheld the movie mojo. When you don’t miss your phone for 5 straight days, in a world where you are willingly tethered to your devices, you know the workshop instructor has done a stellar job.

In the interactive master classes, Jaideep Sahni, Sriram Raghavan, Juhi Chaturvedi, Himanshu Sharma, Shridhar Raghavan, Varun Grover, Neeraj Ghaywan, Sudip Sharma, Navdeep Singh, Saiwyn Quadros, Sanyuktha Chawla-Shaikh, shared their creative and professional struggles, explained their style and approach to writing, and offered a wealth of tips for new writers.

Though not without its faults, the workshop was enlightening and enthusing. Replete with Anjum’s personal stories of failure, it encouraged participants to write. ‘Till the age of 34, I didn’t know the meaning of screenplay. I had only written articles. It is possible to reinvent yourself. Get the junk out of the way, which is usually the first draft. Write what you enjoy seeing on screen and no joy equals to that of writing ‘FADE OUT’.

Without further ado, here’s a rundown of what happened at the workshop. It is a gist at best.

Day 1

Session 1: The Importance of Stories and Storytelling

After a quick introduction, we were handed writing pads with Stanley Kubrick’s quote – If it can be written or thought, it can be filmed. Anjum delved into how stories help us make sense of the chaos of life. We are constantly battling the senselessness of life and stories help us find meaning. They unravel the complexity of lived reality.

When it comes to story ideas, we were told that, just the way you don’t marry the first person you date, you don’t commit to the first idea that comes to mind. Spend time in building a trove and the one that stays is worth looking into, the prerequisite being that it should move you profoundly in a sad or joyous way. Once that idea is discerned, live, breathe and fornicate with it.

Meaningful stories are the ones that address human condition. They offer a lifelike experience and make viewers suspend their judgments. Reality takes a backseat. Lions may not speak in real life but Lion King makes the viewer suspend this disbelief.

After a bout of anecdotes, the interactive session snowballed into a volley of irrelevant questions that lasted much beyond the time allocated for the same. Future participants should be careful about asking pertinent questions to avoid this debacle. While a participant pointed out that Sholay didn’t take into account the ‘greys’ of characters and how she had a problem that Gabbar Singh was depicted as pure evil, Anjum quipped, “You can’t screw up a film like Sholay with greyness. It is not about understanding evil. It is about destroying it, as opposed to Satya.” This exchange turned into a debate about whether the workshop would be ‘democratic’. Though it was a delight to see Anjum field questions with his special brand of humour and irreverence, he was forced to downsize some other germane discussions.

Session 2 – Premise : The Dramatic Centre/ Expansion into Plot

If you can’t say it in one sentence, you don’t know what it’s about.

This one kickstarted the workshop in the real sense of the word. Premise is the interplay between the protagonist and the central situation (conflict). The energy of the story comes from these one or two sentences that form the premise. Everything else is a sub-plot.

We deciphered the premises of different films. Most of the participants were surprised when they discovered that though Dil Chahta Hai’s theme is friendship, the premise is about Aamir Khan’s failure to understand adult love.

Anjum went on to explain how the specificity of the premise is directly proportional to the effectiveness of the screenplay. In case of the film Neerja, participants deduced– It is the story of an airhostess grappling with a plane hijack and responding with courage. Anjum explained how Neerja is the story of an ordinary girl finding extraordinary courage. The particularity of the ordinariness of the character is of significance. If the airhostess were a woman trained in martial arts, the story wouldn’t have worked.

The plot is the dramatic progression of the character and the central situation. The premise generally kicks in during ACT II. While setting up the story in Act I, the character should reveal characteristics or peculiarities that lead to the premise. In Sholay, though Thakur has lost both his hands, the emotion the story evokes is only anger and not sympathy since the premise involves revenge. There is not a single scene in the film where Thakur is shown in a pitiful state.

We watched the short film, Le Poulet, inferred its premise, discussed the purpose of every scene and analysed the point where the premise was activated. Anjum helped us examine the way in which the protagonist’s struggle is visually depicted (your film should cover action, not activity). There was also a discussion on how ‘twists’ work in films. A good twist is the one that surprises you but in retrospect it’s inevitable.

Takeaway: Once an idea arrives, you need to hit upon it with a premise. The premise is like a lighthouse. If you’re ever stuck while writing a scene, look to the logline and it will push you in the right direction.

Stories fraught with failure were more revealing. Anjum candidly gave references of his own films Pukar and Arakshan and how they moved away from the premise and suffered. Pukar was to be a love story based on Samson and Delilah but the love story turned into a sub-plot when the screenplay advanced and Arakshan dealt with reservation in the first half and the second half became about commercialization of education.

Constant references to films like Sholay, Deewar and the likes were definitely helpful to those who have grown up on that fare but to a large extent the grammar of films has changed. If there were more references to contemporary films, the juxtaposition would have been more pertinent.

Session 3 – Character, Characterisation, Character Arc, Transformation.

Discovering the Character’s personality, qualities relevant to your plot.

The protagonist is defined by her/his struggle and her/his steadfast commitment.

When it comes to characterisation, imagine the vulnerabilities and unmet desires of the character. Being vulnerable is a sign of being alive. Explore the physiology (paunch, looks, etc.), sociology (caste,class,neighbourhood) and psychology of the main characters (fears, vices, early memories etc.)

Place the character in multiple ‘what if’ situations and reflect on her/his reactions. Anjum warned us about digressing and crafting character sketches that run into pages with immaterial details like the brand of toothpaste the character uses. (Precisely – Bhaad mein gayi uski chaddi/ Bhaad mein gayi uski toothpaste).The premise serves as a beacon at this stage too. The characteristics of the protagonist should propel the premise.

At the heart of any good story is character evolution. A character arc is the transformation or inner journey of a character over the course of a story.

Ask two questions of your character with regard to the character arc:

What does s/he want?

What does s/he really want?

In case of Airlift, Ranjit Katiyal initially wants to ensure the safety of his family and then includes his employees in its ambit.

The most interesting stories are the ones where the characters have lost the battle but won the war.

Film Screening: Little Miss Sunshine

Takeaway: A character sketch is not a biography. Brevity is your best friend.

Despite Anjum repeating countless times about questioning the main characters in relation to the premise, a participant was hell-bent on deconstructing the character of Samba in Sholay.

Day 2

Session 4 – Script Analysis of Little Miss Sunshine (with emphasis on characters and their arcs)

After diving into the vulnerabilities of each character and discussing how each character was introduced on screen, we dissected the 14-minute dinner scene which exhausts all the possibilities of dissonance.

Dissonance lends the plot the essential dramatic vigour.

For a rewarding character arc, put your characters in the worst situations and dire places. Let them dig deep and find their way out.

We traced the journey of all the characters – how each of them started and how their arcs blended with the resolution of the film.

In Little Miss Sunshine, Richard tells his daughter, “If you win, we will go.” In the climax we see him joining her with jubilation as she loses. This flip makes for a good character arc.

While there have been films with a few exceptions, your scripts should have at least one major character who goes through a change in his belief or behavior.

Takeaway: Ironies and paradoxes make for good stories.

Session 5 – Structuring the Screenplay

A screening of the short film, The Lunch Date, shined a light on how prejudice operates through generalization. It is dissolved by treating the person as an individual. Hence a personal experience can help one overcome prejudice. This led to the premise of a rich lady encountering a poor, black, homeless man.

Anjum explained how it is important to exploit every single frame in a short film. The film just like Hitchcock’s Psycho sways your perspective. Irrespective of rationality or morality, viewers feel sympathy towards characters that are vulnerable and struggling.

Before plunging headlong into the three act structure, a disclaimer is in order. This popular structure is not a formula or a model to follow consciously. It is meant to be imbibed and forgotten.

Act I – Setup – Introduce characters. Establish their situations. Begin your sub-plots.

Act II – Confrontation – The plot goes into second gear and the premise blooms here.

Act III – Resolution

Takeaway: Treat the knowledge of the 3 act structure as scaffolding. Knowledge transforms to wisdom when it becomes second nature. Thought can be the enemy of creativity. Too much thinking leads to contrivances in the plot. Write and when you find yourself faltering, evaluate your screenplay with the help of the 3 act structure.

Session 6 – Scene Design

“The structural unity of the parts is such that, if any one of them is displaced or removed, the whole will be disjointed and disturbed. For a thing whose presence or absence makes no visible difference is not an organic part of the whole.” – Aristotle

The questions to explore before writing a scene:

What is the purpose of the scene? Is the scene related to the rest of the story? How does it advance the story? Does it reveal something important about the character? Are you introducing a character? Does the dialogue reflect character? Do your characters have something to do – any activity?

We scrutinized a scene from the film, Amadeus against the parameters mentioned above.

Screening of Incendies

Day 3

Session 6: Scene Design Continued

We studied the opening scene of The Godfather where the aim was to introduce the Godfather and his system. Anjum explained how the scene exploits the discord created by an emotional reaction. A monologue at the start of the film is generally considered as suicide but this one weaves in intrigue since it is structured like a story. This scene is a master class on how an organic quality of the character lends a dramatic touch. This drama is a rich device to bring to the fore, the hidden.

Takeaway: This was the most gratifying session since we analysed every frame of the scene and tracked its progression. While Anjum deconstructed the scene, it dawned upon me that this is the part I like most about the whole process of screenwriting – crafting the nuances of a scene. It also elevated my capacity to savour aspects of films that I had earlier mindlessly consumed.

Thanks to questions that only served to stoke the pseudo intelligence of some participants, the session on analysis of the film Incendies had to be deferred. Another purpose of questioning seemed to be name-dropping.

Dipti Kharude

Master class with Sudip Sharma and Navdeep Singh – To be continued.

Hardik Mehta’s documentary, Amdavad Ma Famous (Famous In Ahmedabad), bagged the National Award For Best Non-Feature film (Swarna Kamal) this year. Its next stop is the prestigious Hot Docs aka Canadian International Documentary Festival. The fest has put up the first trailer of the film.

Do check it out

AMFAnd here’s the official synopsis from the fest site –

Zaid is a playful kid with a love of kites that quickly spirals into an addiction. He starts skipping school, risking life and limb in traffic and trespassing on rooftops, all in pursuit of high-flying fun. Is he just being a kid—or is he becoming a criminal? A sublime social commentary on adult hypocrisy and childhood curiosity.


Director : Hardik Mehta
Producer : Arya Menon, Akanksha Tewari
Editor : Hardik Mehta
Cinematographer : Piyush Puty
Composer : Alokananda Dasgupta
Sound: Manoj Goswami


The first look of Anurag Kashyap’s new film, Raman Raghav 2.0, is out. The film stars Nawazuddin Siddiqui, Vicky Kaushal and Sobhita Dhulipala in the lead.

The film will have its world premiere at the Cannes Directors’ Fortnight.

Do check out the poster and the stills.

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The first look of Anu Menon’s new film, Waiting, is out. Do check out the trailer.

WaitingThe film stars Naseeruddin Shah and Kalki Koechlin in the lead, and it also has Rajat Kapoor, Sushasini Maniratnam, and Arjun Mathur.

Going by official release – WAITING is a film about the special relationship between Shiv (Naseeruddin Shah) and Tara (Kalki Koechlin), who befriend each other unexpectedly in a hospital while nursing their individual spouses in coma. It is a film about grief, yes, but it is also about confronting it with optimism and learning to live with courage, love with faith and laugh with hope.

Minor grouse – the way the song is laid out in the background of the trailer, with dialogues coming on top of words (of the song), its difficult to hear either. Wish it was just music, and not words, when there are dialogues on top. One really has to strain hard to get everything

Cast & Crew

Ishka Films & Drishyam Films PRESENT



CAST: Naseeruddin Shah, Kalki Koechlin, Rajat Kapoor, Sushasini Maniratnam, Arjun Mathur

PRODUCED BY: Priti Gupta, Manish Mundra

SCREENPLAY: Anu Menon, James Ruzicka

DIALOGUE: Atika Chohan


EDITING: Nitin Baid, Apurva Asrani

MUSIC: Mikey McCleary

SOUND: Roland Heap, Udit Duseja, Mandar Kamalapurkar

CASTING: Shubham Gaur, Gautam Pisharody


CHOREOGRAPHY: Shampa Gopikrishna

VFX: Bibek Basu


ASSOCIATE PRODUCERS: Poonam Punjabi, Shiladitya Bora

Radhika Apte

Good news has come from the ongoing Tribeca Film Festival in New York. Radhika Apte has bagged the Best Actress Award in International Narrative Feature section for her performance in Anurag Kashyap’s Clean Shaven.

The award was given by Jean Reno. And here’s the Jury comment on her performance :

“This award goes to an actress who has conveyed bravery and emotional depth in different relationships around her. A contemporary story that breaks through established culture.”

For complete list of winners, click here.

‘Madly’ is an international anthology of short films exploring love in all its permutations. Directed by Gael García Bernal, Mia Wasikowska, Sebastian Silva, Anurag Kashyap, Sion Sono and Natasha Khan, the six stories in Madly portray contemporary love in all its glorious, sad, ecstatic, empowering, and erotic manifestations.

Tribeca Film Fest will run till 24th May, 2016.

To watch Madly’s trailer, go here and click on the play button.

More about ‘Madly’ from Tribeca

Madly explores love in all its permutations in six short films from a vibrant group of filmmakers representing Japan, Argentina, the UK, the US, India, and Australia. All forms of love are on display in this anthology. And all manners of feelings expressed from jubilance to depression are done so strongly. In Afterbirth, actress Mia Wasikowska goes behind the camera to tell the story of a young mother’s postpartum struggles; Gael García Bernal explores how pregnancy affects one couple’s already ambivalent relationship in Love of My Life; and ghosts of past relationships are resurrected in Natasha Khan’s I Do. These stories of love never shy away from taboo either: Sion Sono’s Love of Love delves into underground sex clubs in Japan, and Anurag Kashyap’s Clean Shaven uncovers the social relevance of a woman’s pubic hair. Love can even be delightfully irreverent at moments, Dance Dance Dance from Sebastian Silva features an eye-roll from Jesus. Madly, after all, is a contemporary portrait of love in all its glorious, sad, ecstatic, empowering, and erotic manifestations.


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Cannes Film Festiva’s Classics section has unveiled its line-up for this year’s edition. Indian filmmakers Shirley Abraham and Amit Madheshiya’s doucmentary ‘The Cinema Travelers’ will be screened in the section.

Here’s the description according to official synopsis – The portrait of a traveling movie theater in India, which continues to bear the magic of the images to a stunned audience, is faced with technological, numerous and complex changes. A projector repairman narrates film changes with poetry, philosophy and pragmatism.

The film is 1hr36 min long. To know more about the film, click here.

The Classics section will also screen eight other documentaries about cinema. For complete line-up of Classics section, click here.

GudhThe year’s fest has another Indian film – Saurav Rai’s short film Gudh (Nest) in Cinefoundation selection. Rai is a graduate of Satyajit Ray Film & Television Institute, Kolkata, and this 28-min short is his diploma film.

To know more about Rai and his short, click here.

To mark its 19th year, the Cinéfondation Selection has chosen 18 films (14 works of fiction and 4 animations), from among the 2,300 works submitted this year by film schools from all over the world. Fifteen countries from three continents are represented. Seven of the films selected come from schools taking part for the first time, and it is also the first time that a film school from Venezuela has reached the selection stage. More than half of this edition’s movies are directed by women, with 10 out of the 18 films selected. The complete list of selection is here.

The three Cinéfondation prizes will be awarded at a ceremony preceding the screening of the prize-winning films on Friday 20th May in the Buñuel Theatre.


UPDATE  (24-04-16) – The teaser posters are just out. We have updated the post with 2 teaser posters of the film.

Anurag Kashyap is ready with his new film which is interestingly titled, Raman Raghav 2.0. And here is the good news – as expected, Anurag will be back to the Cannes with the premiere of the film in Directors Fortnight segment.

The films stars Nawazuddin and Vicky Kaushal in the lead roles. Not sure why, but the film is titled ‘Psycho Raman’ in press release.

To check out the complete list of 2016 selection, click here.

The Directors’ Fortnight (French: Quinzaine des Réalisateurs) is an independent section held in parallel to the Cannes Film Festival. It was started in 1969 by the French Directors Guild after the events of May 1968 resulted in cancellation of the Cannes festival as an act of solidarity with striking workers. (via wiki)

After doing the fest rounds, Raam Reddy’s debut feature Thithi is all set to release in India on 6th May, 2016. And its trailer is out today.

Recently, the film bagged the National Award for Best Film in Kannada. Last year, it also won two Golden Leopards at the  Locarno Film Festival.

According to official release, Thithi is a realistic, light-hearted Kannada-language film about how three generations of sons react to the death of their patriarch, Century Gowda: a locally renowned, highly cranky 101-year-old man.

Cast & Crew

Director: Raam Reddy
Writers: Eregowda, Raam Reddy
Producers: Pratap Reddy, Sunmin Park
Director of Photography: Doron Tempert
Editors: John Zimmerman, Raam Reddy
Sound Design: Nithin Lukose
Lead Cast: Thammegowda S., Channegowda, Abhishek H.N., Pooja S.M.
Production Companies: Prspctvs Productions (India), Maxmedia (USA)


I know Marathi just like I know Guitar and Keyboards. I can sense their presence but can never play with them (publicly) because I don’t understand them. My exposure to non-Hindi film music has been similar. My Marathi music ‘plays’ have been limited to the music of Shala, Balak Palak and Natarang. Cut to the first teaser of Sairat that I came across, and all of that changed. I have since then tried to explore Ajay-Atul’s work in depth, and most of it has been in Marathi, but more on that later. With absolutely no comment/interpretation on the lyrics of this film album, here is what I think of the album that hit me like a bolt of lightning!

Yad lagla is decorated so well as a composition that even before Ajay gets behind the microphone you would be swaying at those definitive violin riff repeats. Not only in the opening, violins are almost a second voice throughout the song. Even when we hear Ajay in antras, we can hear those violins and they are in no way bothersome to ears. A song that to my ears sounds like musings of a man madly in love. A song extremely high on melody.

Part college-festy (like Koi Mil Gaya from Kuch Kuch Hota Hai) and part Kannum kannum (from Thiruda Thiruda), Aatach baaya ka baavarla’s high points are those variations that Shreya takes in both the antras. The pause in between is only an excuse to hit the listeners with those layered percussion and strings almost immediately. Like I said, Shreya is top class in the song be her biting ‘attacha’ in every antra or her tempo variation. The backups reminded me a lot about ARRahman and his use of backups in 1990s, especially in the film, 1947 – Earth. An insanely enjoyable song!

In what soothes like a balm to the senses, Chinmayi Sripada starts Sairat zaala ji, and is almost immediately joined by Ajay. The song flows like a symphony and the overall mood doesn’t weigh you down because the antras are playful and easy on ears. I did feel the percussion could have been a bit lighter in the song. The flute in the second part of the song is all sorts of cute and the bagpipe parade like tune in between is actually smart. I felt the song gave more room to Ajay to improvise than it did to Chinmayi.

What is clearly, unabashedly and LOUDLY a celebration song, Zingaat is Ajay-Atul playing in their familiar territory. It is exactly *that* song which would haunt us Bombay-walas in the coming days whenever there is *any* celebration. The song has brass band as well, but you really don’t notice their presence because of the constant *dinchak dichak*. Length wise, this is the shortest song of the album, but impact wise, probably the song that will outlive the film, in Maharashtra.

Ajay-Atul’s symphonic inclination is well known, so much so that back in 2002, they came out with an album titled ‘Ganesh Symphonic Chants Experience’ which is quite something. Some kind friends have passed me the music of films like Natarang and Jogwa, and it suffices to say that the sound of Sairat is a step forward by Ajay-Atul in terms of marrying their favourite sound with the limitations that a typical ‘film album’ presents them with. Thumbs up for that!

I just have one grouse –  if not checked, Ajay-Atul can quickly sink to where our favourite ‘It’ boy went – using their own voice a bit too much in their albums.

Overall, this is the album that I have heard the most number of times vis a vis any out and out non-Hindi album that I have laid my hands on in the last couple of years. The madness that this album infected me with reminded me of film album by ARRahman titled ‘Boys’ that came out long time back.

When I heard Jogi, I wanted to learn Kannada

When I heard Jhiri jhiri chaitali, I wanted to speak Bengali.

When I heard Nenjukulle, I wanted to understand Tamil.

Sairat makes me want to write poetry in Marathi..

It is exactly the kind of music that makes you want to pay for it, twice! The album costs just 48 bucks on iTunes. Buy it, celebrate it. It’s well worth it!


Jukebox of Sairat here


SRFTI Admission 2016
Satyajit Ray Film & Television Institute
An Autonomous Institute Under Ministry Of Information & Broadcasting
Government Of India

SRFTI, Kolkata, the premiere center of cinematic learning, invites applications for Admission (2016) to Three – Year Post Graduate Program in /cinema (Full Time) for session 2016 – 2019

Medium of Instruction: English.

Total Number of intakes: 70 max.

10 students for Animation Cinema, in other specializations 12 intakes each. Maximum 2 seats are for international students. If there is no suitable foreign student, the seat will be considered for national intake.

Admission 2016 Test 
– A written examination will be held at different centres on 22.05.16.

– Short listed candidates will be called for Interactive Orientation Session & Viva- Voce at the Institute.

How To Apply
Apply on-line only, on SRFTI site

Last date of submission: 08.05.16.

For further details visit  or click here.

For Queries contact:


1.     Direction & Screenplay Writing

2.     Cinematography

3.     Editing

4.     Producing for Film & Television

5.     Sound Recording & Design

6.     Animation Cinema


Graduation in any discipline from a recognised university or equivalent. For Animation Cinema, candidates should have proficiency in Drawing.