Jaideep Sahni on screen writing
Courtesy:
IndiaFM
Tuesday,
September
12,
2006
Another
talented
name
in
the
world
of
Indian
screenwriting.
From
Jungle
to
Bunty
Aur
Babli,
Jaideep
Sahni
has
always
been
synonymous
with
originality.
His
movie
Company
was
highly
acclaimed
and
now
he
has
his
film
Khosla
Ka
Ghosla
all
set
to
release.
Have
you
had
any
professional
training
in
terms
of
screen-writing?
Nothing
besides
reading
books
and
screenplays
and
the
newspaper.
I
got
interested
in
screenwriting
few
years
back
on
reading
the
screenplay
of
Gandhi
by
John
Briley,
but
there
was
no
screenwriting
courses
here
then,
so
the
only
option
was
to
teach
yourself
by
watching
films
(which
I
don't
do
often
enough),
reading
screenplays
and
narrating
your
stuff
to
others
to
see
what
gets
them
and
what
bores
them.
I've
more
or
less
learnt
on
the
job
from
people
I've
worked
with-directors,
actors,
producers,
other
writers
and
so
on.
Do
you
think
any
professional
training
for
screen-writing
is
necessary?
Not
really,
Salim-Javed
never
went
to
a
screenwriting
school
but
still
ended
up
becoming
a
screenwriting
school
for
all
of
us.
Too
much
education
can
kill
a
perfectly
smart
brain
forever.
But
it's
desirable
in
terms
of
craft,
in
basic
things
like
creative
writing
classes
in
every
university
which
most
people
in
the
west
take
for
granted.
We
spend
our
childhood
dreading
our
Physics-Chemistry-Math
scores
and
hundreds
of
entrance
exams
instead,
which
is
a
pity
for
those
who
are
not
so
inclined.
It's
strange,
I
always
say
I
never
went
to
a
film
school,
I
went
to
Jungle
instead-and
recently
Anurag
told
me
the
same
thing-that
he
never
went
to
a
film
school,
he
went
to
Satya
instead.
How
did
you
get
your
first
break?
I
came
to
the
business
as
a
tourist.
After
quitting
my
advertising
job
I
was
working
as
a
communications
consultant
to
ad
agencies
and
corporates.
At
the
same
time
RGV
was
looking
for
a
new
writer
and
somebody
told
him
about
me.
We
met,
I
told
him
that
I
hadn't
written
an
actual
screenplay
before
but
I'd
love
to
give
it
a
shot
if
he
didn't
mind
having
a
new
guy.
And
him
being
him,
he
said
that's
exactly
what
he
wanted.
So
the
first
film
I
did
was
Jungle.
And
then
Company.
Do
you
thinking
writing
in
team
helps
or
writing
alone
is
much
better?
Its
different
strokes
for
different
folks,
I
guess.
I
prefer
working
alone
because
I
feel
more
ownership,
motivation
and
responsibility
that
way.
I
like
being
responsible
for
what
I
put
on
paper.
As
it
is
while
writing
your
head
is
crammed
full
of
so
many
characters,
you
don't
need
any
more
in
your
life
while
writing!
But
that's
just
my
way;
it
doesn't
have
to
be
everyone's
way.
Salim-Javed
wrote
the
greatest
stuff
together
for
years.
Vishal
(Bharadwaj)
writes
great
scripts
with
other
writers,
though
he
does
his
fantastic
dialogues
himself.
So
it's
different
for
different
people.
What
is
the
difference
between
a
story,
screenplay
and
dialogues
when
it
comes
to
screen-writing?
The
way
we
work
in
Hindi
films,
the
story
is
really
the
idea-hopefully
a
big
idea-which
can
be
hopefully
put
in
a
page.
A
screenplay
in
Hindi
films
is
what
is
known
as
the
Step
Outline
in
Hollywood-a
clear
description
of
what
happens
in
each
scene,
sometimes
with
indicative
dialogue,
sometimes
without,
with
some
clarity
of
where
you
want
songs
to
play
a
role
if
at
all.
And
dialogue
stage
is
very
often
where
it
all
comes
together,
what
characters
are
saying
to
each
other,
whether
they
are
sitting
or
standing
or
walking
or
swimming,
what's
the
background
score
or
editing
pattern
you
imagine
as
the
writer,
the
look,
feel,
pace,
vibe
of
the
film.
Do
you
agree
with
the
fact
that
script-writers
in
India
don't
get
their
due
credits
as
much
as
in
Hollywood?
Yes
and
no.
Very
often
writers
put
in
a
lot
of
work
and
don't
get
enough
credit,
but
equally
often
they
contribute
too
little
and
expect
to
be
known
as
the
living
force
behind
the
film.
But
I
have
also
noticed
that
mostly
the
reason
why
they
haven't
contributed
enough
is
that
nobody
let
them
or
trusted
them.
Also
don't
you
agree
that
there
is
hardly
any
original
writing
going
in
India?
Writers
just
adapt
from
foreign
DVDs
Writers
mostly
are
not
responsible
for
that-it's
the
many
directors
and
producers
who
operate
that
way.
Every
writer
gets
up
in
the
morning
wanting
to
create
something
original
that
he
or
she
can
proudly
call
his
or
her
own.
But
writers
are
people
too,
it's
unfair
to
expect
every
writer
to
be
a
great
revolutionary
when
he's
not
getting
paid
enough
to
even
survive
and
everybody
else
is
partying
at
the
Marriot.
Also
the
people
you
work
with
play
a
big
part
in
this-I
have
been
lucky
to
always
have
worked
with
directors
and
producers
who
take
great
pride
in
doing
their
own
thing-and
I
have
mostly
been
paid
fairly-though
I
know
that's
not
the
usual
story
with
every
writer.
How
original
is
Khosla
Ka
Ghosla.
Any
inspirations?
It's
original.
It's
inspired
by
our
original
experiences
as
people
who
grew
up
in
middle
class
and
something
that
happened
with
my
own
family
when
I
was
little.
Do
you
think
the
scene
off
lately
is
changing
for
writers
in
India
and
is
getting
a
little
better?
It
definitely
is,
and
more
so
because
writers
are
coming
forward
and
being
accountable
for
their
work,
investing
in
learning
the
craft,
refusing
to
do
shit,
the
audience
is
paying
to
see
new
stuff,
and
the
new
directors
and
producers
are
listening
to
the
audience
intelligently
and
not
with
cynical
fear
or
loathing.
For
example,
studios
like
Yash
Raj
Films
treat
writers
with
great
respect
and
pay
them
fairly.
But
it's
not
changing
fast
enough,
and
still
a
long
way
from
being
great.
Which
Indian
writers
do
you
admire?
Salim-Javed
and
Gulzar
saab.
Among
my
contemporaries,
I've
always
liked
Anurag's,
Abbas's,
Shridhar's,
Victor's
and
Habib's
writing,
though
we
all
have
different
styles-it's
a
great
set
of
guys
to
hang
out
and
talk
craft
and
general
rubbish
with.
I
love
how
Raju
Hirani
writes.
I
love
Vishal's
writing
and
Nagesh's
too,
I
wish
I
remember
to
tell
them
this
often
enough.
I
liked
the
work
of
the
RDB
team
too.
Which
foreign
writers
do
you
admire?
Strangely
I
like
Michael
Crichton
for
his
talent
for
simplifying,
demystifying
and
energizing
almost
any
subject
on
Earth-I
guess
that
appeals
to
the
science
freak
in
me-though
most
people
I
know
here
don't
seem
to
feel
that
way.
I
like
John
Briley
(Gandhi)
and
John
Bailey
(Moulin
Rouge,
Chicago)
and
Callie
Khouri
(Thelma
and
Louise)
and
Nora
Ephron
(when
Harrry
Met
Sally),
Richard
Curtis
(Bridget
Jones,
Love
Actually),
Mark
Norman
(Shakespeare
In
Love,
The
Aviator),
Tom
Stoppard
(Shakespeare
In
Love),
Simon
Beaufoy
(The
Full
Monty)
and
Sooni
Taraporevala
(Salaam
Bombay)
and
Woody
Allen
a
lot
too.
I
have
learnt
a
lot
from
the
work
the
great
TV
guys
Steven
Bochco
and
David
Kelley
too-they
were
my
first
great
writing
heroes.
Can
you
earn
a
living
out
of
writing
or
are
writers
grossly
underpaid
in
India?
You're
not
about
to
get
super
rich
anytime
soon,
but
you
can
live
reasonably
well
if
you
don't
do
ugly
short
term
deals
with
bad
films
and
bad
directors
and
screw
up
your
head
and
your
reputation
soon
after.
What
advise
do
you
give
a
writer
who
has
a
script
in
hand?
How
should
he
approach
a
producer?
If
you
have
a
script
in
hand,
get
it
registered
at
the
writer's
association,
if
possible
get
a
copyright,
and
then
just
distribute
the
hell
out
of
it.
Even
if
it
doesn't
get
made,
if
you
write
well
you'll
be
noticed
and
offered
work.
And
if
it
gets
stolen,
complain
to
the
writer's
association
and
begin
writing
the
next
one.
Do
you
write
a
particular
script
keeping
an
actor
in
mind
or
an
actor
is
roped
in
depending
on
the
script?
I
think
writers
are
better
off
thinking
about
of
characters
rather
than
actors;
otherwise
they
end
up
doing
disservice
to
the
actors
too.
In
my
case,
the
scripts
have
mostly
been
written
first,
at
least
a
decent
draft
with
full
dialogue,
and
then
actors
have
come
in
at
different
stages
from
then
onwards.
But
that's
also
because
I've
been
working
with
producers
and
directors
who
take
pride
in
working
that
way.
Though
sometimes
if
you
know
a
particular
actor
is
playing
a
part
you
have
written
and
you
have
time
before
the
shoot,
you
go
back
and
give
the
character
another
pass
to
enhance
their
pluses,
or
sometimes
protect
it
from
their
minuses-though
in
my
case
I've
always
been
lucky
to
work
with
actors
who
have
mostly
added
value
to
my
effort.
I
hear
all
these
horror
stories
and
I
know
a
lot
of
them
are
true,
but
for
some
reason
they've
never
happened
to
me.
What
are
your
forthcoming
projects?
Script
and
lyrics
of
film
based
in
the
world
of
women's
sports
for
Yash
Raj
Films
directed
by
Shimit
Amin,
starring
Shah
Rukh
Khan
and
an
entire
team
of
fresh
actors,
which
is
currently
in
production.
And
after
that
another
two
projects
with
Yash
Raj
Films.
Wouldn't
you
want
to
direct
your
own
script?
Not
unless
I
really
very
strongly
feel
that
a
Director
wouldn't
get
what
I'm
trying
to
tell.
I
don't
have
the
patience
and
the
attention
span
of
one
and
a
half
year
that
directing
a
film
demands-I
get
bored
and
restless
and
want
to
do
other
things.
So
as
of
now
it
sounds
like
a
bad
idea
to
me.
Just
recently,
you
were
selected
as
a
member
of
the
11-member
committee
formed
under
the
guidance
of
Anjum
Rajabali
in
the
screenwriter's
conference
at
FTII,
Pune.
Can
you
tell
us
what
has
been
the
progress
on
the
committee
and
do
we
see
better
prospects
for
upcoming
writers?
Any
new
initiatives
taken
by
the
committee?
There
are
many
things
being
planned,
but
it
all
has
just
started.
But
yes,
I
see
better
prospects
for
screenwriters,
few
in
the
short
term,
some
in
the
medium
term,
and
many
in
the
long
term.