Actor Yash in a nonetheless from the movie KGF 2.
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What are the fundamentals of storytelling? Filmmaker D. Satya Prakash (Rama Rama Re…, Ondalla Eradalla fame), who ran a script-writing class for children for a few years, has a solution. “Evoking emotions is the main job of a writer. But most of our writing enthusiasts are engineers. They are technically sound but write emotionally weak stories. They aren’t exposed to literary classics. So, they fall short in the art of constructing stories,” he says.
Rishab Shetty and author Anirudh Mahesh
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Research is the spine of any script, says screenwriter Anirudh Mahesh. “Kantara began with one idea from Rishab sir. The film was set in a particular region. So, we explored cultural elements that could complement the story,” he says. Anirudh loves so as to add a humorous contact to his dialogues. “I believe that cliches, if presented from different perspectives, will still be interesting,” he says.
It’s needs to be like how folks discuss
Gundu Shetty, who works with Hemanth Rao as a co-writer, explains his strategy of penning dialogues. “Often, the focus isn’t on writing catchy dialogues. The idea is to write something that clearly conveys the scene’s intention. The conversations must sound like how people talk around us,” he says.
Gundu has co-written Hemanth’s upcoming Sapta Saagaradache Yello. “In romance, we believe intimacy is stronger than words. So the challenge is to infuse these thoughts in the screenplay, and portray emotions on screen in a realistic manner,” describes Gundu, who grew up loving the “meditative storytelling” of Akira Kurosawa and studying Kuvempu and Poornachandra Tejaswi.
Stories which can be totally different
Screenwriting is a cumbersome course of, says Hemanth. “Ernest Hemingway once said, ‘There is nothing to write. All you do is sit down at a typewriter and bleed’. Writing is simple, yet it’s not. You sit in one place for a long time and still end up feeling tired. Stories that stand out are the ones that are different. Coming up with such content can be a taxing job,” he says.
Hemanth, whose e-mail tackle is accessible for writers to pitch their tales, desires filmmakers to learn scripts as an alternative of listening to narrations. “We must develop the habit of reading scripts to understand a writer’s cinematic grammar. Listening to narrations won’t help them understand the depth of the script. Also, gifted filmmakers can fumble while narrating a story. They could feel intimidated by the opposite person,” he says.
A nonetheless from the movie Richard Antony
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Rakshit, in a latest interplay with reporters, spoke of going to the US to write down the script of his upcoming Richard Anthony, a prequel to his Ulidavaru Kandante. “I need complete peace while writing my scripts. I am going to the US to write as I could be interrupted by several phone calls here in India. When all of them are sleeping in India, I will be writing my script,” he says.
Real-life tales
Daredevil Musthafa, primarily based on Poornachandra Tejaswi’s brief story, carries nice promise. The movie’s success may encourage extra book-to-screen translations. Apart from diversifications, filmmakers should inform real-life tales, feels Shyam. “You can make your life’s story into a film. Sunil Kumar Desai did that with Beladingala Baale, and Suri did it with Inthi Ninna Preethiya. But you can’t keep repeating your life incidents. Then you must chase for other real-life experiences for your content.”
Vasudhendra makes an attention-grabbing statement. “We are seeing an increase in writers. However, people, especially youngsters, aren’t reading Kannada works. Private schools ignore the language while government school teachers are mostly inept,” he says. In a nutshell, this statement predicts a difficult future for writing in Kannada cinema.
Source: www.thehindu.com
