The writers behind the dialogues

Striking Hollywood screenwriters may have brought the US industry to its knees, but here in Mumbai things are rather different. Anjali Thomas finds out why the Indian writers’ reality is far removed from the stories they tell us

The words ‘Bole to’ bring to mind images of the lovable rogue Munnabhai, and his loyal sidekick Circuit, roaming the streets of Mumbai. The movies have given us a plethora of memorable characters and equally memorable lines that evoke a range of emotions.

The actors are hero-worshipped, the directors are lauded and the producers make big money. But what about the scriptwriters? Some become well-known, almost stars in their own right like Salim-Javed, but for the most part, the storytellers remain firmly in the background.

While Hollywood scriptwriters are on strike in support of their demand, their counterparts in the Hindi film industry, too, have their grievances. “It would appear that it takes a strike in the US for us to examine the issues that we face in our own backyard,” says Anjum Rajabali who has scripted Ghulam and The Legend Of Bhagat Singh among others.

From recognition to remuneration, awareness to organisation, the problems and complaints are many. It begins with the writer having to continuously bow to the demands of the triumvirate comprising the producer, the director and the star. Though the industry has moved on from the days when scripts were written just before the shot was taken, the whimsicalities of the bigger players still counts a lot.

“Once the script is completed, we are not too welcome anymore. We are lucky if we get our agreed remuneration, and at times we don’t get the credit we deserve,” frankly admits Kamlesh Pandey who began by scripting Jalwa in 1987. “And we are to blame, too; many writers have no qualms sucking up to film stars just to get the job. It’s an insult to our profession.”

For director/writer Sanjay Chhel, there is nothing more fulfilling than writing a good script. But after years of working in an almost “feudal set up” in the film industry, he can’t erase the cynicism in his voice.

“We are merely technicians. For an A-grade film, the writer will get paid an average of Rs15 lakh, when more than Rs10crore will go on just making the movie.” 

The issue of copyright is another sticky problem writers are battling. According to Pandey, the contract the scriptwriter signs is usually one-sided. Often, writers have no creative control once the script leaves their hands. Changes are made on the sole discretion of the producer or director. And while veterans rely on their rapport with the producers and directors, (“I shout a lot,” says Rajabali) there is little to help new entrants, or those who don’t have sufficient clout.

One place most writers turn to resolve disputes is the Mumbai-based Film Writers Association (FWA), which also looks into the interests of television serial writers. It has been described — at its best — toothless; at its worst, associated with producers who have their own vested interests. “I’m used to hearing such accusations. It used to be a lot worse,” says Imteyaz Hussein, who is on the managing and disputes committee of the FWA.

Hussein says that despite its 51 years, the FWA is not as powerful as the Writers Guild of America.”It’s a two-way street. For the FWA to be successful, to tackle copyright issues, initiate changes in contracts and ask for cuts on DVD sales, etc, we need the active participation of the writers. There has to be more involvement.”

Surprisingly, things are not as bleak in the television industry. Money, at least, is not the problem for scriptwriters who churn out thousands of words every day to satiate a demanding audience.

It’s a ‘known secret’ that TV scripts are often written 10 minutes before the shooting of a scene begins, but there is good money there. Hussein credits this to the ‘corporatisation’ of the television industry. “There’s more transparency because of this,” he says, “and the Hindi film industry is also going the corporate way.” Not that TV doesn’t have its fair share of problems.

Bobbie Bhosley, who works for Ekta Kapoor’s Balaji Telefilms, says, “The main problem is that there are too few television writers. But this will change. The industry is beginning to expand with new channels coming up and each will have its own sensibility.”

All writers — films and television — agree that they would like more recognition; acknowledgement that the writer is the brain behind a successful character. “You can have the most versatile actors, the most far-seeing director, and all the money in the world to produce a film, but without the script, you have nothing,” says Rajabali. The way things stand, our writers are in no position to make such demands, not yet anyway. Besides, a call for pencils-down will not be taken seriously.

Chhel says, “If we call for a strike, producers will find someone who will gladly write for them.”

But hope remains in Pandora’s Box — in this case it is an increasing awareness among producers and writers. Last year, the First Annual Screenwriter’s Conference saw more than 270 industrywallas address the concerns of the writer.

According to Rajabali, the FWA elections will take place next year, and the old guard is making way for a newer lot of writers. Issues such as proper contracts, copyrights, and most importantly, a dialogue with producers and directors are on the table. Change is in the air, but this is a story where the happy
ending is still far away.

t_anjali@dnainida.net