Anjum rajabali biography
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What role do you think institutions like FTII and NFDC could play?
Anjum Rajabali: No, unfortunately we haven’t taken training in filmmaking seriously enough. Excerpts from an interview:
The Punch: Tell us something about the Cinestaan India’s Storytellers Script Contest.
PWG has been steering the Film Writers Association (FWA) since 2008, with one consistent goal: Empower the writer. There is no restriction on or preference for any particular genre or backdrop.
The Punch: You have been at the forefront of the struggle to give screenwriting its due. I read them personally and the cream of those are then invited to send in their screenplays.”
Once the final scripts are received, a similar process is followed.
One of its ï¬rst offerings, cinestaan.com is an attempt to record and recount the rich past and vibrant present of Indian cinema and it is working to put together the most comprehensive database on Indian cinema (www.cinestaan.com).
In this interview with The Punch, Rajabali says that the plot and the character spring from each other.
An initiative by Rohit Khattar’s Cinestaan Digital Pvt. Ltd. (Cinestaan.com), it will award a prize of Rs 25 lakh to the best script. How crucial do you think is a good script or screenplay to any film?
Anjum Rajabali: A good script is imperative for any film, frankly. Born in India, Rajabali has established himself as one of the most respected and accomplished screenwriters in Indian cinema.
His writing is celebrated for its emotional depth, nuanced characters, and engaging storytelling.
Anjum Rajabali’s journey in Indian cinema showcases his versatility, as he has worked across various genres, from drama to thrillers, and his work has consistently earned both critical and commercial success. The FWA has lobbied, with writer and lyricist Javed Akhtar, for amending the Copyright Act in favour of writers and has also fought several cases against producers to get justice for their members.
Rajabali’s latest engagement is “Cinestaan India’s Storytellers Script Contest”, a one-of-its-kind script writing competition.
Third, directors should understand that a script comes with a writer’s vision, which should be considered and understood before deciding on the changes needed. Those recommendations are examined by me where cross-referencing is done. Over time, Rajabali became a sought-after screenwriter and collaborated with many leading directors and production houses.
“So this is the best attempt we are making right now to ensure that these protocols are adhered to.”
The results of the first edition of the contest were declared last month, with the first prize of Rs25 lakh going to Christo Tomy from Kerala for his story titled The Funeral.
Watch Anjum Rajabali talking about the transparency while judging the contest:
Anjum Rajabali: In Search of a Good Story
Rajabali 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), a course that he founded in 2004.
That’s encouraging too. The PWG has also helped form a National Solidarity Front for Indian screenwriters and has made the FWA prominent on international screenwriting platforms.
The Punch: Tell us about your influences in cinema and literature.
There is a cultural specificity to their writing, which I find very attractive. It is based on the life of Rakesh Sharma, India’s only cosmonaut. But you can never make a good film from a bad script!
The Punch: Who are some of the contemporary screenwriters you admire? Then they are evaluated.