Screenwriters From India

"Somewhere in the race to survive in Bollywood, I started telling stories that I believed people wanted to hear, and not the ones I wanted to tell. The ones which ought to be told."

"Sadly, Bollywood doesn’t invest in R&D. That’s why most of our films have no insights to offer. As a result, small, independent films have become the R&D lab for the Indian film industry. These films have to do an extraordinary research, for their only strength is transporting the audience to another universe, where they can feel and relate with the characters, their concerns, and their behaviour. In the mainstream films, the world is unreal, devoid of any real human concern, and the characters are like caricatures. Hence, this kind of cinema ends up becoming ‘Escapist Cinema’. Like a circus."

"They tried to shut me up by painting me as a part of the Hindutva campaign. But it was never about Hindutva. It’s neither about freedom of speech or intolerance. This is a tactic employed to protect their castles. They confuse the issue by bringing in lots of counter news and views. They quote laws. They try to make it look like an anti-RSS, anti-BJP issue. This isn’t about any of the above. It’s about a war against India. In 2010, there was an intelligence report that terror groups were making inroads in Indian universities. Everyone ignored it exactly like when intelligence said Ishrat Jahan was a suicide bomber. They believe in intelligence reports only when it suits them. This is India’s real threat."

"The people who work as their mouthpieces also know very well but they succeed in spreading the lie as they have been controlling the narrative. We broke into it, challenged it and tried to introduce a new narrative. In the last six months, we have travelled in deep Bastar and recorded umpteen stories of Naxal barbarity and exploitation of Adivasis. The awareness the film created has given a lot of confidence to ex-Naxals who have been secretly wanting to share their stories with me. This is the victory of Buddha."

"There may not be a place for the alternate narrative in Naxal-infested jungles, campuses, media and minds but in the world of real, rational and sane people, there is always a place for truth – the only narrative one needs to know. Satyameva Jayate."

"‘But as soon as you enter a university, we witness a radical and communal face of Communism. Here, they propagate the weaknesses and evils of Hindu culture. They manipulate and twist ancient books to misrepresent them and provoke students. For example, they use Tulsidas’ chaupai, without mentioning the rest of the Ramcharitmanas, which is the real context. “ढोल गंवार शूद्र पशु नारी, सकल ताडना के अधिकारी.” Dhol ganvar shudra pashu nari, sakal tadana ke adhikari. ‘The above lines are spoken by the Sea Deity Samudra to Ram. When Lord Ram got angry and took out his weapon in order to evaporate the whole sea, the deity appeared and said the above lines in the context of boundaries that are created by God himself in order to hold his creations. ‘What Leftists do is that they very cleverly translate it literally in Hindi, ignoring the fact that Ramcharitmanas is written in Awadhi and the same word means one thing in Hindi and another in Awadhi. While the literal meaning of the line in Hindi is ‘Drums, the illiterate, lower caste, animals and women deserve a beating to straighten up and get the acts together’, its real meaning in Awadhi is different. In Awadhi, tadna means to take care, to protect. Whereas, in Hindi, the same word means punishment, torture, oppression. Samudra meant that like drums, the illiterate, Shudra, animals and women need special care and need to be protected in the boundary of a social safety net. In the same way, the sea also needs to reside within the boundaries created by God. And hence, Samudra gave the suggestion to create the iconic Ram Setu. ‘Here, Shudra doesn’t mean lower caste or today’s Dalit. It meant people employed in cottage industries.’ I remember there is a book by R.C. Dutta, Economic Interpretation of History, in which he has said that when the Indian economy was based on the principles of Varna, handicrafts accounted for over twenty-five percent of the economy. Artisans and labour who were involved in the handicraft business were called ‘Shudra’. If there was so much caste-based discrimination, why would Brahmins use their produce? Both Dutta and Dadabhai Naoroji have written that the terminology of ‘caste discrimination’ was used by the British to divide Indian society on those lines. Manish continues, ‘Like the British, they provoke young students to believe that Hindu scriptures are against Dalits and women and want them to suffer torture. Young students are emotional and passionate. They come here with the dream of changing the world. The concept of “revolution” attracts them and they get swayed by an illogical logic.’"

"In Bollywood, stars don't support small, meaningful cinema. They are more inclined to support a leave-your-brains-at-home kind of cinema, if only it can be called cinema."

"That day I learnt that in the big fat world of Bollywood, the problem isn’t whether the pyramid should be inverted or not. The problem is there isn’t any pyramid."

"I open the newspapers but there is no news about the sabotage. It would have been national news backed up with protests if I were a Dalit or a Muslim or a Leftist or a liberal. Indian media, especially the metro-based English media, is the most dishonest institution of India. They are always in a hurry, their questions are statements, they have no courtesy, they are arrogant, rude and humiliating. They are always running late for something and, therefore, have no concentration. I am not talking about those hundreds and thousands of hard-working young girls and boys who are running from one breaking news to another. I am talking about those who instruct them to twist the news. Or who twist it themselves to further their or someone else’s agenda. And it’s no rocket science to understand the design of this parallel politics. They have become victims of their own agenda. For the last 70 years, English media has loved to paint any rightist organization, especially RSS, as regressive, uncivilized, aggressive and fundamentalist. Any organization connected with RSS e.g. ABVP is considered a party of goons. Whereas the student members of left-wing parties are considered rebels, revolutionaries, progressive and intellectuals. It’s more like a perception battle. The media has created a ‘group of somebodies’ and a ‘group of nobodies’. Those raising slogans against the State of India are painted as The Superiors and the ones singing ‘Vande Mataram’ as The Inferiors. This is the reason why people like to associate themselves with the left – The Superiors. Some people like to believe they are liberals. Liberals are those who do liberal things, not the ones who are against the right. If you look at the reporting of the Jadavpur University crisis after the seditious JNU incident, they always wrote ‘left-wing students’ and ABVP goons or outsiders. I realized this when a journalist asked me at JU, ‘What do you have to say about the presence of some outsiders, ABVP goons?’ I wondered, ‘Aren’t they students here? Aren’t they called Akhil Bhartiya VIDYARTHI Parishad? Vidyarthi means student.’ She was taken aback and said ‘But…no… yeah… But…’ I knew she had no answer, only biases. I again asked her, ‘Aren’t they students of the same university? What do they need to do to be recognized as students? Raise anti-India slogans?’ She got upset and left me to cover the protesting students – the real students, according to her."

"Another problem with our media, intellectuals, elites and posh class is that they are always negative. Desperate. Insecure. All signs of a weak institution. They are scared that if the hungry masses get empowered, they will destroy their empires built on the blood and sweat of the same people. That’s why they constantly try to keep the masses deprived, and their very existence in fear. They never let the masses forget who is Superior and who is Inferior."

"Read the book because some people don't want you to."

"The intellectual hierarchy has been demolished. It’s a sad commentary that in the world’s largest democracy, writers’ protest has become a subject of jokes. The power-hungry artists, writers, academics, and media-persons in India waste a huge amount of time making political statements to hide behind their lack of intellectual stands. Michel Houellebecq wrote Submission, a strong political statement; he didn’t get press coverage for returning some award. The lustre is gone from our intellectual discourse. Secularism has lost its ideological currency. Artists, writers, activists are all suspect. Media czars have lost their access to the corridors of power and to people’s hearts. It’s the overclass’ space that has been taken over by the underclass. Their discomfort is with the new order where the others are also heard. Hence, the feeling of shrinking space. They are intolerant of this new phenomenon – the emergence of the underclass. They try to devalue this new, empowered underclass by associating it with Modi and, therefore, Hindutva, and that’s a grave mistake. The universe that was full of their voice has expanded to accommodate this new voice. This is what they call an attack on FoE and growing intolerance."

"They work exactly like religion. Most religious books are based on fear. If you do this, that will happen. Nobody knows what ‘this’ or ‘that’ is. Social justice, if it has to come, will come only from a free and fair market. Why didn’t our liberals tell us this simple truth? When agendas, vote banks, and self-delusion take over, reasoning and sympathy are needed to keep up a common conversation. Without it, there is aggression, deafness, and an obsession with purification; hence the divisive politics of Boutique Liberalism. Boutique Liberalism is an Indian tragedy and a very damaging detour into the quicksand of communalism. Indian Liberalism has come to mean the colour opposite of saffron. That’s their failure. In a desperate attempt, their new mantra is – ‘We don’t care if you are a murderer, we want to know whether you are a liberal or a Sanghi murderer?’"

"A pattern is emerging. The Urban Naxals are installed in top institutes. Institutes which matter, which engineer the narrative. They are using these campuses as ‘intellectual training zones’. Like in the military, no point of view other than the combat is allowed to enter a soldier’s mind; in these campuses, no narrative other than theirs is allowed to pass through the minds of their intellectual soldiers."

"[He said:] ‘Students belonging to SC/ST are attracted to Leftist propaganda because of the fraud theory of Aryan-Dravidian divide. Leftists have also misrepresented Indian epics like Manu Smriti and manipulated Indian history books to brainwash students. Students from Kashmir with a jihadi mentality easily get attracted towards Leftists as they both have a common agenda of weakening India.’"

"With no avenue left, I published a blog titled ‘15 Communal Questions to The Secular Bollywood’, which went viral. The response came from unexpected quarters – the real India. People who couldn’t articulate their thoughts but felt strongly against the intellectual discrimination and fakeness of secularism started connecting with me. Mine was the lone Bollywood voice of dissent against a very powerful cabal of Leftists who wanted Modi’s head. They say that big fires start with small sparks and that you climb Mt. Everest by taking a small step."

"Both the worlds are so polarized. So different and contradictory. Yet, they have some things in common. Complexity, chaos, and conflict. And there is no place for any other narrative."

"We have moved from nationalization to liberalization to globalization but our narrative remains stuck in the 1960s-70s. They hide their regressive ideology behind a fake humanitarian concern in the name of art or indie cinema. All film festivals are their properties. If you are not part of the club, you’ll never be invited to these festivals. David Dhawan, Rohit Shetty, Feroz Nadiadwala and other commercial filmmakers, whose one film makes more money than the films of all the filmmakers of this club put together, are never seen in such festivals. The media loves this club because it helps the media’s agenda. The media gets intellectual support and in return, they get good reviews. They have become the voice of Bollywood. When I started questioning this unfair equation, they started unfollowing me. Then they started blocking me on Twitter. And, slowly, from their lives."

"She sat quietly in one corner of the sofa, the end of her sari drawn modestly over her hair. Like the motionless illusion of a madly spinning top, she was staring vacantly into space."

"How as a young girl, Ismat Chugtai convinced her father to excuse her from learning how to cook, and give her instead the opportunity to go to school and get an education: “Women cook food Ismat. When you go to your in-laws what will you feed them?” he asked gently after the crisis was explained to him. “If my husband is poor, then we will make khichdi and eat it and if he is rich, we will hire a cook,” I answered. My father realised his daughter was a terror and that there wasn’t a thing he could do about it."

"I have huge respect for Sridevi ji as a flag-bearer of the southern film industries in Mumbai for many years. I wish her all the best. And I wish Mom a big success. The trailer looks very intriguing and promising."

"We're still in a daze. We're still processing it. It's leapt beyond every expectation of ours so right now if you ask me, I feel surreal. It'll take another month or so for me to actually realize the scale at which the film has worked."

"Can there ever be enough of kindness, generosity and praise?"

"Without my family I’m nothing, they kept me in the right place, I believe that I’m the luckiest person in the country when I’m with them."

"I don’t think my lifestyle will change. This is how I am. This is where I am comfortable."

"In a deeply interconnected world, there is no 'other'."

"We are closer to understanding ourselves and our environment than we were two centuries or two thousand years ago, so we are definitely more equipped with knowledge and information than the Buddha was, or even Darwin was. Darwin didn’t know about DNA, we know about DNA. Just imagine if we could go back in time and inform Darwin about DNA or inform Buddha about it. What they were dealing with was intuition, with a logical breakdown of what they had observed. We have scientific tools for those things. We are using the energies of the past to create something new and I’m very confident that what I’ve done has never been done before. I feel no pressure about it, I’m just taking the next step."

"One singular aspiration in all my work is to attain the state of awe. And what is awe? Awe is when you come across something that is infinitely complex and inexplicable by all your memory and thought systems — and yet comprehensible in a singular gasp of experience. It is an incredibly important emotion for me - the inexplicable is an invitation to engage with the cosmic void that humanity has been in a constant dialogue with for 250,000 years. And for the longest time, the void hasn’t answered back. In the last century, we have steadily found relevant answers, exponentially accumulating and organising into a more holistic meaning. A century ago the narrative was (and it still is, in many places) that if we probe too much into our universe and selves, we would lose out on our capacity of wonder, but exactly the reverse that has happened. When we’ve looked into the molecule we found the atom and when we looked into the atom we found the electron and when we’ve looked at the electron we have experienced sheer awe at its quantum probabilistic nature. So each time the scope of awe has expanded— expanding with it, our foresight, worldview and free will — for me, a film has to grasp that, and translate that experience."

"The ability and the desire to transmit knowhow, intention, and insight to others around us have co-evolved with humanity itself. Mixed reality is a huge milestone in that human project of record keeping, perspective sharing, empathising, and merging with the ‘other’, a project that began with the first cave painting, or even earlier."

"We now remain, at least on paper, one of the last few countries in the world, where if you don’t die successfully, you’ll go to jail for attempting."

"As a child, I wanted to become a scientist, a magician, a poet, an architect, an illustrator, a sculptor, an actor, a philosopher, a photographer, a playwright and an animator. So by the time I was 13 or 14, I was convinced that it would be possible to a be of all of these if I made films."

"Ship of Theseus writer and director Anand Gandhi is one of those remarkable people who seem to know nearly everything and yet doesn’t boast about it or try to make you feel small."

"Seekers of meaning may not find meaning, but they do find each other. (From 'Eulogy for a Friend')"

"The promise of survival beyond individual death or dispersion appeals to the most primal driving force of existence. Promises of transcendence have evolved out of the thriving desire to ward off the inevitable threat of individual death. Most systems propose a more or less perfect immortality – one where memories, hopes, desires, knowledge and even experiences survive the death of the physical body. An engagement and acceptance of this meme makes death particularly irrelevant. The upholding of the promise at the cost of individual sacrifice becomes acceptable. Individual sacrifices even become necessary in validating the promise."

"Simulation systems (mathematical models, philosophical thought experiments) that don’t have real world applications are like SPACs - shells with all the paperwork in place till something operational is ready to merge into them."

"My new fav person to discuss tech, ethics, and the future - filmmaker Anand Gandhi."

"What if we were as concerned with what we put into our minds as we are becoming with what we put into our bodies? What if there was inalienable evidence that culture is as important as food - would we scorn at junk culture?"

"The most authentic and penetrating of Premchand’s portrayals center around village life. This was a life he knew intimately , since he had grown up in a village. Then as a teacher, and later an inspector of schools, he travelled extensively through the villages of eastern Uttar Pradesh."

"Through his writings he attacked and exposed many social evils of his time. In one of his earlier published in 1907 in Hindi, Prema, he describes the plight of child widows ostracized by Hindu society. The hero of the novel marries the child-widow Prema . Premchand himself flouted tradition, when at about this time he chose to marry a child widow. Shivrani devi, refusing the dowry he could easily have asked and obtained."

"Like the great Indian writers of the nineteenth and early twentieth centuries, such as Rabindrnath Tagore and Bankin Chandra Chatterjee in Bengal, and Subramanya Bharati in Tamil nadu, premchand’s work was fired by a sense of intense nationalism, but he did not live long enough to see his country gain freedom."

"Nervous like a knife, he cuts clear through hypocrisy and falsehood."

"Also Premchand can not be seen in isolation. He has to be placed in the colonial dispensation (that aimed, besides political subjugation at cultural conquest as part of its imperialist design) was integral in Premchand’s writings. Any viable reaction to this confrontation had to have a differential mix of both the new and the old."

"If ever anyone did something which might provoke communal sentiments, Premchand not only put down the incident but endeavoured to eradicate the very basis of such differences. Considerations of high and low, Hindu and Muslim, and untouchability were all anathema to him."

"A man's worth is not measured by his wealth but by his character and deeds."

"The rich never go hungry, but the poor are always starving. This is the real tragedy of our society."

"Premchand’s stories have a mixed legacy. Seen from a contemporary view point it is easy to see his ideal of womanhood the basis for women’s continued subordination withing the patriarchal family."

"Premchand wanted more than just political freedom for his country. he wanted greater social and economic justice. He wrote in one of his short stories, he said, “We are fighting for more than freedom- to reduce oppression, to raise culture, clean homes, smiling children, enlightened universities, honest law courts."

"It is the duty of a writer to protect and argue in favour of those who are oppressed, sufferers, whether an individual or a group deprived."

"If a woman does not get love in her life, it is better for her to die."

"In another novel titled Suhag ka Shav quoted in page=93"