Travelling Ink

Stories, characters and situations are the temperamental companions of a temperamental writer. Often, they remain elusive within the confines of a small studio. "So, we chase them. Run out together, breathe in fresh air, fill our lungs, clear our heads, till it all comes to us and pours out in full flow," says writer-lyricist Sandeep Nath. He is in town for a writing session for friend and fellow-writer-turned-filmmaker Neeraj Pathak's upcoming project, a political crime thriller set in Uttar Pradesh.

It is almost impossible to write amidst the noise of Mumbai, says Nath, who has composed lyrics for Madhur Bhandarkar's Page 3, Fox, Bhoot, Paisa Vasool, Ram Gopal Verma's Sarkar, apart from writing ad jingles and for television episodes. "Writers need silence and isolation. So, we pack our bags and travel all over, whether it's a song or a script," he adds.

"Inspiration seldom hits stationary objects. You have to be a rolling stone, move out, look around, feel the space and words come automatically," says Nath, whop turned to writing after dabbling in journalism and law.

Pathak's directorial debut Right Ya Wrong , a crime thriller starring Sunny Deol and Irrfan Khan, is to be released on March 12. "It's a racy story about two cops and how they reach life's crossroads," he says.

Pathak, who joined the movie industry after devoting five years to theatre, feels a film acquires credibility if it manages to reflect the right culture, ethos and look. "While making Deols' Apne, I spent two months here in Chandigarh , writing and visualizing the whole script and scenes. This helps in understanding and getting the language, clothes, culture, background right," says Pathak.

After a stint in editing and writing for television, Pathak moved to writing film scripts like Subhash Ghai's Pardes Anees Bazmi's Deewangi, Ghaat, Vikram Bhatt's Jurm among others. "You have to be a storyteller to be a good director. All successful directors today, people like Karan Johar, Mani Ratnam, Aditya Chopra or Ashutosh Gowarikar, are essentially writers first. Hence they have a clearer idea about their characters, theme and control over the story," says Pathak. However, sometimes, what finally appears on screen often disappoints him. "In Ghaat and Jurm, there was a vast difference between what I wrote and what was delivered." It prompted his decision to turn to film direction.

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