Write Here, Right Now

We have created an email id (script@exlent.com) so that anybody can get in touch with us. But the only condition that we have placed is that the script needs to be registered before it’s sent to us, otherwise it will create unnecessary conflict. Now, if the synopsis works for us, we ask the writer to send the script across. We have a panel of readers, which consists of eminent people from the industry and other fields. We get two readers to read the script and these are not the same people who have read the synopsis. If the script passes this litmus test, we make a presentation and take it to Farhan Akhtar and Ritesh Sidhwani. Unlike other producers, both Farhan and Ritesh are creatively inclined, so their inputs are extremely important for us. The next step is to sit down with the writer, and with consequent value additions, we aim at creating a better product, and finally when it shapes up the way we want it to, we take it to the actors, and the production commences.

I’m not sure whether other studios follow this route, but we are very clear about this model, which is followed in the most evolved filmmaking cultures like Hollywood.

There is severe competition with many releases each week. And the investment in terms of money, energy and effort on one project has become more intense, which in turn has upped the demand for scripts, which speak out a different idea. But yes, I do agree that we have very few good films that are quality products and can compete with world cinema. I wish our stars who have such a strong fan base go an extra mile to be experimental, and delve into characters and stories that are out of the box. But I see hope in the younger generation of actors who are not scared of trying new stuff and getting into zones that were not explored so aggressively earlier. For example Farhan showed terrific dedication to his character in Bhaag Milkha Bhaag, and even Ranbir Kapoor has achieved stardom by doing films that don’t fit into typical mainstream cinema.

One dangerous ailment that this industry suffers from is insecurity. I know of filmmakers who keep their scripts in a secret locker in office. They are just not comfortable with the idea of sharing the script beyond a certain point, or talking about it. In such an environment, creative discussions and value additions become a distant possibility. But at our production house, once we have decided to back a script, we do focussed reading with a cross-section of people. While developing the script, we might overlook certain things, but such reading throws in some new perspectives, different points of view, which essentially helps our script.

I also feel, there is a serious need of making Hindi films scripts available for the public just like in Hollywood, where it’s easier for people to access scripts, which have been successful in the past and revered by generations of filmgoers. We receive many scripts, but not many writers are aware of the craft of screenwriting. If Hindi film scripts become available, at least there is a reference point for them to start and follow. We intend to do that for our films, and we hope that this can inspire a new generation of writers and filmmakers.

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