Ten days more: How’s it going?

Deadline alert: Hope you guys have had some time to crystallize your
thoughts. Now, it’s time to put them down on paper and start drafting
your concept note and send it to chennai@screenwritingindia.com before deadline of July 25.

Just copy-pasting Mr. Hariharan’s guidelines again:

The concept note should be around 400 words containing the following:

1. Your attitude towards Chennai- what is that which fascinates
or irritates you most or even makes you have a love-hate relationship
with her!
2. How do you propose to develop this stance into a narration, be
it fictional or even non-fictional?
3. A rough gist of the synopsis (100 words) that you would like
to submit
4. Any other remark that you would like to make to prove your
seriousness and passion

I spoke to Mr. Kamal Haasan last night and he was curious to know what
we’ve got until now. He’s also clarified that you guys can send your
concept notes in Tamil too if feel English cramps your style in
writing about Madras.

Again, Tamil isn’t mandatory, it’s just another language apart from
English we will accept entries in. (At the script level, you can add
any other regional language line/s if you feel it contributes to the
topic).

Just to remind you guys again, that Chennai has to be the protagonist
or the antagonist of the film. It’s not about taking an existing story
and planting it in Chennai but about telling a story which is
essentially about Chennai so much that if you take Chennai out of it,
there should be no conflict or story.

We will start sending out acknowledgments to your entries from July 18, 2009.

All the best,

Sudhish Kamath

Project Chennai: Part 2

Jean Claude Carriere shares his approach to writing films.

Please note: Only participants of the Chennai International Screenwriting Workshop are eligible to participate in this initiative.

Project Chennai: Part 1

Kamal Haasan and K.Hariharan announce the launch of Project Chennai Alias Madras, born out of the Chennai International Screenwriting Workshop organised by Raajkamal Films International. Mr. Hariharan, Director of the LV Prasad Film and TV Academy outlines the rules and Mr. Kamal Haasan shares his vision and talks about his association with veteran writer and Academy-award winner Jean Claude Carriere, who flew down to get the short film movement started in Chennai. This is the first part of the video that features Hariharan and Kamal Haasan. Also check out Mr. Jean Claude Carriere talking to the students on the connection between cities and films in the second part of this video titled Project Chennai Part 2.

Only participants of the Chennai International Screenwriting Workshop are eligible to participate in this initiative.

Chennai Alias Madras

Dear Friends,

I am sure all of you must have felt exhilarated having Jean Claude Carriere start off the post workshop screenwriting project.

His presence and assurance of continuous support to our ideals will certainly fuel us to bring out the best in us in order to give back to cinema what she has given us over the past 110 years!

We at Rajkamal Films International and on behalf of all of you at the Screenwriting workshop express our heartfelt thanks to Jean Claude Carriere for the encouragement given to take this movement forward!

As an extension of the screenwriting workshop we have finally found a way to make a practical attempt to write for the screen. Thanks to this step the mentoring process will now have a focus and conviction since there is a project at the end. With this in mind, to ensure maximum spread among participants and optimum quality of writing it has been decided to adopt the short film format of 10 minutes. We will therefore develop the project around an anthology package of about 30 short films

The subject of this anthology will be ‘Chennai’ and all participants are requested to let their creativity loose on the various possibilities that can develop ‘Chennai’ as a concept. Since Chennai also boasts of a variety of ethnic/ linguistic diversity, the language of the film could be the writer’s preference.

The narration could be either a realistic documentary style or a fictional mode or even a mix of both! You could visualize it as an animation film or even as an experiment in digital cinema. The concept note should evoke your deep urge to express along with a solid informational base to substantiate the credibility of the feelings expressed.

Participants will need to submit a single page concept note to the RKFI panel at chennai@screenwritingindia.com

You may choose to write alone or in collaboration with other participant/s. The deadline is the 25th of July ‘09. We shall accept only one entry from a participant, as an individual or as part of a group.

The panel will select the best 60 concepts and request the participants to work out the 10 page screenplay. In the next week or so we shall provide the precise formats and templates that will be required to be adhered to in the process of writing the final screenplay. In the long run this will also help us develop an appropriate Indian way of writing for the screen

Out of the 60 screenplays submitted, 30 screenplays will be selected and their writers will be asked to come to Trivandrum, a few days prior to the International Film Festival. They shall be mentored to fine tune it for further clarity and also for purposes of scheduling and budgeting. These chosen screenplays will then be sent to a panel of well known directors and actors for further development

Hopefully, if all goes well, we should go on floors by March 2010 and writers will be requested to come on location to see their works transform into ‘butterflies’!

Let’s hope for the best and wishing you all the drive and conviction to bring out the best in each one of you!

Warm regards

Kamal Haasan

Anjum Rajabali writes…

Guidelines for further learning and follow-up to the Workshop

I. Recommended books:

1. “The Art of Dramatic Writing”, by Lajos Egri (first published in 1943, this excellent book by a teacher of playwriting captures all the essentials of what constitutes good drama)
2. “The Hero With a Thousand Faces”, by Joseph Campbell (while this is not a writing text, it is a study of world mythologies which expose us to the rhythms of our characters’ journeys based as this pattern is in a deep understanding of the human unconscious. A seminal and precious work for every screenwriter.)
3. “Screenwriting 434”, by Lew Hunter (Regarded as one of the most respected teachers of screenwriting in America, Hunter has adapted his course at UCLA, where he was the head of the screenwriting department, into this lucid book with a classroom approach.)
4. “Story”, by Robert McKee (regarded as America’s most influential screenwriting guru, McKee’s understanding of mainstream Hollywood narrative is impeccable. Unfortunately, that is all that this is good for really.)
5. “Poetics”, by Aristotle (Leon-Golden edition. Strongly recommended)
6. “Tools of Screenwriting”, by David Howard (Interesting approach to writing. Nice book.)
7. “Writing the Character-Centred Screenplay”, by Andrew Horton (Desirable)
8. “Adventures in the Screen Trade”, by William Goldman (Enjoyable insights into the industry mentality)
9. “Alternative Scriptwriting”, by Jeff Rush and Ken Dancyger (Interesting examples of departures. Not necessarily always useful, though.)
10. “Four Screenplays”, by Syd Field (Good format. Nice intereviews with the writers of those four films.)
11. “The Craft of the Screenwriter”, by Joel Brady (Detailed interviews with six greats. A good read.)

Note: Around half a dozen books a year are released on screenwriting, most of them from the US. Reading too many ‘to-do’ books can confuse you and undermine your free-thinking. However, in-depth interviews with screenwriters are always useful.

II. Recommended films:

1. Chinatown (Dark theme, complex characters, tragic ending, difficult screenplay. But, one of the finest to come out of Hollywood)
2. Casablanca (Regarded as one of the best screenplays from Hollywood. So simple as to be almost elementary. Definitely worth studying closely.)
3. 12 Angry Men (A tightly-structured screenplay entirely placed in a single room. Notice the arcs of transformation of different characters.)
4. It’s a Wonderful Life (The reluctant hero, who is capable of exemplary heroism. And of course a compelling theme. Trivia: The idea for this script came from a Christmas greeting card!)
5. Fugitive (Quite a definitive thriller. Very clear structure and defined motives even as the intentions change with the growth of the character – including a definite mid-point where his response to his situation undergoes a sharp reversal. Disappointing action climax, though.)
6. Witness (Good combination of premise and theme.)
7. Zodiac (Another way of crafting a thriller, elaborate and open-ended, in a way.)
8. Amores Perros (Three separate stories linked only by their theme and by an individual incident.)
9. Children of Heaven (You don’t need a universally BIG premise for a touching story. It can be merely about a lost pair of shoes, but the effect of that on the characters has to be strong.)
10. Eternal Sunshine of the Spotless Mind (Written by one of Hollywood’s most interesting contemporary screenwriters, this very unusual premise has been structured in a most energetic and involving way. See all of Charlie Kaufman’s films.)
11. Big Fish (Tim Burton’s experiments with narratives continues. What is fantasy, and what is reality? After a while, does it matter really?)
12. Sweet Sixteen (Ken Loach’s touching, rousing and heart-rending account of a boy in Ireland. See all of Ken Loach’s films.)
13. Dead Girl (Telling the story of one dead person from the povs of different characters who knew her, and how character is revealed thus.)
14. The Machinist (A character believes his delusions to be reality. Quite well done.)
15. Cronicas (A dramatic but incisive and uncompromising story about how media-persons manipulate reality with tragic consequences.)
16. No Man’s Land (An entire screenplay loaded with huge ethnic conflict depicted entirely in a narrow, tense space during a war.)
17. Amadeus (Powerful theme of envy, keeping your sympathies entirely with the envious protagonist who is an anti-hero. Excellent opening sequence.)
18. Verdict (Rather compelling script of how a character rises from the ashes to some glorious heroic victory.)
19. Battle of Algiers (A bold powerful and different way of telling a story. While it is made to look like a documentary, it is actually a feature film and was entirely scripted.)
20. Deewaar (One of the better scripted Hindi films. Good to study.)
21. Aakrosh (Notice the transformation of the character, as the plot intensifies. While telling the front-story of the lawyer and his case, the script brings out the exploitation of tribals so effectively.)
22. Jo Jeeta Wohi Sikander (Once again, notice the arc of the character.)
23. And another 100 that you already know about or will discover. Watch as many films as you can!

Some general recommendations:

1. Read at least one script a week. (You can download hundreds of scripts free from http://www.script-o-rama.com)

2. Transcribe the step-outlines of at least 5 films that you love over the next three months. Then compare it closely to the respective films. This way you’ll learn how the written word translates into a picture, and you’ll also learn to appreciate the precision of the screenplay.

3. Some useful websites:
i. http://www.creativescreenwriting.com
ii. http://www.screenwriter.com
iii. http://www.screenwritersutopia.com
iv. http://www.mythworks.net
v. The above are just a few interesting ones. If you google your choice of words, you ought to get hundreds of suggestions off the net.

4. For those of you who may consider doing a full-fledged course in screenwriting, there are two options currently available:

i. The Film & Television Institute of India (FTII), Pune has a one-year intensive programme in screenwriting from which you emerge with one full script, one full treatment, and five pitches. http://www.ftiindia.com/newftii/index.html

ii. Whistling Woods International, Mumbai, offers a two-year programme in screenwriting which includes a six-month semester that familiarizes you with all the different disciplines of film-making. After two years, you emerge with two full scripts, two treatments and five pitches. (For this year, it also has a one-year programme, the output of which is similar to the FTII course.) http://www.whistlingwoods.net

5. And above all, read lots of literature, especially classics – in any language that you can.

For June 19: Directions/ Accommodation

The session with Jean Claude Carriere will take place at the Prasad Lab Theatre AND NOT at the LV Prasad Film and TV Academy. The Prasad Lab theatre is further down Arunachalam Road after you cross Prasad Studios when you are coming from Vadapalani.

After AVM Studios, take the right to Arunachalam Road and you will find Prasad Labs on your right within about 800 metres, after crossing Prasad Studios (400 metres).

If you are coming from Chennai Central:
By Auto: Rs. 120 – Rs.150

If you are coming by bus:
From Chennai Mofussil Bus Terminus, Koyambedu or Koyambedu Bus Terminus
By Auto: Rs. 40- Rs.50

View Larger Map

If you are coming from the Chennai Domestic Airport,
By Auto/Prepaid Taxi: Rs.200 – Rs. 225

View Larger Map

Outstation candidates are not expected to participate but are welcome to attend. We will be screening a few short films from 2.30 p.m and Mr. Kamal Haasan will announce the topic and elaborate on his vision for the group by 4 p.m. We will put up all details online for the benefit of those who could not make it.

Out-of-towners who desire to make it to Chennai are requested to make their own accommodation arrangements. The event would wrap up by 7 p.m. and you will be able to take the last bus or train or flight out.

The hotel closest to the venue is Maurya International, Vadapalani, about a kilometre away from the venue. But since none of us have stayed there, do check it out at your own risk.

Do take a look at the map below for the location of the hotel.

View Larger Map

From book to film: Kamal Haasan recommends

1. Cyrano de Bergerac by Edmond Rostand has a few film versions, the notable ones starred Jose Ferrer (1950) and Gerard Depardieu (1990).
2. Spartacus the Howard Fast novel was turned into a screenplay by Dalton Trumbo and directed by Stanley Kubrick
3. A Clockwork Orange by Anthony Burgess was turned into a screenplay for Kubrick.
4. The Last Temptation of Christ, a novel by Nikos Kazantzakis, was translated to film by Scorsese.
5. Being There, a novel by Jerzy Kosinski, was turned into a screenplay by Kosinski directed by Hal Ashby
6. Trainspotting, the novel by Irvine Welsh, was adapted by John Hodge for Danny Boyle’s film
7. Perfume, the novel by Patrick Suskind, was rewritten by Tom Tykwer for film
8. Chitty Chitty Bang Bang, a novel by Ian Fleming, was turned into a screenplay by Roald Dahl and Ken Hughes.
9. The Curious Case of Benjamin Button was a short story by F Scott Fitzgerald, which was fleshed out as a screenplay by Eric Roth for David Fincher’s film.
10. Forrest Gump by Winston Groom was a novel turned into film by Groom and Eric Roth.
11. Marathon Man, a novel by William Goldman, turned into a screenplay by Goldman himself.
12. Magic, a novel by William Goldman, was turned into a screenplay by the author and directed by Richard Attenborough
13. Bram Stoker’s Dracula was turned into a screenplay by James V Hart for Francis Ford Coppola
14. And of course, The Godfather, a novel by Mario Puzo, was translated to film as the Godfather trilogy, written by Puzo and Francis Ford Coppola.

For our Telugu students: Mr. Gollapudi Maruthi Rao recommends

Films

1. Yogi Vemana: Directed by K.V.Reddy (Vauhini Films) Featuring Chittooor Nagayya, M.V.Rajamma

2.Laila Majnu: A great movie that made waves as a love story. Featuring Akkineni , Bhanumati; Music:Subbaraman; Director:P.S.Ramakrishna; Bharani Films

3.Shavukaru: The first realistic movie and the first movie produced by Vijaya Pictures, Director: L.V.Prasad; Featuring N.T.Rama Rao, Janaki (First film for both)

4.Deeksha: Directed by K.S.Prakasarao. A  children’s film which was a resounding hit. Atreya wrote his first ever lyric in it. Featuring G.Varalakshmi and new actor Ramagopal
(This was his first and his last film)

5.Devadas: A legendary movie. Though this film was made any number of times in Indian cinema, it is said that Devadas is the best. Directed by Vedantam Raghaviah, Music:Subbaraman. When he died during its making, his asst. M.S.Viswanathan made the history with the song “Jagame Maya”. Production: Vinoda Films.

6..Malleswari: An astounding period drama based on a fiction story by Palagummi Padmaraju. Featuring: N.T.Rama Rao, Bhanumati; Director: B.N.Reddi. It is known for everlasting melodies of S.Rajeswara Rao, music director and Devulapalli Krishna Sastry, Lyricist.

7.Vipranarayana: The story of famous Alwar Tondar Adi Podi Alwar. Featuring Akkineni and Bhanumati. Directed by P.S. Ramakrishna, Music: S.Rajeswararao.

8.Maya Bazar: All time great Children’s Film, it is said. By K.V.Reddi. For N.T.Rama Rao, it is the beginning of mythological metamorphosis. Featuring N.T.Ramarao, Akkineni, S.V.Ranagarao, Savitri. Produced by Vijaya Pictures.

9.Mooga Manasulu: A nostalgic love story with a myth and romance that is platonic. Featuring Akkineni, Savitri. Directed by Adurthi Subbarao. Produced by Babu Movies.

10. Manushulu Marali: A neo-realistic story with leftist ideology, an adaptation of a Malayalam Movie. A thought provoking theme.Featuring Sarada, for which she received the National Award. Directed by V.Madhusudanarao

11.Pratighatana: Another realistic movie. A path breaking movie. Featuring Vijaya Santi. Directed by Krishna. Produced by Usha Kiron Movies.

12.Sankarabharanam: Directed by K.Viswanath, Produced by Edida Nageswara Rao. Made waves all over the country. Featuring J.V.Somayajulu and Manju Bharagavi. Production: Poornodaya Art Creations

13. Swati Muthyam: Directed by K.Viswanath, Produced by Edida Nageswara Rao. Production: Poornodaya Creations, featuring Kamal Haasan and Radhika

14. Sakshi: Directed by Bapu. Written by Mullapudi, featuring Krishna and Vijaya Nirmala.

15.Osey Ramulamma: By Dasari Narayana Rao, it reflects the change of ideology and social revolt. Featuring Dasari, Vijaya Santhi.

16.Aitee: Just Yellow Private Limited. Directed by Neelkantham. New wave cinema.

17.Shiva: By Ram Gopal Varma. A departure from hackneyed cinema. Violence and retribution as a melodrama of youth has been employed.

Books:

1.Ekaveera: Novel by Viswanatha Satyanarayana (It was made into a film eventually.)

2.Chivaraku Migiledi: Novel by Butchi Babu

3.Alapajeevi: Novel by Ra.Vi.Sastry

4.Mahaprastnam: Modern verse by Sri Sri

5.Anubhavalu-Gnapakaalu: Sripada Subrahamanya Sastry (Reminiscences)

6.Amrutam Kurisina Ratri: Modern Verse by Bala ganagadhara Tilak.

7.Kanya Sulkam: Play by Gurazada Apparao

8.Varavikrayam: Play by Kallakuri Narayana Rao

9.Kallu: Play by Gollapudi Maruthi Rao (Sahitya Akadami Award and Best Script Nandi Award)

10.Sayamkalamaindi: Novel by Gollapudi Maruthi Rao – Sahitya Akadami Award as the best Novel.

11. Himajwala: Novel by Vaddera Chandidas

12. Stories of Kodavatiganti Kutumbarao

13.Stories of Tripuraneni Gopichand

14. Keishna Paksham by Devulapalli Krishna Sastry

These are only sporadic selections from an ocean, Mr. Maruthi Rao adds. Mr. Kamal Haasan also recommends Sagara Sangamam.

Kamal Haasan recommends

Virgin Spring (Jungfrukällan), Ingmar Bergman                                        Wages of fear (Le salaire de la peur), Henri-Georges Clouzot
Rashomon, Akira Kurosawa                                     
The Cranes are flying (Letyat Zhuravli), Mikhail Kalatozov
Das boot, Wolfgang Petersen
Amadeus, Milos Forman
Hair, Milos Forman
Duel, Steven Spielberg
The Tenant (Le locataire), Roman Polanski
Chinatown, Roman Polanski                                        
La strada, Federico  Fellini
Au hasard Balthazar, Robert Bresson
The Brutalisation of Franz Blum (Die Verrohung des Franz Blum), Reinhard Hauff
In a Year with 13 Moons (In einem Jahr mit 13 Monden), Rainer Werner Fassbinder
The 400 blows (Les quatre cents coups) Francois Truffaut
Code Unknown: Incomplete tales of several journeys (Code inconnu: Récit incomplet de divers voyages), Michael Haneke                                                                
Amelie (Le fabuleux destin d’Amélie Poulain), Jean-Pierre Jeunet
Cinema Paradiso, Giuseppe Tornatore
301, 302, Cheol-su Park
Three Colours: Blue/White/Red, Krzysztof Kieslowski
The Decalogue (Dekalog), Krzysztof Kieslowski
A short film about killing (Krótki film o zabijaniu) Krzysztof Kieslowski
Life of Brian, Terry Jones, written by Graham Chapman
Being there, Hal Ashby
The Party, Blake Edwards
&
Birth, Jonathan Blazer, written by Jean Claude Carriere

* * *

Note from Mr. Kamal Haasan: The Tamil films below are not to be compared with the above list of international films unless you like self flagellation.
These films dared to go against the pundits opinion of how films should be. They fought the market to create new trends. Some were made in a shoestring budget and some at great financial risk. Mumbai Express was made with a 3CCD camera and Pushpak with Rs.30 lakhs

Tamil                                                              
Ennadaan Mudivu W/D K.S. Gopalakrishnan                                                
Saadumirandaal W/D Thirumalai/Mahalingam
Kaaval Deivam W/D Jayakanthan/K.Vijayan                                                                    
Yaarukkaaga Azhuthaan W/D Jayakanthan
Avargal W/D  K.Balachander                                                                                                 
Manmatha Leelai  W/D K. Balachander                                         
Aval Appadiththaan   W/D Ananthu/Rudhraiah                                   
Nayagan W/D Mani Rathnam                                                    
Kallukkul Eeram W/D Selvaraj/ Bharathiraja
Thevar Magan W/D Kamal Haasan/ Bharathan
Mahanadhi W/D Kamal Haasan/ SanthanaBharathi
Alaipayudhe W/D Manirathnam
Hey Ram W/D Kamal Haasan
Anbe Sivam W/D Kamal Haasan/ C.Sunder
Mumbai Express W/D Kamal Haasan/ Singeetham
Virumaandi W/D Kamal Haasan
Paruththiveeran W/D Ameer

W: Written by
D: Directed by

Mr. Kamal Haasan writes…

Dear writers,

Most say the workshop was a success. There has been some criticism as well. In my appraisal, we have just started and it is too early to comment.

No one has the final word on this business yet. For that matter, any business.

Writing screenplays will keep defying definitions as the platforms they are written for keep changing.  E.g. the early Nickelodeons needed one kind of writing, so did the silent shorts and features. Then sound… Even color made a difference to writing. Writing a short interactive three-minute daily series is going to be even more challenging.

I have a clear vision for our crowd, a dream if you fancy it. My vision though, should never be mistaken for a directive or a rule.  I can only blaze this trail with willing walkers.  Leading is not the top priority for me… reaching our goal is.

The screenwriting workshop is a means to an end. One good way to tell a story is when you have decided the end.  I have. So be warned that this workshop you have attended is just an initiation not to be mistaken for a summit.  It is your introduction to the task in front of you. We pride ourselves in having chosen you but proving us right or wrong is purely your prerogative.

Mr. Jean Claude Carriere has been watching this little progress we have made and wants to help.

I trust him as a comrade in arms and the battle ahead will need the strongest sort.

He will be here in Chennai to talk to you on the 19th afternoon. You have approximately a week to prepare.

Join us on the 19th afternoon for an interaction with Mr. Carriere and to listen to plans for the future of this group.

All are welcome but they will carry their identity or the certificate to validate entrance. When I said all, I meant all of us. Not anybody.

Cheers

Kamal Haasan