‘Sanjayji is so spontaneous that you simply come to know instantly whether or not the dialogue or the script has touched him or not.’
IMAGE: Alia Bhatt in Gangubai Kathiawadi.
What is the key to the success of Sanjay Leela Bhansali’s movies Devdas, Black, Bajirao Mastani, Padmaavat, Gangubai Kathiawadi?
The good writing.
Prakash Kapadia, 60, has been working with Bhansali for 20 years now, dreaming up stunning scenes and penning dramatic dialogues to make sure his films appeal audiences.
Kapadia tells Patcy N/Rediff.com “One day, I reached Bhansali’s workplace and he informed me to provide him the script of Padmaavat. So I requested him to provide me 10 minutes. Then I went to him and narrated the entry of Khilji. He was so completely satisfied, he got here out of his workplace and informed everybody to depart no matter they have been doing, and introduced that the subsequent movie could be Padmaavat.”
The first of am enchanting two-part interview:
Whose concept was it to make Gangubai Kathiawadi?
Sanjayji was planning a movie (Inshallah), which didn’t materialise, and we already had the primary draft of Gangubai written by his assistant (Utkarshini Vashishtha).
He gave it to me to rewrite it.
Since Alia (Bhatt) was going to do the opposite movie, it was already determined that she would do that movie. So I wrote the script conserving her in thoughts.
I knew her strengths. Plus, Sanjayji had completed loads of classes with Alia for the earlier movie and he had given me loads of inputs about her.
Are you current on the units in the course of the making of the movies you have written?
Yes, I all the time go on the units, whether or not it’s Sawariyaa or Black as a result of when an actor or director is caught on the units, as a author, I’ll provide you with one thing new.
Sometimes Sanjayji desires a brand new dialogue or a scene improvised, so I’ve to be there to put in writing it.
There are some sequences we write on the spot.
For occasion, when Alia reworked into Gangubai and dressed within the white sari, I instantly considered this line: ‘Kehte hain Kamathipura mein kabhi amavasya ki raat nahin hoti, kyon ki wahan Gangubai rehti hain.’
I informed Sanjayji. He preferred it and we added it proper there.
Gangubai Kathiawadi has many hard-hitting dialogues like ‘ Arey jab shakti, sampati aur sadbuddhi yeh teeno hello aurtein hai, toh in mardo ko kiss baat ka guroor‘ or ‘Kuwari kisine chhoda nahin aur shreemati kissine banaya nahin. How do such traces come to your thoughts?
If you keep in a selected space, about some issues.
Like, should you keep near a masjid, you’ll know learn how to say the azaan because you hearken to it each day.
I’m all the time surrounded with individuals who like stunning issues. Even my director is like that. Therefore, I’ve to put in writing stunning issues.
The first dialogue is from my one-act play, Manusmriti. I believed it was acceptable on this movie, so I used it.
I’ve used first rate language within the movie, so it’s bit flowery, and isn’t the standard Kamathipura language.
From the primary draft written by the assistant to the final draft written by me, a lot of the scenes have been the identical.
But I’ve written the Ajay Devgn scenes in addition to the dialogues.
I like to put in writing issues that are stunning.
If you see Mother India, Nargis’ character lives in a lot in poverty that she sells utensils to purchase meals for her youngsters. But the altaa on her toes, her lipstick and bindi are intact. I like these issues.
In the olden days, the kotha was an attractive place.
Young boys from wealthy households have been despatched to kothas to be taught etiquette.
IMAGE: Ranveer Singh in Padmaavat.
You have written historicals — Bajirao Mastani, Padmaavat and Tanhaji: The Unsung Hero.
The first movie I wrote was Devdas.
After that, I did Black, which is a biopic on Helen Keller.
I had written a play on her in Gujarati and that I made in Hindi.
Sawaariya was a fictional story.
Bajirao Mastani was a historic, which I wrote proper after Devdas. But due to some casting points (Salman Khan and Aishwarya Rai have been imagined to star within the movie, however they opted out), it went on a backburner.
After 10 years, we determined to do it.
After that, we did Padmaavat as a result of we thought that is the correct age for us to run round and do an enormous movie like Padmaavat the place you’ll have to take a megaphone and provides directions to the massive solid throughout a battle sequence.
After that, I wrote a Marathi movie Katyar Kaljat Ghusali. During its making, I met (Director) Om Raut, who requested me to put in writing Tanhaji.
It was imagined to be in Marathi, however after writing it, we thought the funds of the movie is large and it is going to be tough to get well it. So we determined to make in Hindi.
All historicals are like biopics. They require loads of analysis.
IMAGE: Alia Bhatt in Gangubai Kathiawadi.
Do you might have a job within the casting course of?
Sanjayji shares every part that he’s doing with everybody within the workplace, and asks them what they give it some thought.
He listens to everybody, however later, he decides.
After working for years with him, I do know his course of and he is aware of mine.
When you write for Bhansali, what are the issues that you’ve got to remember? How simple it’s to please him?
When we have been capturing for Bajirao, I began engaged on Padmaavat.
I had not written something, however the course of had already began in my thoughts.
One day, I reached Bhansali’s workplace and he informed me to provide him the script of Padmaavat. So I requested him to provide me 10 minutes.
Then I went to him and narrated the entry of Khilji.
He was so completely satisfied, he got here out of his workplace and informed everybody to depart no matter they have been doing, and introduced that the subsequent movie could be Padmaavat.
I took 5 days — and that is loads of time — to put in writing the speech that Alia offers in Azad Maidan in Gangubai.
When I reached the units, they have been capturing.
I learn out the scene after the shoot was over.
After he heard the speech, he was in tears due to the dialogue,’Aapki izzat ek baar gayi toh gayi, hum toh roz raat ko izzat bechti hain, saali khatam hello nahi hoti‘.
He informed me,’ Kamal ka thought hai Prakash bhai, aapse jyaada izzat hai hamare paas’.
He stated the dialogue was value 5 days of writing as a result of it could work like magic in theatres.
Sanjayji is so spontaneous that you simply come to know instantly whether or not the dialogue or the script has touched him or not.
Once I end writing, I all the time narrate to him. If he does not prefer it, I modify it.
But if I’m satisfied what I’ve written is true, I inform him a second time and put my level throughout. But nonetheless if he does not agree, I hearken to him as a result of he is the captain of the ship.
There aren’t any ego hassles between us.