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‘RRR’ Screenwriter Vijayendra Prasad On Stealing Tales And Dictating

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In a candid on-stage presentation on the 53rd Worldwide Movie Pageant of India (IFFI) in Goa, “RRR” screenwriter, V. Vijayendra Prasad confessed that he doesn’t write tales. He steals them.

Prasad was talking on Tuesday at a well-attended session titled ‘The Grasp’s Writing Course of’ that reviewed the octogenarian’s Telugu and Hindi language filmography. This consists of “Magadheera,” “Bahubali,” “Bajrangi Bhaijaan” – and present hit “RRR,” which was didn’t be picked as India’s Oscar contender however is nonetheless a favourite to hitch the Academy Awards race.

“I’m going to our epics for inspiration,” he stated, referencing the Indian epics “Mahabharata” and “Ramayana,” stated Prasad, explaining how he steals tales. He argued that whereas there are not any new tales, there are various feelings and substances that are reused and rewritten.

Vijayendra Prasad

Prasad started screenwriting in his late forties, motivated by “starvation.” Watching movies was his movie college. “I wanted a shortcut to study the craft. I’m a giant fan of ‘Sholay’ and [screenwriting duo] Salim-Javed. I realized by watching my favourite motion pictures repeatedly and picked up rather a lot. In the event you watch [1957 title] ‘Maya Bazaar, even now, you gained’t discover a single wasted body,” he stated.

At present engaged on the sequel to “RRR” and a display screen adaptation of the “Mahabharata,” each for his director son S. S. Rajamouli, Prasad stated, “My story should create starvation within the viewers.”
 
He pays shut consideration to construction and rhythm, all the time considering of delivering a twist on the halfway interval. “Then you possibly can take into consideration what would occur earlier than that incident and what occurs after. I consider excessive factors after which join them. It’s important to create one thing out of nothing,” he stated.

He then shared his method of making a graph with plenty of “clapping factors” and recounted how he takes the viewers from one such level to a different.
 
“It’s important to carry the viewer from one clapping level to the subsequent, until the crescendo. Inside 5 minutes the viewer must be hooked to the film, they need to know the character of the film and the place it’s going to finish. That is the psychological map I observe. After the appearance of OTT and Covid, individuals are solely watching one of the best from all over the world, so don’t waste any scenes. Simply run as quick as you possibly can,” he stated.
 
When requested why his movies have robust feminine supporting characters however no feminine lead, Prasad joked that he would willingly cut back his writing charge if somebody would again one in every of his female-lead story concepts.

Prasad had one additional twist of his personal, when he admitted that he doesn’t really write his tales. “All the story formulates in my thoughts after which when the director and producer approve of it, solely then do I dictate the story. I don’t write myself.”



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