00:00Artist Parishrawal, me, Adil Hussain, Revati ji, Tanishka, all of them are fine, but who is the writer?
00:12Satyajit Ray. So the story of Satyajit Ray, now this proves one more thing that some things are universal.
00:21Some things are never outdated. Some things are for all times.
00:25So the kind of stories he wrote, I wanted to know how we started as a storyteller,
00:33because we wanted to pay tribute to Satyajit Ray, who is a very big influence on me.
00:39And we wanted to pay tribute to him on Centenary year.
00:43So in his written story, I wanted to do an original story. I didn't want to remake his film.
00:49So from his original story, we chose this story. And all the stories are in Bengali.
00:55And since I don't know Bengali, I got it read and listened to by a friend and got it written.
01:02And the name of the original story is Golpo Bole Tare Ni Khuro.
01:06So we adapted that story as the storyteller.
01:10And we tried our best, whatever capability or ability we have,
01:21we tried to pay a humble tribute to Satyajit Ray.
01:27And maybe that's why people found it so different.
01:31In the treatment, in the story, Satyajit Ray has everything.
01:41I don't see dialogue as dialogue.
01:45I see dialogue as conversation.
01:48The way we are talking, we haven't prepared anything.
01:52Neither have you prepared anything, nor do I know what I'm going to answer.
01:56But the way we are talking, it seems real.
02:00We mix some English, some Hindi, that's how we talk.
02:06We take some things back, some words.
02:10In real life, or in films, until you don't bring the mirror of real life,
02:16what is this? Everyone thinks that if a great dialogue is written,
02:22people will like it a lot. That was the time, that's gone.
02:26You're quoting someone, or you're doing poetry, that's fine.
02:33That's literature.
02:36But when two ordinary people talk, they'll talk like this.
02:41They won't use any high-flown language or poetic language.
02:46We are that stone, or he is this, with whom you will collide.
02:50Where do we talk like this in life?
02:54But in our industry, our film industry, there is a misunderstanding,
03:01that until you write such strong lines, people won't like it,
03:07or people won't remember it.
03:10So the way you pointed out in a very right way,
03:13that the simple dialogues that we are writing,
03:16like in Storyteller, when Paresh Rawal comes and sits in front of Adil Hussain,
03:22and that whole volume, War and Peace,
03:26he looks at it and says, oh, War and Peace, you've read it all?
03:31People laugh at that. The humour is that,
03:34who will actually read these three volumes?
03:38So he says, who keeps it to read? I have kept it like this.
03:44I feel that by being in front, all this knowledge gets into my mind.
03:48Now this humour, these lines of real life,
03:53people remember that more, and keep it in mind.
03:57So I don't feel it's a dialogue, I feel it's a conversation.
04:06Generations, at least two generations have passed.
04:10Technology has changed a lot, the audience has changed a lot.
04:15There was a time when we were kids and we were in school,
04:18and we grew up on Manmohan Desai's films,
04:22and Prakash Mehra's films,
04:25Vappi Soni's films, Brahmachari,
04:28Dev sir's films, Vijay Anand's films, Raj Kapoor's films, Guru Dutt.
04:32All these films, the Indian films,
04:35we have grown up on those films.
04:38At that time, I noticed one thing,
04:41that whether it's Manmohan Desai's films,
04:45whether it's Prakash Mehra's films, Vappi Soni's films,
04:49whether it's Rishikesh Mukherjee's films, Gulzar sir's films,
04:52whether it's Bashu Chatterjee's films, whether it's Bashubhattacharya's films,
04:56the audience was there for every kind of cinema.
05:00If they would go and watch Guddi,
05:03then they would also enjoy Amar Akbar Antony.
05:06But they knew what the difference was.
05:09Guddi, Anand, Bawarchi,
05:13and the respect they had to give to such films,
05:18the respect they had to give to such films,
05:21the respect they had to give to such films,
05:24and to go and enjoy Manmohan Desai's films,
05:27they did that too.
05:29So, they were aware of the difference.
05:32In today's world, the audience doesn't have that.
05:35They don't have that patience.
05:37Because at that time, there was no other medium.
05:40Television was there.
05:42But they used to show some films on television.
05:45They used to show old films in black and white, not new films.
05:48When video started coming, VHS,
05:51video, and then television premieres,
05:54and now digital platforms,
05:57when all that started coming,
05:59then a lot of mediums came.
06:01Media came.
06:03So, now people have a choice.
06:05Now the tolerance levels have reduced.
06:07It's not like on a Sunday,
06:09we have to watch a film in the theatre.
06:13On a Sunday, we can watch it on our mobile phones.
06:16We can watch it in our home theatre.
06:18We can watch it anywhere.
06:20We can watch it on iPad too.
06:23So, the novelty of the film,
06:26the film-going experience,
06:29even now when I make films,
06:31I make them for a big screen.
06:33I never think that eventually,
06:35it will come on a small iPad.
06:37That's for later.
06:39That was there before too.
06:41When we used to make films,
06:43it used to premiere on a small screen.
06:45But I never make films for a small screen.
06:47I don't visualise.
06:49I always visualise for a 70mm screen
06:51or a wide screen.
06:55So, that fun has gone.
06:59Now, the medium of television,
07:01the style of television,
07:03the style of close-ups,
07:05this has come.
07:07So, the technology also,
07:09the technology that is helping us,
07:11that in visual effects,
07:13you have made a big jump in VFX,
07:17you have made a big jump
07:19in technical things,
07:21the same style has come,
07:23the substance has reduced.
07:25At that time,
07:27technically,
07:29those films were not so great.
07:31If you see Diwaar, Trishul,
07:33or any other film,
07:35it was simple film-making.
07:39But people didn't watch
07:41that film-making.
07:43What is that substance?
07:45Not the style.
07:47What is the story?
07:49What is being said in the film?
07:51What is the character saying?
07:53Do I have to love or hate this character?
07:55What is the motive?
07:57They used to watch that.
07:59300 elephants have come,
08:0110 people are flying in the air,
08:031000 cars are exploding,
08:05seeing this,
08:07people are getting impressed.
08:09So, suddenly,
08:11I don't know whether I should say,
08:13the taste, the cerebral
08:15intellect,
08:17or the film education,
08:19the literacy,
08:21that has reduced a lot.
08:23At that time.
08:25At that time,
08:27there were theatres,
08:29like Akashwani Theatre in Bombay,
08:31Lotus Theatre in Bombay,
08:33in which,
08:35only selected films were shown.
08:37Films of Mrinal Sen,
08:39Ritwik Ghatak,
08:41Satyajit Ray, Adoor Gopal Krishnan,
08:43Arvindan,
08:45all these films were shown,
08:47or Girish Kasravali,
08:49or from abroad,
08:51all the European filmmakers,
08:53Japanese filmmakers,
08:55if you want to watch good films,
08:57you have to go to Akashwani,
08:59or Lotus,
09:01you go and watch the film.
09:03Now, multiplexes have come,
09:05we had a hope,
09:07that there are 6-6 screens,
09:09some have 14 screens,
09:11that a small Audi,
09:13which has 100 seats,
09:15or 80 seats,
09:17can't it be booked
09:19for such films,
09:21can't you keep some screen aside,
09:23which has a ticket for 100 rupees,
09:25or a ticket for 80 rupees,
09:27and for that, there is an audience,
09:29believe me,
09:31why don't you get seats
09:33in film festivals,
09:35where does this audience come from,
09:37because they are hungry for good cinema,
09:39and they have only one chance,
09:41to enter a film festival,
09:43and watch these films,
09:45because these films won't be released later,
09:47so there is an audience,
09:49but you develop that audience,
09:51develop that culture,
09:53literate that audience,
09:55now this storyteller,
09:57is a big lesson for me,
09:59I always used to think,
10:01no, good films don't work,
10:03you try as much as you can,
10:05world cinema, you claim,
10:07but no one will watch your films,
10:09your films are limited to festivals,
10:11no, the storyteller
10:13has disproved that,
10:15that people will smoke out,
10:17smell out,
10:19because they are hungry for good cinema,
10:21so that was a time,
10:23when technology was less,
10:25and audience taste was better,
10:27films were better,
10:29and this is when technology
10:31has taken a lot of strides,
10:33audience tastes have fallen so badly,
10:35and films have no substance left,
10:37either you are copying something,
10:39or remaking it,
10:41but you are not thinking
10:43about new things.
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