Lights dimmed and anticipation stuffed the air at IFFI as audiences gathered for a masterclass that felt extra like an energising artistic session than a standard workshop. When filmmaker Rajkumar Hirani arrived on the Kala Academy Corridor, the environment lifted immediately. By the tip of the occasion, writers have been jotting down concepts, editors have been nodding in recognition, and cinephiles have been visibly impressed.

Rajkumar Hirani brings storytelling knowledge to IFFI, breaking down the artwork of writing and modifying: “Writing imagines emotion, modifying experiences it”

Hirani shared sensible insights and clear ideas which have formed his profession. “Writing is emotion imagined; modifying is emotion skilled. The author writes the primary draft, the editor the final. Theme is the soul of a movie, whereas battle is its oxygen,” he mentioned, setting the tone for his session titled “Movie is Made on Two Tables — Writing and Enhancing.”

He described writing as an area of artistic freedom—the place skies are countless, actors are excellent, and no constraints exist. Nevertheless, he emphasised that when this materials reaches the modifying desk, actuality reshapes it. Based on him, a narrative really begins solely when a personality needs one thing deeply, and battle offers the narrative life.

Hirani inspired writers to attract from actual experiences. “A superb author should decide triggers from life. Actual experiences make tales distinctive and relatable,” he famous. He additionally reminded the viewers that exposition ought to mix naturally into the drama and that the movie’s theme ought to quietly information each scene.

Talking with affection for his first craft—modifying—Hirani highlighted the editor’s unseen affect. He defined that whereas the shot is the essential unit of modifying, shifting its context can fully alter that means. “An editor can flip a narrative 180 levels,” he mentioned, including that their work typically stays invisible however is central to holding a movie collectively.

Referencing early cinema, he recalled DW Griffith’s commentary {that a} expert editor shapes viewers emotion. Hirani bolstered this concept with a line that echoed all through the corridor: “The author writes the primary draft. The editor writes the final.”

He additionally underlined the significance of sturdy antagonists. “Each character believes they’re proper,” he mentioned, stressing that the strain between opposing but legitimate viewpoints creates the power that drives a narrative.

Screenwriter Abhijat Joshi joined the dialog, reflecting on the worth of reminiscence in storytelling. He defined that sure real-life moments—humorous, painful, or stunning—stick with individuals for years and infrequently maintain extra authenticity than purely invented scenes. He shared that many such reminiscences helped form 3 Idiots, from the electric-shock joke to delicate character traits impressed by individuals he had noticed.

Joshi concluded with important screenwriting reminders: each character should need one thing significant, battle fuels cinema, and the strongest drama arises when two real truths collide.

Additionally Learn: EXCLUSIVE: Kartik Aaryan, Rajkumar Hirani honoured by Gautam Adani at Subhash Ghai’s Whistling Woods International; Hirani hails Adani’s speech: “I would call it the SHOLAY of speeches!”

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