Imtiaz Ali Reflects on His Artistic Journey from Jamshedpur to Mumbai

Exploring the Evolution of Imtiaz Ali's Artistic Vision

In Screenwriters Inc., Mihir Chitre engages with 33 filmmakers and writers, including notable figures like Sai Paranjpye and Anjum Rajabali. Below are some highlights from Chitre’s dialogue with Imtiaz Ali, the creative mind behind films such as Socha Na Tha, Jab We Met, Rockstar, and Amar Singh Chamkila, as well as the co-creator of the series She.

How did your perception of art evolve from Jamshedpur to Delhi and then to Bombay?

My perspective shifted significantly, influenced by the type of theatre I engaged with—not just as a writer but also as an actor and director.

In Jamshedpur, my focus was on traditional English theatre, where we aimed to master the old dialect. This style came with strict conventions, such as ensuring that an actor's shoulder blade never crossed the audience's line of sight or that they never turned their back to the audience. My writing during that time mirrored this mindset—flowery, somewhat pretentious, and exclusively in English.

Moving to Delhi was transformative; it introduced me to experimental theatre, which also marked my transition to writing in Hindi. Although Hindi was the language spoken at home, I had always written in English until I arrived in Delhi. I still think in English.

At Mandi House, I began producing experimental Hindi plays. The constraints of traditional theatre loosened, allowing for more creative freedom. I also ventured into directing street plays, known as nukkad natak.

Delhi was pivotal for me, as it is a city that challenges you. It has a raw energy that compels you to respond. During my early college years, I found a voice in the city's intensity.

When I eventually moved to Mumbai, many of my narratives were rooted in my experiences in Delhi. For instance, Highway originated from my time there. The initial script was much grittier than the final version. I had been nurturing that story since the late 1990s. While in Bombay, I wrote a play during my time at Xavier’s Institute of Communication, which I was quite proud of as a theatre artist.

How crucial is personal experience in your writing process?

My foundation lies in lived experiences, but I wouldn’t label anything as strictly autobiographical. It begins with real-life experiences, which then take flight through imagination.

Take Jab We Met, for example. The concept of a girl on a train is a fantasy for many young men from small towns like Jamshedpur. I imagined, what if we missed a train together? This led to the story unfolding. While that scenario never occurred in real life, the inspiration came from observing a girl on a train during my youth. Reality serves as the catalyst, while imagination fills in the rest.

Can you share your experiences in television during the 1990s, particularly with Star Bestsellers?

I concur that shows like Star Bestsellers are no longer produced. Back then, the distinction between television narratives and film narratives was not as pronounced as it is today.

I created a film for Star Bestsellers titled Witness. It was a fantastic opportunity to tell a concise story with a clear beginning, middle, and end. In contrast, other television projects I worked on, like Imtihaan, were endless sagas.

For Witness, I immersed myself in capturing ambient sounds, which made me appreciate their significance. My television experience was invaluable; it taught me to write and shoot quickly. In many ways, television was my film school.

How challenging was it to pitch your debut film Socha Na Tha? Can you recount that journey?

After years of writing and directing for television, I was approached by the team at Star while working on Bestsellers. They were developing a new segment that would feature a film in three parts, and they sought a story.

I pitched them an idea they liked, and they wanted it completed swiftly. I went into seclusion and wrote it in three nights, barely leaving my house except to visit the bank for food. However, once I finished, the project was unexpectedly canceled.

Having completed a full script, I reached out to a friend, Sanjay Routray, who now leads Matchbox Films. Together, we sought to pitch it and eventually secured a meeting with Sunny Deol. I traveled to Shimla to present the story.

Imagine pitching a romantic film to an action star, where the hero gets slapped! I was concerned he might dismiss it as too soft for his image. However, he listened intently and, after two hours, asked, ‘Khana kha lein? Bhookh lagi hai.’ (Shall we eat? I’m starving!) I replied, ‘Sir, thoda sa bacha hai.’ (Sir, there’s only a little left). He responded, ‘Picture main kar lunga, bhai. Khana toh kha lein!’ (I’ll make the film, brother. But first, let’s eat!).

That’s how it unfolded. He appreciated the story and instinctively wanted me to direct the film.

In 2008, Jab We Met resonated with many, especially young romantics. How long did it take to write and produce?

The writing process was remarkably swift. I often write to complete the task at hand. Surprisingly, I don’t particularly enjoy writing, especially for films. I prefer directing, as it allows me to have more fun.

I completed the first draft of Jab We Met in just two nights, with only one significant change made to the screenplay before filming began.

Interestingly, a friend of mine, Joy Banerjee, who was feeling down at the time, needed work. I suggested we each come up with an idea and merge them. He proposed a story about ‘a man who wants to end his life,’ while I suggested ‘a girl on a train.’ However, Joy lost interest in developing his idea, so I combined both concepts and wrote the film in two nights.

One aspect I cherish about Jab We Met is how the characters of Krishna and Radha interchange roles throughout the narrative. If you observe, Shahid’s character gradually embodies traits of Kareena’s character, and vice versa.

Excerpted with permission from Screenwriters Inc. – 33 Masters on the Art and Craft of Screenwriting, Mihir Chitre, Om Books International.