It was very early in my career and I learnt a lot of things about screenwriting in that film. I always say there are four writers in Satya: Anurag and I (who are officially credited), then Ram Gopal Verma, of course, who directed the film, and then the actors. A lot of things that weren’t in the script found their way in because of the actors. Satya was a bound script that the two of us wrote and then it was rewritten at the time of filming – because the actors improvised a lot. Then I got involved in the process and Anurag and I became co-writers. They had been working on the script – the idea, the characters, the world, etc. I didn’t want to let go of the acting opportunity so I nodded a reluctant yes to co-writing the film as well.Īt that point, Anurag (Kashyap) was working with Ramu as an assistant. After that he said he wanted me to be one of the writers on the film as well. I loved the character and I thought it was a great opportunity for me as an actor. But what happened was that when I met Ram Gopal Verma, he offered me a role in the film, and told me about the character. He was a big and respected director and I was working out ways in my head about how to say “No” to him. One day, Ram Gopal Verma called me and asked me to meet him for writing his next film. So, at the time, I wasn’t really keen on becoming a writer. Film is a director’s medium and although you may have your own ideas, you’re working towards the director’s vision. Because film writing is not like writing a novel where you are sitting alone, ideating with yourself. And writing for others becomes even more difficult. Honestly, writing is a rather tedious process for me. Tell us about writing it while also playing the iconic Kallu Mama.At the time, I had come to Bombay, people started knowing me as an actor but very few people such as Shekhar Kapoor and Sudhir (Mishra) knew that I wrote as well. As a schoolboy, Satya changed my perception of cinema.
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