The lights dimmed at IFFI and the air was filled with anticipation as the audience gathered for a masterclass that felt more like an energetic creative session than a traditional workshop. When filmmaker Rajkumar Hirani reached the Kala Academy hall, the atmosphere immediately became heated. By the end of the program, writers were jotting down ideas, editors were nodding in recognition, and cinephiles were clearly inspired.
Rajkumar Hirani brings storytelling wisdom to IFFI, breaking down the art of writing and editing: “Writing imagines emotion, editing experiences it”
Hirani shares practical insights and clear principles that have shaped his career. “Writing is the imagination of emotion; editing is the experience of emotion. The writer writes the first draft, the editor the last. The theme is the soul of a film, while the conflict is its oxygen,” he said, setting the tone for his session titled “Film is built on two tables – writing and editing”.
He described writing as a place of creative freedom – where the sky is infinite, the actors are perfect, and no constraints exist. However, he emphasized that once this material reaches the editing table, reality reshapes it. According to him, a story truly begins only when a character wants something deeply, and the conflict gives life to the narrative.
Hirani encouraged writers to take inspiration from real experiences. He said, “A good writer should take inspiration from life. Real experiences make stories unique and relevant.” He also reminded the audience that the performance should naturally blend into the drama and that the theme of the film should quietly guide every scene.
Speaking with fondness about his first craft – editing – Hirani highlights the invisible impact of an editor. He explained that although the shot is the basic unit of editing, changing its context can completely change the meaning. “An editor can flip a story 180 degrees,” he said, adding that their work is often invisible but plays a central role in putting a film together.
Referring to early cinema, he recalled DW Griffith’s comment that a skilled editor shapes the audience’s emotions. Hirani reinforced this idea with a line that echoed throughout the hall: “The writer writes the first draft. The editor writes the last.”
He also underlined the importance of strong opponents. “Every character believes they are right,” he said, emphasizing that the tension between opposing but valid viewpoints creates the energy that drives the story.
Screenwriter Abhijat Joshi joins the conversation, reflecting on the value of memory in storytelling. He explained that certain real-life moments – funny, painful, or surprising – stay with people for years and often have more authenticity than completely invented scenes. He shared that many such memories helped shape 3 idiotsFrom electric shock jokes to subtle character traits inspired by people he observed.
Joshi concludes with an essential screenwriting reminder: every character deserves something meaningful, conflict fuels cinema, and the strongest drama arises when two real truths collide.
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