Lights dimmed and anticipation filled the air at IFFI as audiences gathered for a masterclass that felt more like an energising creative session than a conventional workshop. When filmmaker Rajkumar Hirani arrived on the Kala Academy Hall, the atmosphere lifted immediately. By the tip of the event, writers were jotting down ideas, editors were nodding in recognition, and cinephiles were visibly inspired.
Rajkumar Hirani brings storytelling wisdom to IFFI, breaking down the art of writing and editing: “Writing imagines emotion, editing experiences it”
Hirani shared practical insights and clear principles which have shaped his profession. “Writing is emotion imagined; editing is emotion experienced. The author writes the primary draft, the editor the last. Theme is the soul of a movie, while conflict is its oxygen,” he said, setting the tone for his session titled “Film is Made on Two Tables — Writing and Editing.”
He described writing as an area of creative freedom—where skies are limitless, actors are perfect, and no constraints exist. Nevertheless, he emphasised that when this material reaches the editing table, reality reshapes it. In response to him, a story truly begins only when a personality wants something deeply, and conflict gives the narrative life.
Rajkumar Hirani encouraged writers to attract from real experiences. “A superb author must pick triggers from life. Real experiences make stories unique and relatable,” he noted. He also reminded the audience that exposition should mix naturally into the drama and that the film’s theme should quietly guide every scene.
Speaking with affection for his first craft—editing—Hirani highlighted the editor’s unseen influence. He explained that while the shot is the fundamental unit of editing, shifting its context can completely alter meaning. “An editor can flip a story 180 degrees,” he said, adding that their work often stays invisible but is central to holding a movie together.
Referencing early cinema, he recalled DW Griffith’s commentary that a talented editor shapes audience emotion. Hirani reinforced this concept with a line that echoed throughout the hall: “The author writes the primary draft. The editor writes the last.”
He also underlined the importance of strong antagonists. “Every character believes they’re right,” he said, stressing that the strain between opposing yet valid viewpoints creates the energy that drives a story.
Screenwriter Abhijat Joshi joined the conversation, reflecting on the worth of memory in storytelling. He explained that certain real-life moments—funny, painful, or surprising—stick with people for years and sometimes hold more authenticity than purely invented scenes. He shared that many such memories helped shape 3 Idiots, from the electric-shock joke to subtle character traits inspired by people he had observed.
Joshi concluded with essential screenwriting reminders: every character must want something meaningful, conflict fuels cinema, and the strongest drama arises when two real truths collide.
Also Read: EXCLUSIVE: Kartik Aaryan, Rajkumar Hirani honoured by Gautam Adani at Subhash Ghai’s Whistling Woods International; Hirani hails Adani’s speech: “I’d call it the SHOLAY of speeches!”
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