Exploring a new place is something that helps writer-director Anuraadha Tewari break through writer’s block and move forward. Anuraadha, who has written the web series Dil Dosti Dilemma, Raisinghani vs Raisinghani, as well as films such as Fashion, Heroine and Jail, adds that she loves to explore new places to gain inspiration.
“There are two kinds of writers’ blocks, both of which block flow. One is the kind where you are exhausted and simply need a break and recharge. The other is when you have run out of ideas and need to reinvent. You need to feed your mind with new stimuli. So, I first figure out what kind of block it is and then simply choose a travel plan that suits the need. If it’s just a break then I go to a nature-driven, chill place and do largely nothing for just 2-3 days. That does the magic. But if it’s a re-invention, then I plan a long holiday of at least 2 weeks. I go on what I call ‘Civilization Exploring’. I go to a country with a deep culture. I study its people, its history, its architecture, its art, music, cinema, food, and its works. I do what I call ‘art guzzling’ ( e.g. my last tour of Italy that covered 9 cities). That cannot not rejuvenate you! More often than not, I find myself writing an entire script right there in days. The block disappears magically,” she says.
Talking about writers’ credits in projects today, she says that the process of displaying credits has changed the game today. “I think most people are getting the actual credit on screen now. There are contracts and agencies involved. and the SWA is very active. So, to mess with writer credits is not something people are going to do anymore. Having said that, I think the lines are still blurred. For example, the top OTT Platforms don’t even have opening credits anymore. All writing and writers are often clubbed together as well. So the intern and the senior writer are all under one umbrella (though that hasn’t happened to me). There is no credit yet for creating a show bible which is still the most important job in the creation as well as selling of the Show. And most of all, while the credits may be in place, writers often don’t know what they are going to see on screen. How much of their work will be messed with, changed, shaped differently by other writers brought in etc. So, it may have the credit correctly but it may not be how you wrote it or what you wrote,” she says.
Meanwhile, talking about the kind of influence she has had on her work after working with directors like Mahesh Bhatt, Prakash Jha and Madhur Bhandarkar, she says, “Well, the 3 Directors are so vastly different from each other and such legends in their own right that one can’t not be influenced by them. Each one has his own genre for heaven’s sake! Naturally, I garnered different things from each one of them as I was working with each at different points and different life stages. While their film craft is distinct, I wouldn’t say I imbibed any one because I have my style but I learnt at their feet in terms of storytelling for an Indian audience, remaining a fierce and unique voice in a crowded marketplace and surviving a tough Medium. I learnt mental strength from each and how to be a marathon runner in a long race. As for direction, well I have a Master’s Degree in filmmaking, majored in direction from a film school ( Jamia Millia Islamia, Delhi) and my Diploma Film won the Gold. I have no business not Directing a Film :) I will however do it only when the filmmaking environment supports my vision.”
