IMTEYAZ HUSSEIN – SHARING DIALOGUES WITH OUR BEST DIALOGUE WRITER
Posted by Vivek on February 9, 2014 | No Comments
How did it all start?
I grew up in Dongri, in Mumbai and was doing plays in school, college and then NCPA. But was never sure whether I could make a profession of this. Got a call one day from Vinod’s production office that they wanted me to throw in my stake at writing the dialogues for a film, they had written. Hence I got called into Parinda. That was the start and since the film went on to become a cult film of its time, there was no looking back. I also had a hand in the title, since it was initially called “Kabootarkhana.” Suggested Parinda to Vinod and that is how the name came to be.
In Parinda, the dialogues created the mood and also the character?
But isn’t that how it should ideally be. Dialogues define the character and their motivation. We appeared to have lost some ground and connection, to the audiences, back then, cause the spoken dialogue in films during that time, was hardly reflective of the real world and then along comes Parinda and I go back to creating a speech of what I had grown up listening in Dongri and all the audiences loved it, as did the cast and crew.
Then another cult film, Vaastav?
Yes, Mahesh and I go back a long way, to when we were both doing theater and he was a struggling filmmaker. When the idea of Vaastav came about, he approached me for the dialogues. You will find though that although both underworld related, the environment and the dialogues in Parinda and Vaastav were totally distinct and different.
In the midst of all this a totally different film?
Yes, the industry had said that Imteyaz is the master of the underworld genre, so I took on a completely different subject, a woman oriented film. Astitva. What a lot of people don’t recall is that I had also written one of SRK’s earlier film, produced by Hema Malini, called Dil Aashna Hai, which had absolutely nothing to do with the underworld genre. Again, the dialogues in Astitva, were commonspeak, but so very different from the earlier films I wrote, going back to the point, that each character deserved a different voice and the voice was communicated through my dialogues.
On working with Sudhir in Is Raat Ki Subah Nahin?
More than a gangster film, I will call it a Mumbai specific film and I enjoyed that experience immensely, since the dialogues kept switching as the time frame of the movie was very small, one night, yet all sounded so different.
What is ahead?
An exciting project, with a US collaboration, that I can’t speak much about at this time, due to contractual obligations, but am looking forward to that.
You don’t appear in Bollywood as often as you should?
I am not very good at asking for work, in fact have never done so. I keep myself busy with theater and also with my family. My work has provided me the basic comforts of life and I enjoy working with people who excite me and bring out my best.