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83-485: Salim–Javed were an Indian screenwriting duo, composed of Salim Khan and Javed Akhtar , who worked primarily in Hindi cinema . They were among the first Indian screenwriters to achieve star status, and are regarded as among " Hindi cinema 's greatest screenwriters". They worked together on 24 films between 1971 and 1987, of which 20 were commercially and critically successful. Salim–Javed revolutionized Indian cinema in

166-406: A shooting script themselves, a script that guides the team in what to do in order to carry out the director's vision of how the script should look. The director may ask the original writer to co-write it with them or to rewrite a script that satisfies both the director and producer of the film/TV show. Spec writing is also unique in that the writer must pitch the idea to producers. In order to sell

249-409: A studio , production company, or producer. These are the most common assignments sought after in screenwriting. A screenwriter can get an assignment either exclusively or from "open" assignments. A screenwriter can also be approached and offered an assignment. Assignment scripts are generally adaptations of an existing idea or property owned by the hiring company, but can also be original works based on

332-633: A tag , an epilogue after the action in Act 3. Here is a chronological list of the major plot points that are congruent with Field's Paradigm: The sequence approach to screenwriting, sometimes known as " eight-sequence structure ", is a system developed by Frank Daniel , while he was the head of the Graduate Screenwriting Program at USC . It is based in part on the fact that, in the early days of cinema, technical matters forced screenwriters to divide their stories into sequences, each

415-413: A basic premise and setting that creates a story engine that can drive individual episodes, subplots, and developments. Television show creators write the television pilot and bible of new television series. They are responsible for creating and managing all aspects of a show's characters, style, and plots. Frequently, a creator remains responsible for the show's day-to-day creative decisions throughout

498-476: A child growing into an adult, a technique that dates back to Awaara (1951), directed by Raj Kapoor and written by Khwaja Ahmad Abbas . For example, Deewaar showed a character entering a temple as a child and then leaving the temple as an adult. Slumdog Millionaire paid homage to Salim–Javed by showing a montage sequence where two "brothers jump off a train and suddenly they are seven years older". In Slumdog Millionaire , two characters have names referencing

581-404: A concept created by the writer or producer. Most produced films are rewritten to some extent during the development process. Frequently, they are not rewritten by the original writer of the script. Many established screenwriters, as well as new writers whose work shows promise but lacks marketability, make their living rewriting scripts. When a script's central premise or characters are good but

664-447: A contemporary urban context reflecting the changing socio-political climate of 1970s India, which resonated with Indian audiences in the 1970s. Some of their films in the 1970s, especially Deewaar , were perceived by audiences to be anti-establishment . This was represented by the "angry young man", conceived by Salim–Javed and portrayed by Amitabh Bachchan, often presented as a vigilante or anti-hero , establishing Bachchan's image as

747-489: A contract to write one or more episodes for an existing television show. After an episode is submitted, rewriting or polishing may be required. A staff writer for a TV show generally works in-house, writing and rewriting episodes. Staff writers—often given other titles, such as story editor or producer —work both as a group and individually on episode scripts to maintain the show's tone, style, characters, and plots. Serialized television series will typically have

830-434: A double role where one character plays the role of villain in the movie. The supporting cast includes David and M. B. Shetty . The music composed is by Shankar Jaikishan . The movie was a major success at the box office reinforcing Dharmendra's star status in 1969. Rajesh is a scientist. He is injured following instructions of Dr. Sharma in a secret experiment and granted leave. Rajesh lives with his dog, cook Bhola. He

913-601: A finished product for the enjoyment of its audience. For this reason, a screenplay is written using technical jargon and tight, spare prose when describing stage directions. Unlike a novel or short story , a screenplay focuses on describing the literal, visual aspects of the story, rather than on the internal thoughts of its characters. In screenwriting, the aim is to evoke those thoughts and emotions through subtext, action, and symbolism . Most modern screenplays, at least in Hollywood and related screen cultures, are written in

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996-684: A huge signing amount with which he could complete the payment for his bungalow Aashirwad. But the film was a remake [of Deiva Cheyal ] and the script of the original was far from being satisfactory. He told us that if we could set right the script, he would make sure we got both money and credit." Salim–Javed were hired by G. P. Sippy's Sippy Films as resident screenwriters and produced the screenplays for successful films like Andaz , Seeta Aur Geeta, Sholay and Don . They have worked together in 24 films including two hit Kannada films (both starring Dr.Rajkumar ) – Premada Kanike and Raja Nanna Raja . Though they split in 1982, due to ego issues, some of

1079-614: A month. Salim Khan was earlier a junior technician for various films had not made any considerable mark in the field. Khan acted in various movies, in large and small parts, for seven years. He was unable to capture the public's interest, and, as a result, his career had stalled. Khan appeared in such films as Teesri Manzil (1966), Sarhaadi Lootera (1966) and Diwaana (1967), in total he has acted in 14 films till 1970. But he did not achieve success as an actor. After working in 25 films, despite his handsome looks, he eventually understood that he "was not cut out to be an actor because I lacked

1162-401: A much shorter third act than is found in most screenwriting theories. Besides the three-act structure, it is also common to use a four- or five-act structure in a screenplay, and some screenplays may include as many as twenty separate acts. The hero's journey , also referred to as the monomyth , is an idea formulated by noted mythologist Joseph Campbell . The central concept of the monomyth

1245-457: A paradigm shift for the industry, with their creative innovations that proved to be a significant breakthrough for Hindi cinema, and resurrected Indian cinema. Salim–Javed began the genre of gritty, violent, Bombay underworld crime films , in the 1970s, with films such as Zanjeer (1973) and Deewaar (1975). Deewaar , which pitted "a policeman against his brother, a gang leader based on real-life smuggler Haji Mastan " portrayed by Bachchan,

1328-489: A producer picks up a spec script. A commissioned screenplay is written by a hired writer. The concept is usually developed long before the screenwriter is brought on, and often has multiple writers work on it before the script is given a green light . The plot development is usually based on highly successful novels, plays, TV shows, and even video games, and the rights to which have been legally acquired. Scripts written on assignment are screenplays created under contract with

1411-495: A spec script is usually a wholly original work, it can also be an adaptation . In television writing, a spec script is a sample teleplay written to demonstrate the writer's knowledge of a show and ability to imitate its style and conventions. It is submitted to the show's producers in hopes of being hired to write future episodes of the show. Budding screenwriters attempting to break into the business generally begin by writing one or more spec scripts. Although writing spec scripts

1494-428: A style known as the master-scene format or master-scene script . The format is characterized by six elements, presented in the order in which they are most likely to be used in a script: Scripts written in master-scene format are divided into scenes: "a unit of story that takes place at a specific location and time". Scene headings (or slugs) indicate the location the following scene is to take place in, whether it

1577-475: A team of writers as part of a specific format. This may involve the slate of questions and even specific phrasing or dialogue on the part of the host. Writers may not script the dialogue used by the contestants, but they work with the producers to create the actions, scenarios, and sequence of events that support the game show's concept. With the continued development and increased complexity of video games, many opportunities are available to employ screenwriters in

1660-464: A wider impact on Indian society . Their films reflected the socio-economic and socio-political realities of 1970s India, channeling the growing popular discontent and disillusionment among the masses, and the failure of the state in ensuring their welfare and well-being, in a time when prices were rapidly rising, commodities were becoming scarce, public institutions were losing legitimacy, and smugglers and gangsters were gathering political clout. There

1743-793: Is a "straight-talking, earthy and independent young woman doing a man’s job". Beyond their influence on Indian films , their work has also influenced international films. Their 1975 film Deewaar had an influence on Hong Kong cinema and in turn Hollywood cinema , by playing a key role in the creation of the heroic bloodshed crime genre of 1980s Hong Kong action cinema . Deewaar , along with several later 1970s "angry young man" epics it inspired, such as Amar Akbar Anthony (1977), had similarities to elements later seen in 1980s Hong Kong heroic bloodshed films. Hong Kong's Shaw Brothers studio remade Deewaar as The Brothers (1979), which in turn inspired John Woo 's internationally acclaimed breakthrough A Better Tomorrow (1986). A Better Tomorrow set

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1826-450: Is discouraged. Dialogue blocks are offset from the page's margin by 3.7" and are left-justified. Dialogue spoken by two characters at the same time is written side by side and is conventionally known as dual-dialogue. The final element is the scene transition and is used to indicate how the current scene should transition into the next. It is generally assumed that the transition will be a cut, and using "CUT TO:" will be redundant. Thus

1909-753: Is given only if 50% or more of the script is substantially changed. These standards can make it difficult to establish the identity and number of screenwriters who contributed to a film's creation. When established writers are called in to rewrite portions of a script late in the development process, they are commonly referred to as script doctors . Prominent script doctors include Christopher Keane, Steve Zaillian , William Goldman , Robert Towne , Mort Nathan , Quentin Tarantino , Carrie Fisher , and Peter Russell. Many up-and-coming screenwriters work as ghostwriters. A freelance television writer typically uses spec scripts or previous credits and reputation to obtain

1992-475: Is in love with Rita. Rajesh goes to meet Rita and asks for her hand from her mother, who agrees. He finds his things spread on bed on returning to his hotel room. Shetty fools Bhola and takes pictures of Rajesh's house. Sharma calls him during his leave. He meets Sharma, but is surprised to know that Sharma did not call him. He and Sharma quarrel when he asks for leave to marry. Rajesh reaches office on being called by Sharma, but finds him murdered. Rajesh goes to call

2075-412: Is interior or exterior, and the time-of-day it appears to be. Conventionally, they are capitalized, and may be underlined or bolded. In production drafts, scene headings are numbered. Next are action lines, which describe stage direction and are generally written in the present tense with a focus only on what can be seen or heard by the audience. Character names are in all caps, centered in the middle of

2158-404: Is on speculation of sale to a film studio , production company , or TV network. The content is usually invented solely by the screenwriter, however spec screenplays can also be based on established works or real people and events. The spec script is a Hollywood sales tool with the vast majority of scripts written each year are spec scripts, but only a small percentage make it to the screen. Though

2241-535: Is part of any writer's career, the Writers Guild of America forbids members to write "on speculation". The distinction is that a spec script is written as a sample by the writer on his or her own; what is forbidden is writing a script for a specific producer without a contract. In addition to writing a script on speculation, it is generally not advised to write camera angles or other directional terminology, as these are likely to be ignored. A director may write up

2324-449: Is that a pattern can be seen in stories and myths across history. Campbell defined and explained that pattern in his book The Hero with a Thousand Faces (1949). Campbell's insight was that important myths from around the world, which have survived for thousands of years, all share a fundamental structure. This fundamental structure contains a number of stages, which include: Later, screenwriter Christopher Vogler refined and expanded

2407-449: Is the 1970s may return to their roots if all goes right. At the trailer launch event of their documentary series, Angry Young Men, Javed Akhtar said that they are considering writing one more film together. Salim Khan was born on 24 November 1935 at Indore . He debuted as an actor after director K. Amarnath saw him at a wedding and was impressed by his good looks. He asked him to come to Mumbai , where he hired him as an actor for Rs. 500

2490-584: Is with blue eyes and a voice different from Rajesh's. Garson uses contact lenses and gets a throat operation to portray Rajesh's voice. His unconscious body is found in an Indian sea. Rita accepts him as Rajesh, although she has some misgivings after he touches the feet of another lady instead of Rita's mother. Rita is pregnant with Rajesh's baby. Garson is given a similar mole as Rajesh. Rajesh's dog and cook realize what has happened, so Garson kills them to avoid their exposing him. The authorities are also less trusting. Will Garson be caught out or not and end up marrying

2573-670: The box office performance of Bollywood films written by Salim–Javed. The table covers the domestic box office in India, in addition to the overseas box office. The vast majority of the overseas box office for their films up until the 1980s came from the Soviet Union , which was the largest overseas market for Indian films up until then. The gross revenue figures in the table do not take inflation into account. The gross revenue numbers given below are nominal figures, not inflation-adjusted figures. In terms of footfalls (ticket sales) ,

Salim–Javed - Misplaced Pages Continue

2656-649: The " Star Wars of Bollywood", with its impact on Bollywood comparable to the impact Star Wars (1977) later had on Hollywood , while the villain Gabbar Singh ( Amjad Khan ) has been compared to Darth Vader . Salim–Javed also created the Don franchise, one of the biggest Indian film franchises. Salim Khan conceived the "angry young man" persona that Amitabh Bachchan that became famous for, and introduced him to directors Prakash Mehra and Manmohan Desai . Salim–Javed often wrote their scripts with Bachchan in mind for

2739-434: The "angry young man" of Indian cinema. The "angry young man" was seen as a new kind of hero, with his suppressed rage giving a voice to the angst of the urban poor. Their portrayal of female heroines was also progressive and feminist for Indian society the time. For example, Seeta Aur Geeta (1972) subverted the formula of Dilip Kumar starrer Ram Aur Shyam (1972), replacing twin brothers with twin sisters, and having

2822-405: The 1970s and early 1980s. During their time working together, the duo won six Filmfare Awards , out of ten nominations. According to Javed Akhtar, in their early periods, on the cinema posters, there were no names of script writer, story and screenplay. Realizing that the hard work is done by this duo, and not getting the appropriate recognition, Salim and Javed decided to paint their names on all

2905-872: The 1970s, transforming and reinventing the Bollywood formula, and pioneering the Bollywood blockbuster format. A significant departure from the romance films that had previously dominated Bollywood, Salim–Javed were among the pioneers of cultural phenomena such as the "angry young man" character archetype, the masala film , the Dacoit Western genre, and Bombay underworld crime films . Their association lasted until 1982, when both decided to split after which Javed Akhtar moved into writing lyrics for around 80 films and scripts for 20 films from 1981 till present times, while Salim Khan wrote 10 film scripts between 1983 and 1996. They are credited together on two films after

2988-430: The 22 films listed below are estimated to have sold a total of over 900 million tickets worldwide, averaging more than 40 million ticket sales per film. Screenwriting Screenwriters are responsible for researching the story, developing the narrative, writing the script, screenplay, dialogues and delivering it, in the required format, to development executives. Screenwriters therefore have great influence over

3071-547: The Bollywood directors and producers held the rights to their films in Northern India, it was Salim–Javed who held the rights to their films in South India , where they sold the remake rights to various South Indian filmmakers, usually for around ₹ 1 lakh (equivalent to ₹ 38 lakh or US$ 46,000 in 2023) each, for films such as Zanjeer , Yaadon Ki Baarat , and Don . Much like their role in launching

3154-423: The art of projection. But by then it was too late — how could I have gone back to Indore ?" In the late 1960s, Salim Khan, who was struggling financially, decided to start shifting his focus away from acting and towards writing scripts, and continued to use the name Prince Salim. One of his more notable film scripts was Do Bhai (1969). He also began working with Abrar Alvi as a writing assistant. Javed Akhtar

3237-536: The box office. Salim Khan's eldest son, Salman Khan , made his film debut at the age of twenty two with Biwi Ho To Aisi in the year 1988 and eventually went on to become one of the most influential and successful actors in the history of Indian Cinema . Salman Khan has collaborated with his father Salim Khan in Patthar Ke Phool and Majhdhaar , and with Javed Akhtar in only one film – Marigold (2007), in his three-decade long career. Javed Akhtar, on

3320-749: The career of Amitabh Bachchan, Salim–Javed also played an important role in launching the career of South Indian superstar Rajinikanth . Several Tamil remakes of their films became breakthroughs for Rajinikanth, who was cast in Amitabh Bachchan's role. The Tamil remake of Don (1978) in particular, Billa (1980), was a turning point in Rajinikanth's career, as his first blockbuster hit. He also starred in several other hit Salim–Javed adaptations in Bachchan's role, including Thee (1981), Mr. Bharath (1986), and Naan Vazhavaippen (1979). Of

3403-438: The creative direction and emotional impact of the screenplay and, arguably, of the finished film. Screenwriters either pitch original ideas to producers, in the hope that they will be optioned or sold; or are commissioned by a producer to create a screenplay from a concept, true story, existing screen work or literary work, such as a novel, poem, play, comic book, or short story. The act of screenwriting takes many forms across

Salim–Javed - Misplaced Pages Continue

3486-440: The dialogue for a minor film for Rs. 100. Occasionally, he worked as an assistant. He got a job as a dialogue-writer on Yakeen which flopped. He was unsuccessful in his individual ventures till 1971. Salim met up with Javed Akhtar for first time during the making of the film Sarhadi Lootera . Salim was a small-time actor, and Sarhadi Lootera was one of the last films he acted in before he turned his attention to writing. Javed

3569-722: The dialogues for those films. They used to brainstorm and come to conclusions regarding the final draft of the film. Akhtar first joined Khan to develop the story for Adhikar and Andaz (both 1971). Initially in the 1970s there was no concept of having the same writer for the screenplay, story and dialogue nor were the writers given any credits in the title. Rajesh Khanna is credited with giving Salim Khan and Javed Akhtar their first chance to become screenplay writers by offering them work in Haathi Mere Saathi (1971). Javed Akhtar accepted in an interview that "One day, he went to Salimsaab and said that Mr. Devar had given him

3652-585: The dialogues. Many of the dialogues they wrote for their films have become famous. Although the dialogues are often referred to as Hindi , they are actually mostly in Urdu , a register of the Hindustani language . Coming from backgrounds in Urdu literature , they mostly included vocabulary from Urdu, and wrote their dialogues in Urdu script , which was then transcribed by an assistant into Devanagari script so that Hindi readers could also read them. The duo made

3735-601: The duo: Salim K. Malik (brother of protagonist Jamal Malik ) and Javed Khan (played by Mahesh Manjrekar ). Films with Salim–Javed writing credits that were nominated for or won the Filmfare Award for Best Film : Sholay received a special award at the 50th Filmfare Awards in 2005: Best Film of 50 Years . Sholay (1975) was ranked first in the British Film Institute 's 2002 poll of " Top 10 Indian Films " of all time. The following table lists

3818-751: The early 1982 and ended their 12-year professional relationship because they developed ego issues. Of the 24 films they wrote the scripts for, the film which were not successful at box office include Aakhri Dao (1975), Immaan Dharam (1977), Kaala Patthar (1979) and Shaan (1981). Salim Khan after the split was not very active in films. Though he did write the scripts for about 10 films after his split with Javed Akhthar like Naam (1986), Kabzaa , Toofan (1989) , Jurm (1990), Akayla , Patthar Ke Phool , Mast Kalandar (all in 1991), Aa Gale Lag Jaa (1994), Majhdhaar and Dil Tera Diwana (both 1996). Of these scripts, Toofan, Akayla, Majhdaar, Aa Gale Lag Jaa and Dil Tera Deewana failed at

3901-530: The element should be used sparingly to indicate a different kind of transition such as "DISSOLVE TO:". Screenwriting applications such as Final Draft (software) , Celtx , Fade In (software) , Slugline, Scrivener (software) , and Highland, allow writers to easily format their script to adhere to the requirements of the master screen format. Yakeen (1969 film) Yakeen is an Indian film directed by Brij Sadanah released in 1969. The movie stars Dharmendra and Sharmila Tagore . Dharmendra appears in

3984-434: The end of the movie. Motivation exists on outer and inner levels. Motivation alone is not sufficient to make the screenplay work. There must be something preventing the hero from getting what he or she wants. That something is conflict. Fundamentally, the screenplay is a unique literary form. It is like a musical score, in that it is intended to be interpreted on the basis of other artists' performance, rather than serving as

4067-406: The entertainment industry. Often, multiple writers work on the same script at different stages of development with different tasks. Over the course of a successful career, a screenwriter might be hired to write in a wide variety of roles. Some of the most common forms of screenwriting jobs include: Spec scripts are feature film or television show scripts written without the commission of, but

4150-457: The field of video game design . Video game writers work closely with the other game designers to create characters, scenarios, and dialogue. Several main screenwriting theories help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying "Screenplays are structure". According to this approach,

4233-582: The four prominent south industries, their movies were remade the least in Kannada. Screenwriter V. Vijayendra Prasad , responsible for a number of blockbusters in the early 21st century, including the South Indian franchise Baahubali and the 2015 Hindi film Bajrangi Bhaijaan (starring Salim's son Salman Khan ), cited Salim–Javed as a major inspiration on his work, especially their screenplay for Sholay , among other films. Salim–Javed's films had

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4316-418: The hero's journey for the screenplay form in his book, The Writer's Journey: Mythic Structure for Writers (1993). Syd Field introduced a new theory he called "the paradigm". He introduced the idea of a plot point into screenwriting theory and defined a plot point as "any incident, episode, or event that hooks into the action and spins it around in another direction". These are the anchoring pins of

4399-552: The heroine Hema Malini eventually become the "hero" while male lead Dharmendra is in a mostly supporting role. Parveen Babi 's character in Deewaar is portrayed as "a modern woman who felt no guilt or shame in having pre-marital sex, drinking or smoking," which was "novel and revolutionary" at the time, and she became seen as the "new Bollywood woman". Similar feminist undertones appear in Sholay (1975), where Basanti (Hema Malini)

4482-611: The lead role, and insisted he be cast for their films early in his career, including Zanjeer , Deewaar , and Sholay , roles which established Bachchan as a superstar. Their work was also highly influential in South Indian cinema . In addition to writing two Kannada films – the highly successful Rajkumar and Arathi starrers of 1976 – Raja Nanna Raja and Premada Kanike , many of their Bollywood films had remakes produced in other South Indian film industries, including Tamil cinema , Telugu cinema and Malayalam cinema . While

4565-411: The length of a reel (about ten minutes). The sequence approach mimics that early style. The story is broken up into eight 10-15 minute sequences. The sequences serve as "mini-movies", each with their own compressed three-act structure. The first two sequences combine to form the film's first act. The next four create the film's second act. The final two sequences complete the resolution and dénouement of

4648-502: The middle act is actually two acts in one. So, the three-act structure is notated 1, 2a, 2b, 3, resulting in Aristotle’s three acts being divided into four pieces of approximately thirty pages each. Field defined two plot points near the middle of Acts 2a and 2b, called pinch I and pinch II , occurring around pages 45 and 75 of the screenplay, respectively, whose functions are to keep the action on track, moving it forward, either toward

4731-440: The midpoint or plot point II. Sometimes there is a relationship between pinch I and pinch II: some kind of story connection. According to Field, the inciting incident occurs near the middle of Act 1, so-called because it sets the story into motion and is the first visual representation of the key incident. The inciting incident is also called the dramatic hook , because it leads directly to plot point I. Field referred to

4814-428: The other hand, has worked in all the films produced by his children Farhan Akhtar and Zoya Akhtar 's Excel Entertainment . Javed Akhtar started writing lyrics for films beginning with Silsila in 1981 and since 1982 has written lyrics for around 80 films and scripts for over 20 films till the present times. Javed and Salim were not even on talking terms after their split till 2012, when their original script Zanjeer

4897-449: The page, and indicate that a character is speaking the following dialogue. Characters who are speaking off-screen or in voice-over are indicated by the suffix (O.S.) and (V.O) respectively. Parentheticals provide stage direction for the dialogue that follows. Most often this is to indicate how dialogue should be performed (for example, angry) but can also include small stage directions (for example, picking up vase). Overuse of parentheticals

4980-411: The police and returns with them to find the body missing. Intelligence chief Mr Roy and his assistant Mr. D'Mello ask Rajesh to take the murder blame of Sharma, so that miscreants after Sharma's research can be caught. Roy devises an escape plan for Rajesh, but it goes wrong and Rajesh is kidnapped by Shetty and taken to Mozambique. Rajesh is imprisoned and a look alike named Garson is sent to India. Garson

5063-419: The posters pasted in the city. They hired a rikshaw and put the paint bucket on that and did all the work themselves the entire night. After that, the directors also started to put their name on the posters. While working together, Salim Khan was largely responsible for developing the stories and characters, which were considered unconventional at the time, while Javed Akhtar was largely responsible for writing

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5146-520: The role of the mid-level writer, relying on the senior writers to do rough outlines and giving the other writers a bit more freedom. Regardless, when the finished scripts are sent to the top writers, the latter do a final round of rewrites. Espenson also notes that a show that airs daily, with characters who have decades of history behind their voices, necessitates a writing staff without the distinctive voice that can sometimes be present in prime-time series. Game shows feature live contestants, but still use

5229-498: The script is otherwise unusable, a different writer or team of writers is contracted to do an entirely new draft, often referred to as a "page one rewrite". When only small problems remain, such as bad dialogue or poor humor, a writer is hired to do a "polish" or "punch-up". Depending on the size of the new writer's contributions, screen credit may or may not be given. For instance, in the American film industry, credit to rewriters

5312-455: The script, it must have an excellent title, good writing, and a great logline , laying out what the movie is about. A well-written logline will convey the tone of the film, introduce the main character, and touch on the primary conflict. Usually the logline and title work in tandem to draw people in, and it is highly suggested to incorporate irony into them when possible. These things, along with nice, clean writing will hugely impact whether or not

5395-602: The scripts they wrote were made into hit films later like Zamana and Mr. India . Salim–Javed (as they are famously called) have scripted many commercially and critically accepted movies for movie making giants like Nasir Hussain ( Yaadon Ki Baaraat ), Prakash Mehra ( Zanjeer and Haath Ki Safai ), Ravi Tandon ( Majboor ), Yash Chopra ( Deewaar , Trishul and Kaala Patthar ), Yash Johar ( Dostana ), Ramesh Sippy ( Seeta Aur Geeta and Sholay ), Ramesh Talwar ( Zamana ), Shekhar Kapoor ( Mr. India ) and with Chand Barot ( Don ). The duo split up in

5478-411: The series run as showrunner , head writer , or story editor. The process of writing for soap operas and telenovelas is different from that used by prime time shows, due in part to the need to produce new episodes five days a week for several months. In one example cited by Jane Espenson , screenwriting is a "sort of three-tiered system": Espenson notes that a recent trend has been to eliminate

5561-419: The setup. In Writing Drama , French writer and director Yves Lavandier shows a slightly different approach. As do most theorists, he maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. But since the climax is part of the action, Lavandier maintains that the second act must include the climax, which makes for

5644-413: The split, Zamana (1985) and Mr. India (1987), due to these scripts being written earlier and made into film subsequent to their split. Their films had many South Indian remakes, which were often licensed directly from Salim–Javed, who owned the South Indian remake rights to their films. Salim-Javed are planning to collaborate on a new film. Salim-Javed, the screenwriting duo who ruled Hindi cinema

5727-426: The story is about. In a 120-page screenplay, Act 2 is about sixty pages in length, twice the length of Acts 1 and 3. Field noticed that in successful movies, an important dramatic event usually occurs at the middle of the picture, around page sixty. The action builds up to that event, and everything afterward is the result of that event. He called this event the centerpiece or midpoint . This suggested to him that

5810-422: The story line, which hold everything in place. There are many plot points in a screenplay, but the main ones that anchor the story line in place and are the foundation of the dramatic structure, he called plot points I and II . Plot point I occurs at the end of Act 1; plot point II at the end of Act 2. Plot point I is also called the key incident because it is the true beginning of the story and, in part, what

5893-410: The story. Each sequence's resolution creates the situation which sets up the next sequence. Michael Hauge divides primary characters into four categories. A screenplay may have more than one character in any category. Secondary characters are all the other people in the screenplay and should serve as many of the functions above as possible. Motivation is whatever the character hopes to accomplish by

5976-551: The template for heroic bloodshed films, a genre that went on to have a significant influence on Hong Kong films in the 1980s and later Hollywood movies in the 1990s, inspiring filmmakers such as Quentin Tarantino along with John Woo's entry into Hollywood. According to Loveleen Tandan , the screenwriter Simon Beaufoy , who wrote the screenplay for the Academy Award winning Slumdog Millionaire (2008), "studied Salim-Javed's kind of cinema minutely." In particular, Deewaar

6059-421: The three acts are: the setup (of the setting, characters, and mood), the confrontation (with obstacles), and the resolution (culminating in a climax and a dénouement). In a two-hour film, the first and third acts each last about thirty minutes, with the middle act lasting about an hour, but nowadays many films begin at the confrontation point and segue immediately to the setup or begin at the resolution and return to

6142-437: The violent crime film and the masala film, came together with the blockbuster Sholay (1975). It combined the dacoit film conventions of Mother India (1957) and Gunga Jumna (1961) with that of Spaghetti Westerns , spawning the Dacoit Western genre (also known as the " Curry Western "), which was popular in the 1970s. Sholay is considered to be one of the greatest Indian films of all time . It has been described as

6225-429: The writer's role popular with their names appearing in the posters of the films, and in some films they shared up to 25% of the profit. Salim–Javed as writers revolutionized Indian cinema , particularly Bollywood . At the time, Hindi cinema was experiencing thematic stagnation, dominated by family-friendly romance films with "romantic hero" leads. The arrival of the non-conformist screenwriter pair Salim–Javed marked

6308-420: Was a clapper boy for the film and was later made the dialogue writer as director S.M. Sagar was unable to find a dialogue writer. While working in this film their friendship began. Salim Khan used to assist writer/director Abrar Alvi at first and Javed Akhtar used to assist Kaifi Azmi . Abrar Alvi and Kaifi Azmi were neighbours, from there on Salim Khan and Javed Akhtar became friends. Since their individual work

6391-655: Was also an unprecedented growth of slums across India in the 1970s, particularly in Bombay, the most famous being Dharavi , which was represented in Deewaar (1975). Their films often dealt with themes relevant to Indian society at the time, such as urban poverty in slums, corruption in society, and the Bombay underworld crime scene. While inspired by Mehboob Khan 's Mother India (1957) and Dilip Kumar 's Gunga Jumna (1961), Salim–Javed reinterpreted their rural themes in

6474-537: Was being remade into a 2013 film of the same name by producer Sumeet Mehra. Salim and Javed had filed a suit in the Bombay High Court in July 2013 claiming they had copyrights over the script, story and dialogues of the original film, produced by Prakash Mehra and demanded compensation from the makers of the remake. This court case brought them together again on talking terms. Their last unofficial partnership

6557-694: Was born on 17 January 1945. Early influences on Akhtar included Urdu novels by Pakistani author Ibn-e-Safi , such as the Jasoosi Dunya and Imran series of detective novels, as well as films like the Dilip Kumar starrers Arzoo (1950) and Aan (1952), Bimal Roy 's Do Bigha Zameen (1953), Shree 420 (1955) directed by Raj Kapoor and written by Khwaja Ahmad Abbas , and Mehboob Khan's Mother India (1957). Akhtar arrived in Mumbai on 4 October 1964. In his early years there, he wrote

6640-424: Was described as being "absolutely key to Indian cinema" by Danny Boyle . They also pioneered the masala film format. Yaadon Ki Baarat (1973), directed by Nasir Hussain and written by Salim–Javed, has been identified as the first masala film and the "first" quintessentially " Bollywood " film. Salim–Javed subsequently went on to write more successful masala films in the 1970s and 1980s. Both of these trends,

6723-478: Was flopping both of them ventured into script writing and they decided to team up in 1971. Realizing the lack of writers in the movie making industry, Salim gradually learnt about story telling and writing techniques used in films, along with close friend Javed Akhtar and began writing short transcripts. The duo hit it off well and formed a script-writing team that came to be known as Salim–Javed. Salim used to form stories and plots whereas Javed used to help Salim with

6806-651: Was for the film Baghban (2003). Amitabh Bachchan requested to Javed Akhtar to write his final speech. Salman Khan , for his speech prior to that, requested his father Salim Khan to write his speech. However, neither Salim Khan nor Javed Akhtar were credited. Salim–Javed's films had a wider impact on Indian society, with themes relevant to the socio-economic and socio-political climate of 1970s India, especially during The Emergency period, such as urban slum poverty, political corruption , and organized crime , while presenting progressive , feminist and anti-establishment themes, which resonated with Indian audiences in

6889-418: Was praised by Danny Boyle and influenced the making of Slumdog Millionaire . Actor Anil Kapoor (who stars in the film) noted that some scenes of Slumdog Millionaire "are like Deewaar , the story of two brothers of whom one is completely after money while the younger one is honest and not interested in money." One of the techniques often used by Salim–Javed was their use of a montage sequence to represent

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