From Writers to Directors: Siddharth-Garima's Cinematic Evolution
Garima Wahal and Siddharth Singh, the creative powerhouse known as Siddharth-Garima, first made their mark in Bollywood as writers and lyricists for Sanjay Leela Bhansali's 2013 cinematic spectacle Goliyon Ki Raasleela Ram-Leela. Over a decade later, they have successfully transitioned into directors with their own compelling films Dukaan and Saale Aashiq.
In an exclusive interview, the duo shared insights into their artistic journey, their penchant for tackling hard-hitting subjects, and their forthright opinions on the contemporary entertainment landscape.
Exploring Society's Wounds Through Cinema
Q. Your films like Dukaan and Saale Aashiq often delve into serious, taboo subjects. What attracts you to these themes?
Garima: We are constantly experimenting, striving to merge realism and thorough research with commercial viability. There's a misconception that a 'rural idea' must only exist in a rural setting or be confined to arthouse cinema. Dukaan challenges that notion by addressing surrogacy, a topic that is deeply personal and universally relevant.
Siddharth: We are drawn to films that address the wounds of society because these wounds require healing. Subjects like honor killings or the blanket ban on surrogacy desperately need a fresh, empathetic perspective that cinema can uniquely provide.
Taking a Stand: The OTT Debate and Industry Trends
Q. Aamir Khan recently criticized the trend of OTT releases, opting to release his film Sitaare Zameen Par on YouTube. Do you believe a star of his stature speaking out can instigate change?
Garima: Absolutely. Finally, someone of his caliber has acknowledged that this trend is detrimental to our industry. Aamir sir was the first to voice what many of us have felt for a long time. We fully support his stance; he spoke on behalf of the entire film fraternity.
Q. There's been discussion about actors demanding excessive perks, like multiple vanity vans. Aamir Khan has also criticized this. Why has this become so prevalent?
Garima: We recently asked veteran writer Javed Akhtar why the industry is moving in this direction, and he succinctly replied, 'Paisa bahut hai' (There's too much money). Often, films don't require such exorbitant spending, but massive funds are injected to create an illusion of a 'magnum opus,' complete with dozens of vanity vans. When resources are limited, the focus naturally shifts back to the core of filmmaking.
Siddharth: This culture escalated when corporate entities entered the film business. They infused large capital and began acquiescing to every star's demand. Once that standard is set, it becomes challenging to later lament about bloated budgets. Investment should always enhance the film's artistic value, not just its superficial glamour.
The Delicate Dynamics Between Actors and Filmmakers
Q. Regarding Deepika Padukone's exit from two Prabhas films, do you think actors have become overly arrogant, or are producers growing less tolerant?
Siddharth: The adage 'With great power comes great responsibility' holds true, but not everyone adheres to it. Success is often taken for granted. For a filmmaker, a film is akin to their child. You cannot commit to only eight hours a day while spending two on preparation. If there's no willingness to understand the project's needs, compromise becomes impossible.
Garima: Conversely, it's also about personal choice. If I decide to get married or have a child, that is my prerogative. Every profession accommodates maternity leave or limited time off; why should our industry be an exception? The real issue that was overshadowed was the breach of trust between an actor and director, not merely work hours.
Championing the Unsung Heroes: Screenwriters
Q. It's common for directors or actors to alter scripts without consulting the writers. Is this acceptable?
Garima: When Sanjay Leela Bhansali sir engages us to write, he consults us before changing even a single word. That mindfulness of a writer's contribution is what distinguishes a great filmmaker. Filmmaking is a collaborative art; undermining one role to elevate another is fundamentally flawed.
Siddharth: Precisely. That's why he is Sanjay Leela Bhansali. Too many others dismiss writers with a casual remark like, 'You weren't on set, so we made changes.' A script is delicate; one word can alter a film's entire meaning.
Q. Having transitioned from writers to directors, do you feel writers receive the recognition they deserve?
Garima: Writers are the farmers of this industry. Just as farmers nourish the nation, writers feed the world of entertainment. Without us, there is only a blank page. Yet, instead of respect and fair compensation, writers are frequently overlooked. Payment is a significant issue—many are hired with a minimal advance and then left waiting indefinitely.
Siddharth: Audiences know the stars and directors, but rarely the writers. Furthermore, many directors who cannot write still claim writing credits, stating they 'wrote with their writers.' In reality, they were listening. If professionals handle the story, screenplay, and dialogues, what did the director write? The common credit 'Written and Directed by...' is often unjust.
The journey of Siddharth-Garima underscores a vital narrative in Bollywood: the need for integrity in storytelling, respect for collaborative roles, and a balanced approach to the business of cinema. Their advocacy for writers and critique of industry excesses highlight ongoing challenges and opportunities for evolution within Indian filmmaking.
