A Quote by Mohit Raina
The writer of Kaafir,' Bhavani Iyer had to keep the story with her for 13 years, the producer, Siddharth Malhotra, could only provide justice to the story after struggling for eight years.
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'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
Well, I didn't feel that I could do justice to this story of my parents and their generation, and all that they did to make it possible for me to be who I am, if I sort of just put it at the beginning of a book about my last eight years in foreign policy.
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
I used to be a good story writer. I could make up a story with like, eight people in it and tell you where they all lived, what color their houses are.
My daughter had carried within her a story that kept hurting her: Her dad abandoned her. She started telling herself a new story. Her dad had done the best he could. He wasn't capable of giving more. It had nothing to do with her. She could no longer take it personally.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.
When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.
There did not have to be a moral. She need only show separate minds, as alive as her own, struggling with the idea that other minds were equally alive. It wasn't only wickedness and scheming that made people unhappy, it was confusion and misunderstanding, above all, it was the failure to grasp the simple truth that other people are as real as you. And only in a story could you enter these different minds and show how they had an equal value. That was the only moral a story need have.
The thing is that my father's story helps to communicate what was at stake with my mother, and my mother and father had so much a partnership that his story is integral to her story, as her story is to his - really, her story can't be told without his story.
The story wrote quickly. I called it 'Where You're From,' and I sent it out, as I had numerous other stories over the years. Except this time I got a letter back saying that it would be published. Someone out there had liked the story. I was thirty-one years old.
All these years I've had a story in my mind, the story about us that never really existed. And because of that story, I've kept you framed up on the wall in a little box of nostalgic moonlight.
Dean [Devlin, Emmerich's partner on "Independence Day"] and I always said that we'd only do it when we had a really good story that excites us both, and we have the story written. And we've had it for a year and a half, two years. So we've been ready.
I've had to try and find a way over the years of writing narratively that doesn't really require you to sit down and work out what the story's about. You're brought into a sort of sequence of images that have that emotional resonance, but it's kind of irrelevant what the actual story is. It's taken me maybe 13 albums or something to work that out.
Technology adds nothing to art. Two thousand years ago, I could tell you a story, and at any point during the story I could stop, and ask, 'Now do you want the hero to be kidnapped, or not?' But that would, of course, have ruined the story. Part of the experience of being entertained is sitting back and plugging into someone else's vision.
Astronomers can look back in time. We can look at things as they used to be. We have an idea there was a Big Bang explosion 13.7 billion years ago. We have a story of how galaxies and stars were made. It's an amazing story.
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