- You're ready to start?- Yeah.
Ashok!
Could you make me a soup?
[Interviewer] I'll show you a photograph
Whoa! That's my mom.
So that was the sh**t
we did with this
great photographer Vilas Bhende.
My mom's cousin's husband.
I and my dad looked
identical at the age
that you saw.
- We have some pictures
- 5 or 6 years old.
Then Salman at a much younger year
started looking like him in his early 20s.
So we've all started looking like him
at different stages in our lives.
But never wrote as well as
he did at any stage of our lives.
I'm enjoying the fruits of my sweat.
You earn with your sweat,
we earn with our beauty!
I enjoy the fruits
of my sweat and blood.
Since I moved to Bombay,
I've heard 50 different reasons
for making a film.
"My actress is planning to get pregnant.
My financer will disappear."
"I have recorded four songs."
Different reasons.
Nobody says I have a cracking script
on which I can bet my last shirt.
That should be the only reason
to make a film.
[Shabana Azmi] Anybody wants a pad
to write anything?
What's there to write?
It's a flawless piece.
How many times will you keep
writing "wow, great"?
Okay, let's start.
"The film starts with a dense jungle,
sound of different birds,
"as the camera pans,
at one place we see the bush
"is moving.
"And through the foliage we see"
You must've noticed - if you take
the same story or joke,
some people narrate it well,
others don't.
How do some people narrate well?
They stress on the right words.
They stretch it at the right places
to pique your curiosity and interest.
So the understanding of this rhythm -
where to pause,
where to speed up,
where to underline, where not to.
Where to take a narrative jump.
"And a few days later"
This method of narrating a story,
in an audio-visual format,
is what a screenplay is.
- Thakur saab?
- Welcome, Jailer saab.
I need two men.
This is Veeru,
and this is Jaidev.
Total rogues, the pair of them!
I know.
But they're just the kind
of men I need for this job.
This is the story of awards
and award-winners.
In 1975, two big films
competed head-on.
Sholay and Deewaar.
Today I have buildings, property,
bank balance, bungalow, cars
- What do you have?
- I have mother.
Don't dance for
these dogs, Basanti!
Both stories and screenplays
were written by Salim-Javed.
The amazing thing was
Salim-Javed won all
the awards for Deewaar:
Best Story, Best Dialogue,
Best Screenplay.
I remember
when I interviewed Javed saab,
he was saying how they
didn't get any awards for Sholay
because they got
it for Deewaar.
And he said:
"You should never do
too much good work in a year!"
But imagine -
writers who produce Sholay
and Deewaar in the same year.
I mean
Before starting a screenplay,
I do watch Deewaar and Sholay,
parts of it, I skip the songs,
but I see them.
Really view them.
So I think it's the genius of
the films that changed the game.
And you know, these were kids.
Now I'm twice their age
when they were writing this.
So I still think, how did
these kids do this?
All the films they wrote together,
they always gave me
bound scripts.
So that makes our job easier
and better. Good films get made.
To me, Deewaar is the best script
of their career.
And this film is among the most
important films of my career.
I can say one of the best
films of mine is Deewaar.
For many years at the
Film & Television Institute of India,
the Deewaar screenplay was
taught as a perfect screenplay
because it didn't have
anything extraneous,
except for probably the songs.
But everything else was connected.
I would go as far as saying,
if they had not
written any other film,
and had only written Deewaar,
they would still be in history.
People say that Deewaar
has a perfect screenplay.
We wrote it in eighteen days
from a small storyline.
We completed the entire screenplay
in eighteen days.
Then I wrote the dialogue
in about twenty days.
Once the script was completed,
we knew we hadn't cracked the cl*max.
So Javed and I completed it,
sitting on the parapet nearby.
Then we went straight
to Yash Chopra's house
and narrated it.
For almost five minutes
there was complete silence.
As they started narrating
the scene where
"My father is a thief"
is tattooed on Vijay's arm
Vijay, say something.
I said this scene alone will guarantee
a 15-week run.
If this is what's on the hero's arm,
imagine what a character he'll become!
Keep this key in your pocket, Peter.
I'll unlock this door,
after I've taken the key
out of your pocket.
Get the signature of the man
who tattooed this on my arm.
And then
- Ma?
- Hey, brother!
- When did he get here, Ma?
- Just now.
Ma was complaining
If you narrate the story
of Deewaar to someone,
so
there's a 90% chance
they'll kick you out of their office.
There was a mother
who had two sons.
One is educated, the other not.
One becomes a cop,
the other a gangster.
In India alone,
at least 25 or 30 films have
been made on this subject.
Ganga Jumna and Mother India
had the same story.
But a story alone isn't enough.
How are we going
to narrate this on the screen.
Which scene follows another.
Which scene we leave halfway
and start another.
That is a screenplay -
how you present scenes
on the screen.
Because anybody who doesn't
visualise it happening
cannot be a screenplay writer.
Sir!
I polish shoes, I'm not a beggar.
Pick up the money
and hand it to me.
Let's go.
Salim-Javed will plant things
throughout the script
that will flower within
the story
And that shows a continuity
of thinking and character.
So the story about the coin:
"I do not pick up coins that
are thrown at me."
You see that come back.
Even today I don't accept
money thrown at me.
My understanding is that
it is not the wordiness
of the dialogue.
It is to do with the content -
that Vijay says something
which everyone felt.
And he said it in a way
which had a flair and a style
and a dignity which
made you feel
he might be a coolie,
but that is just his job,
that's not who he is.
I wasn't aggressive.
So I found
I found some peace with the
reticent, brooding hero.
It became my coping mechanism
in my growing years.
I still felt like a hero.
When you see somebody
who's being himself on screen,
who's a no-nonsense guy
who's not taking sh*t,
if somebody is trying to put him down,
it's tagged as angry young man.
But I feel it's not being angry,
it's being who you are.
It's being very genuine,
and giving it back, you know.
Rahim uncle,
what hasn't happened
in 25 years - will happen now.
Next week another coolie
will refuse to pay
protection money.
It was the 70s
and it was a very strange time.
It took 6 years to get
a gas connection.
There were long lines
to get a ration card.
So people of that time
identified with this character.
The anger and fire
that burned inside this hero
was the same fire
that raged within every young man
in India back then.
People were not content
in those days.
Salim-Javed tapped into
the conscience of a nation
that was also at the cusp
of change -
and had spent enough time
after independence
to now start making demands
and say that, you know,
"We just don't want to take
everything lying down."
We were unaware
of all this while writing.
Nor did we think our stories
had socio-political relevance -
And it's good. I'm very happy
that we were innocent about it.
Because we were the part of that
same society, the same world,
and we were breathing the same air.
Without knowing, we were
in sync with the rest of the people.
We were innocent about it.
But is it really a coincidence that
in 1973, we created a vigilante
But is it really a coincidence that
in 1973, we created a vigilante
and in 1975, India
faced the Emergency?
Are they linked or not?
On 25th June 1975,
everything changed overnight.
President Fakhruddin Ali Ahmed
received a request from
Prime Minister Indira Gandhi
to declare a state of
Emergency under Section 352.
Many leaders were taken into custody.
The national poet
Ramdhari Singh Dinkar then said:
"Vacate the throne,
the people are coming."
These two writers
were marked by
their personal histories,
but they also carried
a social history with them.
And this ability to connect
the personal with the social
gave their writing
a certain kind of edge.
Tell the man to sign who forced
my father to confess.
Tell the man to sign who insulted
my mother and fired her.
Tell the man to sign
who tattooed this on my arm.
Then
Then, my brother, I will sign
anything you want.
Proving the crimes of others
won't change the fact you're a criminal too.
And this truth -
is a wall between us, brother.
And till this wall stands,
we cannot live under the same roof.
I'm leaving this house.
This instant.
Come, Ma.
Go, if you want to,
but Ma won't leave.
- Ma, come with me.
- I said Ma will not go.
Ma will go.
No, Ma. You can't
leave me and go.
You love me, Ma. I know
you can't leave me.
- I'm going, Vijay.
- No, Ma. Don't go.
The man who forced your father
to confess - who was he to you?
Nobody!
The man who insulted
and fired me - who was he to you?
Nobody!
The man who tattooed
"My father is a thief" on your arm -
who was he to you?
Nobody!
But you
you are my own son.
My own blood.
But you've stamped on my brow that
"My son is a thief".
He felt deeply for his mother's suffering.
So he wanted to give her
every happiness.
In fact his mother
loved him the most.
The dialogue was so good
and my character too.
If you think about it, the film's
real heroine is the mother.
Vijay who has
no belief in God
finding himself climbing up
the steps of the temple
to pray for his ailing mother.
And his opening line is
Today You must be very happy.
And I do remember
the premiere of Deewaar
and there was this
actually a snigger and a gentle laughter
in the audience.
And that conveyed
That it was so unexpected
and they thought it was
some kind of a joke.
But within a couple
of seconds after that,
they just froze.
Is it her crime that
she is my mother?
Is it her crime that
she gave birth to me?
Is it her crime that
I love her?
It had so much to do
with the lost mother.
That comes up
over and over again
in their stories.
And I think it has a lot
to do with the fact that
Javed saab lost his mother
when he was very, very young
and Salim saab also lost his mother,
and that anxiety about being
in a different city
without family,
without a mother figure
weaving that into the story
where the hero is so obsessed.
I mean they're almost like Oedipal
in their obsession with the mother figure.
Deewaar
Trishul
Shakti
The mother factor huge!
Shanti died at your hands ages ago.
She was only cremated 25 years later.
And the flames of that funeral pyre
still burn in my heart,
because I'm that unfortunate Shanti's
son, Mr. R. K. Gupta.
And you're my illegitimate father.
Sudhakar,
take him away.
No. Don't say that.
He will not go.
I will not let him go.
Ma. Enough!
I don't care if I go to jail
or I am hanged,
I won't let you be humiliated
for my sake.
In Papa's films, which they wrote,
the main hero always
always had a father issue.
Yes.
And the mother was always the
like the anchor or
the emotional tug.
And the issue was
always with the father.
They obviously saw life in a way
that everybody else didn't.
That's why they could
write what they did.
I couldn't be with my mother
from the age of five to nine,
because I couldn't go near her.
My mother had tuberculosis.
There was no cure
for TB at that time.
So she'd look at me
from a distance.
One day she saw me playing.
And asked: "Who is this boy?
Whose child is he?"
So the maid told her:
"He's your son."
She called for me.
I was playing with some other kids.
She called for me and then
asked me to stop at a distance.
I stood there, she looked at me
and broke down into tears.
And she was taken inside the house.
Even today when
I recollect that scene,
when I'm having a drink
in the evening,
without provocation,
tears start rolling down my face.
Just thinking about those days.
It's not that I feel bad for myself.
I wonder what she was going through.
I was the youngest of
seven brothers and sisters.
Everyone had gone their own way.
My sisters got married.
I was the only one left.
So my mother was always
worried about me.
And your father?
I was very scared of my father.
He was famous for being strict
and disciplined.
The moment we heard his footsteps,
we'd quickly run and sit down
with our books.
Our trouble began when
he started wearing crepe shoes,
because they made no sound.
A few days after my mother died,
my father became very close to me.
He took me to watch cricket matches,
shopping, all that.
And then he died.
That loneliness
was scary.
On 17th of January,
I was 8 years old in 1953.
She died on the 18th.
And the last time I saw her
was in that white shroud.
For months I used to see
the shroud in my dreams and
even in bright daylight,
I would be slightly scared
of entering a room
if there was nobody
there in the house.
And I would open the door
and look around
I had the feeling that shroud
would be somewhere here.
But this is something I never
shared with anybody.
Children are very secretive
and very complicated creatures.
They have their own personal world
and they don't share
that world with anybody.
Now I am on the wrong side
of seventies,
and I miss my mother sometimes.
And it is funny.
My mother died when
she was perhaps 36.
So am I missing, at the age of 76,
I'm missing
a woman who was 36.
It's a bit
bizarre.
I mean life was not devoid
of love or attention.
But yes, I mean,
we'd fantasise a father,
and whenever we'd meet him,
we'd be very happy.
But I'm afraid that was a rare event.
So why was your father absent?
Well, he was in Bombay
and I don't think financially
he was in a position -
he himself was living in one room.
He was trying to find some
foothold in the film industry
and our mother had
injected some kind of
hero worship of our father
in both of us.
Me and my younger brother.
But there were many moments
of disappointment I remember
that I felt he'll come to meet us
and then last moment we came to know
that he's cancelled his programme,
or so on. So, yes
As a kid, what do you long for?
You long for - maybe the people
who ignored you earlier to say:
"I wish I had paid more attention."
So I think their childhood
and their need for acceptance,
I think played a huge role
in shaping them,
to be not just the writers
that they are -
but even if you see what they did
like "Go, paint my name on the poster".
They could not be taken lightly,
they could not be treated as
just a person working on a film.
They were like the stars of that movie.
And they wanted to be
the stars of that movie.
I mean that's how they worked.
Let's eat.
A line by Faiz Ahmad Faiz
comes to mind.
"What befalls everyone,
befell on me too."
This was our life.
This was our share of
bruises and blows.
These bruises and blows did not go
to waste. They came in handy.
We wrote many scripts
thanks to their force.
Had these trials not happened,
many highlights of our lives
would not have happened either.
So this is the package.
Accept it!
A film like Sholay,
it's like a piece of art that you
just want it untouched.
You just want it to be there
and go back to revisit
that film again and again,
Whenever it comes on TV.
I think it just stands alone,
you know.
It's just one solid vertical
and there's nothing else around it.
You were just talking about the one-liners.
I think the coolest one-liner -
the coolest of all-time in Hindi cinema
has been in Sholay:
'What's your name, Basanti?'
Gabbar's line:
"How many men were there?"
Everything is great in Sholay.
All the characters are great.
Friendship.
Love. Emotions.
Sholay has everything.
That one picture has all of life in it!
G. P. Sippy Saab - after the success of
Seeta aur Geeta,
he wanted to make a big film.
We narrated the story
of Majboor to him.
But he insisted he wanted
to make a big film.
G. P. Sippy saab He was always
a super risk taker.
He didn't know how to do anything
without taking a risk
because that's how his life was.
He wanted to make something exceptional.
Greatest star cast ever assembled.
Greatest story ever told.
I think he wanted to
bring to India, what the
rest of the world was seeing
and not this limited sort of
perspective of entertainment
that they had in the country
at that time.
It was it was beautiful,
but it was still on a small scale.
And I think he just felt that
"Why should we not have that?"
Sholay's location had turned
into a township.
A factory that made various
gadgets was set up nearby.
Say, a scene was to be shot
where Dharam-ji is singing on a cycle
they would make the equipment
so that it could move on one wheel.
So, the very scale of this
picture was unprecedented.
That was the passion
It has to be just this way.
On Friday, the movie released
and sank after the matinee show.
Even the black marketeers
lost money!
After Monday,
the screening at 9 a.m.
had an audience of 4 or 5.
Ramesh-ji who was already nervous,
got even more nervous.
He started with a budget
of 10 million rupees,
sanctioned by his father.
10 million rupees!
By the time he completed the film,
30 million were spent.
Three times the budget.
The reviews came out. Flop.
G. P. Sippy's biggest flop.
Magnum opus flop.
And they went on Indian Express
went on to write about
how terrible the film was,
how it would never take-off.
Trade guide went on calling
it "Cholay" (chickpeas) and:
"This film is a flop"
They brought out a supplement
to analyse why Sholay flopped.
They brought out a supplement
to analyse why Sholay flopped.
We were worried in the beginning
that why are the trade papers
totally slashing the film?
totally slashing the film?
It was very different.
It had action, it had a villain
who was never seen before.
People said: "Why did they
cast a new villain?"
He was not very well-built,
he was short.
It was almost like - how will
this villain appeal?
They also said: "Women won't like this film.
It's too gruesome."
"Your story was all wrong,
"Your story was all wrong,
"the characterisation was wrong,
the scenes were bad."
So everybody said:
"Amitabh Bachchan shouldn't have died
at the end.
"There shouldn't have been talk
of widow re-marriage."
When people were laughing
at the film - that it's a flop,
Javed Akhtar and Salim Khan issued ads in
Screen,Trade Guide
and Film Information,
saying that "Our film will
do ten million per territory".
We had to show we were confident.
We knew the film would do well.
We had an emergency meeting.
Amitabh Bachchan was there,
Ramesh Sippy, Salim saab
and I was there too.
And so
Ramesh-ji said: "You know,
I think we should think of
"changing the ending
that you don't die, but
"you should live."
I should live in the film.
We told him not to worry.
Let them say what they want to.
This is going to be a super hit!
It's all nonsense.
So Ramesh-ji just turned back
and said:
"Let's wait till Monday.
"Let's see what happens on Monday.
"Let's wait till Monday."
And we waited
and didn't go to re-sh**t that scene.
Thank God!
Because
after Monday it became history, didn't it?
O Sambha!
How many men were there?
A scared man is a dead man.
Dying today is cancelled!
Suddenly, we started getting
feedback from our sales team.
That they are hearing the
dialogue on the streets.
So we brought out this LP,
and you wouldn't believe it,
the moment we released it
in the market,
it was an extraordinary success.
It just flew.
Then you saw the film
getting a little lift-up
and you saw the film getting,
you know, acknowledged.
Before the box-office could
open on Monday morning,
there was a long queue
from Sunday night.
All the black marketeers
bought cars
and homes, thanks to Sholay.
They still hold onto
the cinema ticket,
to show their kids how they
managed to buy their property.
I used to live next to
a cinema hall
which ran Sholay
for about 3 years.
Last count, I've seen it
about 26 times on screen.
The ad we released
the film surpassed it manifold.
Our predictions turned out wrong.
Many people in the film industry
were demoralised by this.
They said: "Who are these guys?"
They even predict their film will be a hit,
and it is!
They say their film will earn
this much and it does!
They know something!
Originally the storyline came
from Salim saab.
The two main characters
were recruits in the army.
They were so useless,
they were thrown out.
There was a Major who later became
a police officer - Thakur saab.
But I remember G. P. Sippy Saab said
not to show them as army men.
It'd mean certain limitations. You can't
take too many liberties, and so on.
There was a room in our office
called the "Thinking Room".
It had mattresses
laid out and bolsters.
As we got into the script
of Sholay and if I feel
As we got into the script
of Sholay and if I feel
I'm talking about canvas, about vision
and they're trying to fill me in -
"Yes, then let's do it
like this instead!"
"Yes, then let's do it
like this instead!"
It just went on. It was
a continuous process.
Ramesh-ji used to say: "There
are two-page-long dialogue.
"You have to say it
all in one shot."
I was very worried and scared.
How do I do it? You know.
So Javed-ji enacted it all and showed me.
I think what he did, it just got in
that impression was there
in my mind.
Fully - I just did it!
This is a village, sir!
No cars here to - grrr- speedily
take you to your destination.
Only Basanti's horsecart runs here.
If you're writing a Sholay
about a village, about a dacoit,
about so many people,
then you have to have a world where
other characters have
to be interesting.
And when you write a small
character, it's not just to-
okay, so he should say this line,
so that a hero can say this line.
No, that person should have a role,
should have a part, should have a
visibility, should become interesting.
I'm a jailer from the British era!
A tunnel in my jail? Haha!
I grabbed them by their collars
and said
Why is it so quiet here?
Chief, I've eaten your salt.
Now
Eat my b*llet!
My father was a high-ranking police officer.
We heard stories of a dacoit
called Gabbar Singh.
Yes.
He used to k*ll people
and chop off their noses too.
The accused Gabbar Singh,
son of Hari Singh
Anything inspired from
real life has a distinct impact.
I will not forget.
I will never forget you.
Did you see a lot of them
in their films?
They have taken a lot of characters
Definitely saw Gabbar.
In Javed!
Just joking.
But I know one thing about Javed,
he loves to write dialogue
for negative roles. The villain.
He loves it!
The thing is - we all have anger
within us.
Deep down we all want to do
as we wish.
But morality, circumstances,
pressures, fears keep us in check.
You see when kids go to the zoo,
they first run to see the tiger.
And if you tell them
there's a cheetah too,
and a black panther.
They'll want to see them.
They go to see the birds much later.
Why do kids admire them?
Why did kids like Gabbar Singh?
Even adults loved him.
A ruthless man who had no
emotional or moral justification
for his cruelty.
He's totally free from morality,
which is tightly wrapped
around us with a rope.
On some subconscious level,
we admire that
this person is free.
Without the villain, a film is no fun.
The hero has his charm
but it's the villain who
gives life to the movie.
The villain starts the drama,
the hero ends it.
That's the usual movie cl*max.
When the family's been k*lled
and there's one small child left
and Gabbar Singh picks up his g*n.
You don't see the child getting hit.
And as he fires
There's all that smoke coming out.
Like this!
So for us at that time
it was like, you know,
how people reacted
to Tarantino later on.
Even though Sholay did not
show much bloodshed.
But its level of violence,
it kind of took your breath away.
Even when Thakur's
arms were severed,
anybody would've shown
the arms lying around,
blood spattered about.
"Thakur, give these arms to me."
And he's saying, "No, no!"
There is not a single shot
of blood splashing,
or severed arms nothing.
And this is written
in the screenplay.
This was the masterstroke
of the premise of Sholay.
This proud man has been
subjected to such indignity, but –
he doesn't want them
to t*rture Gabbar to death
and drag his corpse to him.
No.
The uniqueness was:
"I want Gabbar - alive."
Gabbar Singh?
That famous dacoit?
Yes, him.
You have to catch that dacoit for me -
Alive!
Ramlal.
Here's five thousand rupees.
You'll get five more when
you come to Ramgarh.
And the rest after the job's done.
Partner?
Heads, we go.
- Tails.
- No.
About this coin
there was a Western
called Garden of Evil.
We got the idea from there.
- High card stays?
- It's good enough.
Originality is the art
of concealing the source.
When you don't know
the source, it's original.
Some people may eventually
figure out the source.
So it's better to admit
where ideas come from.
We never hid the truth.
We talked about our inspiration.
No one is stopping you
from doing the same.
In those days there was
no moral dilemma as such,
because English movies
were released in only
a few cities in India.
They were from another planet.
They weren't going to be seen here.
So if they inspired us,
it wasn't the end of the world.
Today if I'm writing a script
and if someone says
this scene is similar to some
other scene, I'll change it.
The power of Salim-Javed was really
to kind of take little bits,
you know, here, there
and then re-fashion them
completely to be something
original.
It wasn't, it never felt
you know that: "We've seen this before."
Soldier no. 2!
Are you coming out or
should I sh**t your partner?
Stop!
Come!
I mean what they did
with Gabbar is pretty much
what you saw in Joker
many, many, many decades later.
When you see Kareena Kapoor Khan
in Jab We Met,
that's Basanti.
When you see an intense action
hero even today, that's Bachchan.
They created all those characters
and Sholay is the mothership film
where we are all still
deriving and driving from.
O Sambha!
How much reward has
the government put on my head?
Chief, a full fifty thousand
times I have told you!
I'll watch an ad
and it'll still have
a character or a dialogue
from that film 50 years later!
I don't know what to make of it.
I find it incredible.
Why is it today people talk
about those dialogue?
It's because it's not just dialogue,
it's philosophy.
It's a consolidated knowledge.
One line - you can communicate
a hundred things. I think that's what they've done.
Hey soldier!
- Sing us a song.
- What song?
The song that makes that
dazzling woman dance.
- That one?
- Yes.
Let me show you something
to impress you.
This is Faiz's autograph.
"For Jadoo miyaan.
With love, Faiz.
"March 84."
What do you know!
We're among the very
rare species still alive!
The Last of the Mohicans.
These two boys came out of nowhere
and they were game changers.
No one imagined they'd change
the status of film writers.
Or these kinds of films would be made.
That's why there's never been
anyone like them in all these years.
Now when I look back,
like a third person
who can see Salim and Javed there
I realise theirs was
an unbelievable combination!
Two kinds of people
should never work together.
Those who don't agree
on anything.
And those who agree about everything.
If you agree about everything,
then you don't need two people,
one is enough.
And if you don't agree about anything,
how will you work together?
On one level perhaps
we had so much in common.
And on another level,
we were very different people.
Sometimes I would say,
or Javed would say:
"This isn't good enough.
"People expect a lot from us."
What you see in a film
is what we finalised.
You haven't seen the fifty
discarded scenes.
We used to work like office hours.
I would go to him from 11 a.m.
and come home at 8 p.m.
Salim saab was always
very much on time,
not Javed.
He had to either call first and say:
"I'm coming, wake him up."
Or he'd have to come and wake him up.
Or something like that, but
I just remember my father telling me that
they gave the best narrations
because they told me a story.
It was like an orchestra,
he said they were so in sync.
Whatever weakness one may have,
I think the other one kind of
stepped in and balanced that out.
It was amazing.
The synchronicity
between the two of them.
They had a very good
relationship.
I have never seen them
ever discussing: "Let's try this or that."
They were both on the same page.
The way they spoke,
the way they said things
I mean it was like
one body, one mind,
one mouth, one voice!
One plus one is not two,
it's eleven.
It was the hottest writing duo,
then suddenly one day they say:
"We are not together".
Of course, it shook the industry.
Producers' lives were being made
because of them.
Directors' lives, stars' lives.
Cinema-owners used
to wait for Salim-Javed films.
Now if that team
is no longer a team,
of course, it's not going
to be the same.
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01x02 - Episode 2
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A documentary telling the story behind the formidable writer duo Salim Khan and Javed Akhtar.
A documentary telling the story behind the formidable writer duo Salim Khan and Javed Akhtar.