INTERVIEWS

The Playback Singer: “Tea-related Character Development”

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By Sam Roads.

 Suju Vijayan

Suju Vijayan

The Playback Singer, the feature film writing debut by reality TV story producer Suju Vijayan, gives viewers an intimate glimpse into the life of Priya—a second-generation Indian American attorney, whose life is turned upside down by the appearance of her estranged father Ashok, a washed up B-movie playback singer. After spending his life singing for middling Bollywood films while cycling through multiple wives and ignoring his only child, Ashok sinks his last penny into what turns out to be a fraudulent U.S. singing tour. The conflicted Priya must now decide if she’ll help her father recover his funds, all the while contending with her with her aimless husband Ray, who is less than enthusiastic about her unexpected pregnancy.

The Playback Singer stars Navi Rawat (Numb3rs) as Priya and Ross Partridge as Ray. Playing the pivotal role of Ashok, is veteran Indian stage and screen actor Piyush Mishra, who makes his English language debut and performs on the film’s delicate Indian fusion soundtrack.

Creative Screenwriting talked with the Emmy-nominated Vijayan, to learn more about her journey.

Tell us a little about your writing background.

I have worked as a writer in non-fiction/reality TV for years. Not just the “scripting” that many people believe goes on, but writing scripts on shows that require them. Prior to writing The Playback Singer, I wrote another feature script which performed well in screenwriting competitions but was larger in scope and budget. I decided I really just wanted to make a movie and knew I could get a smaller film funded, so I wrote The Playback Singer.

Navi Rawat as Priya and Piyush Mishra as Ashok

Navi Rawat as Priya and Piyush Mishra as Ashok

What made you first start writing?

I feel like I have always been a writer. I wrote poetry and sequels to my favorite books as a kid. I was a history major in college and actually enjoyed writing my papers. It’s my favorite form of expression and even when it’s frustrating and difficult, I love it.

Can you tell us about a writer who inspires you.

I am a huge fan of both Charlie Kaufman and Kenneth Lonergan. Kaufman for his beautiful flights of fancy that manage to remain tethered to genuine human emotion and Lonergan for his deep, compassionate humanism and believable characters. I think You Can Count on Me is one of the warmest, most loving films I’ve ever seen, without a hint of sappiness or manipulation. It was definitely a touchstone as I wrote The Playback Singer.

Why write this film?

Part of my impetus for writing the film was practical: I wanted to make a movie. Once I decided that, I knew I had to write something that meant something to me and that I hoped would resonate with others. I had been to an Indian music concert at Disney Hall here in L.A. and the opening act was a middle of the road, washed up playback singer. He was pompous, talked big, and seemed full of it. I thought, that’s an interesting character. When it came time to write this film, he came back to me. So that was a start. But what I really wanted to write about, thematically, was figuring out your place in this world as someone who aspires to create something beautiful. How do you make that work? I took those two seemingly disparate pieces and found a way to put them together.

Navi Rawat as Priya and Ross Partridge as Ray

Navi Rawat as Priya and Ross Partridge as Ray

Is the central triangle of relationships based on your own experience?

That’s a question I get a lot. My husband, Mike Blum, is the producer on the film so people tend to think he’s Ray (the male lead) and I’m Priya (the female lead). In terms of the issues we deal with, I’d say I’m much more like Ray and he’s much more like Priya. Ashok (the Indian father) is an amalgam of many older Indian relatives, though in the end he’s definitely his own man. I have not dealt with the situation as portrayed in the film, but bits and pieces of the characters and events do come from real life.

Priya, as an Indian American, seems to show uncertainty over her heritage. Can you talk about that a little?

I think of this film as a second generation immigrant story. Some second generation immigrants really embrace their culture and immerse themselves in it, others not so much. I would characterize Priya as someone who doesn’t think much about being Indian. For better or worse, it’s not that big a part of her life. Ashok, her father, calls her out on that in little ways, and it does make Priya a little self-conscious. But in general. I’d say she’s comfortable with who she is and how she deals with her identity.

The script is bookended by narration by Ray. What led you to that choice?

I went back and forth on whether or not to use narration. I didn’t want a narration heavy movie, by any means, but in the end I felt that those two piece of narration tied the theme of the film together nicely.

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Is ‘broken contracts’ the theme of the movie?

I think it is. Obviously Ashok’s contract for the music tour becomes an issue in the film as does Ray’s contract – whether real or just understood – with Jade and Nathan to construct the jungle gym. And since Priya is a lawyer, those contracts are very much in her wheelhouse. But then there are the more personal and ultimately more important contracts: those between husband and wife and parent and child. And, yes, those contracts have been broken or are in danger of being broken and the question is, can they be fixed?

What do the specific dynamics of family relations in India bring to this story?

In an Indian family, you always treat your elders with respect. They have the final word on everything to a degree that would probably shock most Americans. Ashok assumes that role of the respected elder without ever having done anything to merit it, which annoys Ray and, eventually, Priya, as well.

Can you explain your intent in writing the scene where Ray makes Ashok coffee?

There’s definitely “tea-related” character development in this film. At the beginning of the movie, Ashok expects everyone to make him tea and by the end he’s making it for himself. At the point where Ray agrees to make Ashok coffee even though he’s already made him tea (which he did to be nice), it’s really a moment of growth for Ray. He’s willing to make compromises not so much to make Ashok happy, but to help his wife out. It’s a nice moment for Ray and one that allows us to see what Priya sees in him.

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There’s a lot of very natural conversation, reminding me perhaps of Mike Leigh. How do you go about writing dialogue?

First of all, thank you. I can’t think of a better compliment. For me the key to writing dialogue is to get the character inside and out and then that voice will come out of you. Some are easier to get than others. I found Ashok an easy character to write for, perhaps because of my vast experience with Indian relatives! It took longer to get the other characters’ voices. It often helps me to think of the actor who would ideally play the character and then channel that voice to an extent. And, finally, my early drafts definitely have weak, on the nose, ill-conceived dialogue. It’s only in the rewrite that I really get there.

What is your writing schedule or system?

I have a day job in reality TV so when I am working, I try to write one hour a night five days a week. It’s painful at times but I would never have written The Playback Singer if I hadn’t done that. When I’m on hiatus, I can write full time. I am not a person, however, who can write 8 hours a day (I wish I was). I burn out. The good thing is I write pretty fast. Even if the first draft isn’t any good, it always feels good to get words on paper.

What processes are involved when you rewrite?

First off, I have my husband and other trusted friends and colleagues I can go to with a draft once I feel it’s ready to be read by someone else. Basically when I’ve gone as far as I think I can on my own. Once I get their notes, I figure out which ones resonate and which don’t. And then it’s just a matter of diving back in and reworking. I tend to just start at the beginning and make the changes as I go along. Get to the end and then go back to the beginning. Repeat till done!

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What writing mistake most annoys you in films?

Poorly done exposition is definitely a pet peeve of mine. It really irks me when someone explains something to someone who clearly doesn’t require the explanation just so the audience gets it. It always sticks out like a sore thumb. I know how hard it is to do exposition well – I’m not downplaying that – but I think the best movies dole it out in a way that never feels like you’re being told something. It’s just natural and organic and, in the end, you get all the information you need without ever realizing it.

What’s the most recent film you saw where you wished you’d written the script.

I’d say The Grand Budapest Hotel. I wish I could write something that clever and zany!

What’s next for you?

I am returning to the script I wrote before The Playback Singer. With this first film under my belt I feel more confident moving forward with a larger project. I’m also developing and pitching TV series. I’m always writing and working and trying to make the next thing happen.

The Playback Singer opens in LA on November 14th, 2014.

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Sam Roads

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Our Executive Editor is also Creative Director at Facebook developer Microcosm Games, writes graphic novels and has won awards for <i>The Lord of the Rings</i> games. <br> <table> <tr> <td><a href="http://twitter.com/@samroads1"><img src="http://creativescreenwriting.com/wp-content/uploads/2016/03/twitter.png" style="height:25px"></a> </td> <td><a href="http://twitter.com/@samroads1">@samroads1</a> </td> </tr> <tr> <td><a href="mailto:sam@creativescreenwriting.com"><img src="http://creativescreenwriting.com/wp-content/uploads/2016/03/email.png" style="height:25px"></a></td> <td><a href="mailto:sam@creativescreenwriting.com">sam@creativescreenwriting.com</a></td> </tr> <tr> <td><a href="http://www.samroads.co.uk"><img src="http://creativescreenwriting.com/wp-content/uploads/2016/08/website-2-small.png" style="height:25px"></a> </td> <td><a href="http://www.samroads.co.uk">www.samroads.co.uk</a> </td> </tr> </table>

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