By Aadarsh Eshwarappa
Bengaluru : The Department of Journalism and Mass Communication, JAIN (Deemed-to-be University), one of the top-ranked private universities in India, organised a five-day filmmaking workshop as a prelude to “Cinemates 4.0,” as part of the activities for the upcoming event on 18th September, 2026. The workshop featured Aadarsh Eshwarappa, Director, Writer and Actor from the Kannada Film Industry, as the resource person. The workshop included two sessions: “The Screenplay as a Blueprint” and “Writing Beyond the Page”.
During the first session, Adarsh Eshwarappa explained how a written idea is transformed into a visual story. He discussed the difference between a script and a screenplay, stressing that a screenplay should communicate primarily through what the audience can see and hear. Using illustrations from films including Shuddhi and Bhinna, he explored screenplay structure, dialogue, visual storytelling, subtext and character development. Speaking about the importance of connecting with a story, Mr Eshwarappa said, “What makes a screenplay more than just a written version of a film is the conviction of the writer. We have to deeply connect with the story ourselves before we can expect the audience to connect with it.” He also emphasised the importance of creating characters that audiences can emotionally connect with. “For me, the most important element of a screenplay is a character the audience can root for. No matter how great the story is, if the audience doesn’t connect with the character, they will disconnect from the film.” He further explained that characters need to experience obstacles and change throughout the story. “A strong character has to go through trouble, face obstacles and change by the end of the film. That journey is what makes the audience emotionally invested in the story.”
Mr. Eshwarappa also spoke about the importance of research and preparation in screenwriting. Reflecting on his own process, he said, “When I have done enough groundwork, the film begins to reveal itself as I write. I am almost watching the film for the first time myself, and that is one of the most exciting parts of screenwriting.” He added “Research remains important even when writers are drawing from their own lives because it helps them understand their stories better and avoid getting stuck.” The session also addressed adapting stories across languages and cultures. Eshwarappa explained, “Adapting a film into another language is not simply about translating the screenplay. We have to understand the culture, and when necessary, bring in someone who has experienced that culture to help shape the adaptation.” Students were also introduced to resources and tools for screenplay writing, including The Internet Movie Script Database (IMSDb) and screenplay-writing software.
The second session, “Writing Beyond the Page,” focused on the relationship between screenwriting and editing. Mr Eshwarappa described editing as an important but often underrated skill for writers. “Editing is a very underrated skill, but it is extremely important for a screenwriter. When we understand the editing pattern while writing, we not only make the story more efficient, but also save time and money during production.” He explained that writers do not need to show every moment of a character’s journey and must understand what to retain and what to cut. “We don’t have to show every moment of a character’s journey on screen. The real skill is knowing what to cut, what to retain, and how to move the audience through time without making the experience feel repetitive.” The session also covered match cuts, transitions and sound design. Eshwarappa emphasised that sound should be treated as an independent storytelling tool. “Sound design is different from music; it is a storytelling element in itself. The right sound can influence the mood, strengthen a transition, and make a scene far more immersive.”
Discussing documentary filmmaking, he highlighted the challenge of working with real events. “In documentary filmmaking, we cannot ask reality to repeat itself for the camera. The challenge is to work with what actually happened and find the moments that create the strongest rhythm and emotional beat,” he explained. He added that documentary editing is about finding the story within the footage and knowing what to leave out. Reflecting on his filmmaking journey, Eshwarappa identified patience as one of his biggest lessons. “Patience is the biggest lesson filmmaking has taught me. Whether we are writing or shooting, things will not always go according to plan. We have to remain calm and work through the difficult phases,” he implies. Eshwarappa also shared how teaching has influenced his own writing. “Teaching screenplay workshops has made me a better screenwriter. When we teach the craft, we become more conscious of the rules and techniques that we need to follow in our own writing,” he said. Addressing aspiring filmmakers, he concluded with a clear message: “Learn the craft before you get into filmmaking. Screenwriting is a craft, editing is a craft, and filmmaking is a craft. Learn the fundamentals, make short films, gain experience and then take the next step.”
Emphasising the role of hands-on learning in filmmaking education, Bhargavi D Hemmige, HOD, Department of Journalism and Mass Communication, said, “Cinemates 4.0 is a unique initiative that completely redefines how we learn and what we learn. Through experiential learning, filmmakers come in, showcase their work and share how they actually created it. This gives our students the confidence to experiment with visual filmmaking themselves.” The workshop strengthened students’ understanding of filmmaking as a hands-on craft, equipping them with practical insights to experiment, create and tell stories visually. The workshop also sets the stage for Cinemates 4.0, to be held on 18 September, 2026.