From Page to Screen: The Cinematic Scope of Different Worlds
When readers describe Different Worlds as cinematic, I take that as the highest compliment. The story was always intended to be immersive, not just in theme but in sensory experience. From the soft lighting of the Patel family home to the sterile coldness of the courtroom, from the vibrant chaos of Mumbai streets to the sleek, muted halls of a Los Angeles law firm—each scene was crafted with visual precision.
As I wrote, I often saw the characters in motion. I imagined their expressions, their silences, the sound of their footsteps echoing down empty corridors. I wrote dialogues not only to reveal meaning but to leave space for tension, for what is not said. This approach has naturally led to early discussions around a screen adaptation of the book—something currently in development.
The cinematic potential of Different Worlds lies not in spectacle, but in emotional tension. The story does not rely on plot twists or dramatic reveals. Its power lies in the intimacy of its moments—the glance across a courtroom, the silence at the dinner table, the internal monologue of a man who cannot say what he feels.
Adapting this novel for film will require great care. The goal is not just to tell the story again, but to translate its emotional truth into another medium. And that, I believe, is both a challenge and a gift. I look forward to seeing how these characters live and breathe on screen, and I hope their stories will resonate with even more people in the process.