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00:00Samasar, since this is one time Nagendra Garu is also here,
00:07I will just ask you a question. Tell me one favourite person from Hit 3 set and one irritating person from Hit 3 set.
00:25I think one Chanti and the other Chanti. One Chanti gives tea, the other Chanti gives headache.
00:32The other Chanti is the direction you've had mentioned.
00:36My favourite person is Nani and the most irritating person is Rinudhi, obviously.
00:42Just kidding. I knew when he started this question, I knew it was coming.
00:46He wanted me to focus on you, no? I never wanted to do that.
00:49No, but that is not my idea. He is genuinely sincere.
00:53He is honestly saying.
00:55There is a sincerity in the answer, I will tell you.
00:57Because she hits you.
00:59Correct.
01:00If she hits you, she hits you.
01:03If she hits you, she hits you.
01:06If she hits you, she hits you.
01:08If she hits you, she hits you.
01:10Happy?
01:11Now you can sleep peacefully?
01:12Very peacefully.
01:13My favourite person and irritating person are both the same.
01:18Both the solution.
01:19That's right.
01:20That's right.
01:21That's right.
01:22That's right.
01:23That's right.
01:24That's right.
01:25That's right.
01:26That's right.
01:27Obviously, Hit 1, Hit 2, I have a lot of work.
01:30I have a lot of work in peace.
01:31That's right.
01:36After working in the first 10 days of Meethow Pangjays,
01:39I have to tell about anything in a flight where I have to tell you.
01:42Anything to tell you.
01:43That's right.
01:44That's right.
01:45That's right.
01:46Like, you get 10 days and they tell you.
01:49And then, hey bro, I'll tell you.
01:52You get 10 days later, tell me everything in the beginning.
01:58I'm the only one who was silent for me, right?
02:00I don't know how much I had to get to the stage again.
02:04That's what I was thinking about. I respect it.
02:08But when I say, I'm so happy about who I was,
02:12so I've been practicing it, bro.
02:13When I say, I'm so happy about who I was,
02:15I'm so happy about who I was,
02:19I'm happy about who I was,
02:21you're not happy about who I was,
02:2410 days, 10 days, you are very neat.
02:28You don't have to react immediately.
02:30Respond a little later with a good thought process as well.
02:33That's a good idea.
02:35That's why I wish you all thanks.
02:36Very good.
02:37The kind of happy energy you bring to the sets of Hit 3.
02:45This is my favourite. Seriously, I have my favourite.
02:48I have a lot of training in my craft.
02:51I have a lot of training.
02:53Yes.
02:54He said I have a favourite person.
02:56I'm honestly saying, I am a happy favourite person.
02:59It's just that.
03:01It's just that I have a favourite person.
03:03I've never seen it since I was on all-gayers.
03:05I've never seen it since.
03:06I've never seen it since.
03:08You've seen it since that.
03:10It's been a very helpful life for lighting.
03:15I came in perfect sense.
03:16In the set, I'm sure it's part of some real details.
03:19It meant a lot of connection.
03:21It's a lot of tension.
03:23If you tell me, if I'm not going to be wrong, I'm going to be wrong.
03:29I'm going to be very tension.
03:30But if I'm not allowed...
03:33I don't have any reference to the people like that.
03:36I don't have reference to the person who's following.
03:39But if I'm not going to do the same set, I'm going to have to do the same lighting.
03:43I'm not going to do the same thing.
03:47I was concerned about lighting in the other cinema.
03:52I was concerned about lighting in every set.
03:55I was concerned about lighting in every set.
03:57I was concerned about that.
03:59I still vividly remember, sometime in March or April,
04:04you had a story about your first time.
04:08You had to go to a Hercules task.
04:11Now, almost a one-year journey.
04:17Kashmir, Rajasthan, Arunasal Pradesh, Vaizhagu.
04:21All four corners of the country we had to plan and
04:24I think it's going to be back-to-back.
04:27I think we will have a gap between them and then...
04:31What do you think of this team's pull-off JHS?
04:36No, I don't have doubt about it.
04:38I don't want to do it.
04:40I don't want to do it in my way.
04:42I am equally part of that team.
04:45So, see, it is first thing is, do we have the motivation to pull it off?
04:50Do we have the excitement with what we have?
04:52There is a lot of material in Mandagir.
04:55If it is possible, it will become hard to pull it off
05:01when every day something is not pushing you to do.
05:05Then it becomes extremely hard.
05:06It's a lot of customers.
05:08I know that Mandagir is a lot of excitement in Kashmir.
05:14There is a lot of excitement in Arunachal Pradesh.
05:17There is a lot of excitement in the location.
05:19There is a lot of excitement in that scene, there is a lot of content.
05:20So, if we are happy and excited, this is not a problem.
05:24That's not the...
05:25It's a lot of the matter.
05:26It's a lot of work.
05:28If we actually coordinate the production,
05:30it's a lot of work.
05:31But when this is in place, when the idea is in place,
05:38and it's exciting enough and it motivates you,
05:40I think that...
05:41But it's not a big thing, is what I feel.
05:44Because it's a lot of work.
05:45But now, one year later, like you said,
05:47It's a lot of work, but it's a lot of work.
05:49It's a lot of work.
05:50It's a lot of work.
05:52It's a lot of work.
05:53It's a lot of work.
05:54It's a lot of work.
05:56So, we have travelled so much.
05:58We got stuck in Kashmir.
05:59We are going to take flights back.
06:01And so many things happened.
06:03And then Arunachal Pradesh.
06:04All memories are flashing in my head.
06:06And it's just two and a half hours film.
06:10And it just goes with...
06:11Okay, when we are watching the film, I'm not...
06:14I'm not...
06:15My shoot memories are not flashed like Kuchan Martler.
06:19In the cinema, it will also flash out.
06:21Hmm.
06:22And that's a good thing.
06:23Because cinema is taking you in, into a different world.
06:27Yeah.
06:27But I'm not thinking, oh, we shot that day, there.
06:29It is not coming to my mind, which is a very good thing.
06:31Yeah.
06:32Yeah.
06:32What is one...
06:34As for everyone,
06:36one thing...
06:38Shoot starts in a situation,
06:41on location,
06:44now, it could be for you, it could be that one shot,
06:46you did it and you were really happy with that shot.
06:50The most happy you were.
06:51Okay, something happened along with what you put in
06:54and what happened on screen.
06:56You're very happy.
06:57Or one episode, you can tell.
06:58Yes.
06:59Same applies to all of us in our own way.
07:02Without giving spoilers, obviously.
07:03Without giving spoilers, yes.
07:05Even if you give spoilers, we edit it out.
07:07Yeah, we have the control.
07:08Yes.
07:09We hold the power.
07:10Yeah.
07:11Sanu sir, tell me.
07:12Actually, there are many in this film.
07:16So, if you go out to shoot a scene in a particular drama,
07:23which is to be provided by light when you're shooting outdoor,
07:28there were so many places where nature just helped us immensely.
07:34You know, that is that one thing which makes me so happy.
07:36Like, you know.
07:37That's the ultimate thing.
07:38And I've seen that, you know, it's only when, you know, the energy is right.
07:42And, you know, people are kind of, you know, working well with each other.
07:46It's in that sink, you know.
07:47When that sink is there is the only time when nature helps you.
07:51And, you know, there were so many instances where nature just, you know, just stayed with us the right way.
07:57You know, giving the right drama that is needed for that scene.
08:01There were so many instances in this film which were like that.
08:04It's unbelievable.
08:05Two scenes shot on the same location.
08:07Like in, you know, Kashmir, that one house where this guy, you know,
08:10comes in, he shoots the cop and runs.
08:14Two times, you know, Sarkar and company is going to visit that place.
08:18Both the times, we got different light.
08:20Yeah.
08:20Two different lights.
08:21And we got it consistently.
08:22Yeah.
08:23We got it consistently.
08:23For the whole day, we got it.
08:24Yeah.
08:24Yeah.
08:25You know, that kind of stuff is what makes me the happiest.
08:27Yeah.
08:27I know.
08:28I still remember when Sanu Sir said,
08:30we didn't have a place in two hours,
08:32and we didn't have a shoot at the time of the day or night.
08:37We didn't have any exposure at night.
08:40We didn't have depth, we didn't have anything.
08:43But let's see, I'm hoping that nature will help us.
08:46It did.
08:46It was correct.
08:47It was correct.
08:48Yeah, the amazing ID cards and the knife and all.
08:51That the scene is very bright and sunny.
08:53Correct.
08:53Sunlight.
08:53And we had another scene, which is in the...
08:56It's a different mood already.
08:58It's a completely different mood.
08:59But it's the same house, but it...
09:00We shot around the same time of the day,
09:02but it looks very different.
09:02Very different.
09:03Nice.
09:03Yeah.
09:04Two days, two days, back-to-back.
09:05It doesn't matter for the cut.
09:06It sits well.
09:06No, it's two different days.
09:07No, it's two different days.
09:08In the same location.
09:10It helps actually.
09:10And you get two different moods.
09:11Yeah, I thought I had to do that.
09:12Not on the same day.
09:13They're two different days.
09:14So we were thinking how to bring in that change.
09:16Like also like, you know,
09:17three days we were shooting in Rajasthan.
09:20And all the three days we had like, you know,
09:23clear sun, in continuity, all through.
09:25That kind of thing makes me so happy because, you know.
09:28Correct.
09:28Because that's something we cannot control.
09:29We have no control over it.
09:30It's just providence.
09:31Yeah.
09:32I called you, sir. I called you, sir. I called you, sir. I called you, sir.
09:45If you were there, I would say, you can't compete with him.
09:51I said, you're a little girl.
09:53I'll take you, sir. I'll try to get you, sir.
09:56We panicked. We ran out.
09:59We had a place in Chandanwadi.
10:00The fourth day, it happened, no?
10:01No, no.
10:03It wasn't snow.
10:04When I was... All the locations that I chose, no snow.
10:08We planned it for a lot of snow effect and all that.
10:11When we go to the location, it's good.
10:13It's good. It's good.
10:14I'm telling you, sir,
10:15what, sir, it's good. It's good.
10:17It's good. It's good.
10:19It's good. It's good.
10:21I'm telling you, oh, go.
10:22Sir, I'm sorry, sir.
10:24But then suddenly, I asked Chandanwadi,
10:27I was scared of 20 km.
10:29I was scared of him.
10:31I was scared of him at night.
10:33I was scared of him.
10:34I was scared of him.
10:36I was scared of him.
10:37I was scared of him.
10:39I was scared of him.
10:41Then I called him.
10:42I said, Nani, bro, my family is safe.
10:44Come on.
10:45And finally, when we were shooting there,
10:47it actually snowed for us.
10:48Chandanwadi.
10:49Yeah, in Valcom.
10:50Yeah, last day.
10:51It was also done, Nani, bro.
10:53We thought,
10:54I was scared of him.
10:56I was scared of him.
10:57I was scared of him.
10:58I was scared of him.
10:59I was scared of him.
11:00I was scared of him.
11:01Yeah.
11:02Nature was kind to us, actually.
11:03Yeah.
11:04Yeah.
11:05And what was your favorite moment?
11:07What was your favorite moment?
11:08I was like, Abba.
11:10What did you say?
11:11And, first,
11:13we talked about the baby in the trailer.
11:15the baby episode.
11:17Yeah.
11:18And that was a great episode.
11:20I was able to shoot you guys.
11:21I was able to shoot you guys.
11:24That was one shot.
11:26Okay.
11:28That's it.
11:29That's a spoiler.
11:31Spoiler.
11:32Tell me, I was like,
11:33I was like,
11:34I was like,
11:35I was like,
11:36I was like,
11:37I could imagine you too.
11:38I could imagine it.
11:40But after that,
11:41we added a detail.
11:43A to B to C.
11:46That's it.
11:47That's it.
11:48That's it.
11:49That's it.
11:50That's it.
11:51A to B to C.
11:52Yeah.
11:53Okay.
11:54We can't tell that.
11:55That's the thing.
11:56Okay.
11:57Your thing.
11:58I am the one who started the question.
12:00He gets to answer last year.
12:02Definitely.
12:03It's not like I can tell.
12:04Yeah, even mine is like...
12:06Say it.
12:07There's no word.
12:08Say it.
12:09Cut it.
12:10There's something that I didn't think I would get to...
12:13do this early.
12:16I thought maybe sometime later in the future I would get to do.
12:19Which I got to do in this and that was very exciting.
12:22Yeah, something.
12:24And I didn't think I could pull it off, you know, until I did it.
12:28In that which one, which you did it outdoor or indoor?
12:34When I did outdoor, I thought, oh, this is only nice.
12:36Then when I did indoor, I thought, oh, this is better.
12:38But what is this outdoor indoor?
12:40I did that all.
12:41I'm telling you.
12:42Yeah, they'll also be curious.
12:43Correct.
12:44Yeah.
12:45But apart from that, even the portion that, you know, what the romantic portion that we
12:52shot, I mean, I've done very less number of movies, just three, four.
12:57But I think it was so easy for me.
13:01At least I felt so easy and so real and so organic that every shot, you know, there was one shot
13:10where we thought we had wide, we had to do close and then you came and told, no, no, no,
13:13this is just beautiful the way it is.
13:15We don't have to cut it and do it in different angles because it just looks nice.
13:18So, I felt like every shot that we did, there was magic and we did it like, yeah.
13:24I felt that which is very rare, I believe.
13:28And I hope that happens in every movie that we all work.
13:30I work at least, but it was very nice.
13:33And thanks, I think the big thanks is for my co-actor.
13:36Why?
13:36Because I think that it's very, you play an important role when, you know, when two actors have to…
13:43Why you guys, Seri, get me like that?
13:46Seri, you decide to be nice to have to wander.
13:48But what is the next step?
13:50Is there a catch-up?
13:51Seri, you flip it around.
13:53Is there a catch-up?
13:54Guys, you make me like a villain.
13:55I'm not a villain.
13:55I praise you all.
13:56Seri became Remo now.
13:57I think that's the best moment.
13:58You can shoot chess now.
14:00I'm going to trial alone.
14:02You can shoot chess now.
14:03Yeah, I understand.
14:04Oh, last part of it.
14:06It was mad.
14:07I think he's a lot of muscle.
14:10I'm sorry.
14:11I'm sorry.
14:12I'm thinking, I'm thinking, did I miss Madhya name?
14:16No, it was at cricket.
14:18Oh, yeah.
14:19Yeah.
14:20That's why…
14:21In the Jersi, when I was trying, when I was shouting,
14:23when I was shooting, when I was shooting, I was shooting.
14:27Actually, people have correlated the Jersi Scream and this trailer Scream.
14:31They were like, is there anything, something like that?
14:34Yeah, some, one of the interviewers also.
14:36But I'll be honest, Jersi Scream is my favourite.
14:41Yeah, 100%.
14:42This is the Jersi Scream.
14:44This is the Jersi Scream.
14:45And Jersi Scream is the Jersi Scream.
14:46That has a lot of emotion, no?
14:47Obviously.
14:48Jersi Scream was the Jersi Scream.
14:49I was in the theater live.
14:51It's a very moment.
14:52Yeah.
14:53This one is a scream.
14:54It's a rage scream.
14:55That's what…
14:57Now, you tell yours.
14:59For me, there are a lot of shots.
15:01Everybody has a lot of shots.
15:02Everybody has a lot of shots.
15:03Say one.
15:04Everybody has a lot of shots.
15:05Everybody has a lot of shots.
15:06Yeah.
15:07I think some unexpected…
15:10I like it when some not so pre-planned shots turn out to be very good.
15:15Something which feels like a simple shot.
15:18I'll do it and go.
15:19It is very nice.
15:20Let's use it more.
15:21We'll feel right after the cut.
15:23That kind of shots I like.
15:25I like that one shot we shot it in the first schedule itself.
15:29It's a long shot.
15:30Yeah.
15:31Yeah.
15:32Yeah.
15:33Yeah.
15:34Crazy.
15:35Yeah.
15:36That…
15:37I just…
15:38Because it didn't say cut.
15:39Yeah.
15:40I just kept doing something for a long time.
15:44Now, we are using the entire length and it fits in so well right now.
15:49So well.
15:50But by then, we didn't have an idea of what was coming in the background, what is happening.
15:54Now, it's like something helped us to do that shot.
15:59For some reason, I didn't feel like saying cut on that day.
16:01Yeah.
16:02For some reason, I didn't feel like saying that because he kept on doing something interesting.
16:07He's doing this.
16:08He's doing that.
16:09And continuously for about 40-50 seconds, it lasts.
16:11So…
16:12And visually for me, one of the…
16:14There are lots in the action part and all that.
16:18In Jaipur, from outside the window, near that Krishna portrait, both are shot.
16:25The way you put it is extremely beautiful.
16:27Yeah.
16:28And also when I see it, yesterday also when I was watching it in the mix, I was like,
16:32that's extremely beautiful shot.
16:33Yeah, you see the exterior reflecting in the…
16:35Reflecting in the glass and there is this Krishna's image and the way it goes in there.
16:40I really like that shot.
16:41It was very…
16:41Because the camera was actually outside and through the window.
16:43Outside, yeah.
16:44It was very nicely put.
16:45It's a very nice moment.
16:46There was only that two people gap.
16:49Rest everything is the window, that is painting and all that.
16:52We exactly fit into that.
16:53Correct.
16:54Two people's space.
16:55That much gap.
16:56You have to replace it.
16:58You have to replace it, basically.
16:59Yeah.
17:00So, that's the matter.
17:01Yeah.
17:01But first time, what did you say, sir?
17:03Yes.
17:04Yes.
17:04Yes.
17:05Yes.
17:06Well, in this set, the details and the set, all the props that we are using comes from the movie.
17:14First time, I was afraid of the person who is a production designer.
17:22Because in the second half, literally, I created an experience.
17:25That's not the choice of the world.
17:27I was thinking, how do we all meet each other in the movie.
17:39I was thinking, sir, I was thinking, I was thinking, I have a question.
17:44I was thinking, that's the story.
17:46That's the story.
17:47That's the story.
17:48I was thinking, who is one another one?
17:49Who is one another one?
17:50Who is one another one?
17:51All that, the details.
17:53That's the detail.
17:54So, what I loved about it is the detailing that he gave.
17:59You are going to explain the process.
18:00You are going to crack the process.
18:02I actually told you.
18:03I don't want to work.
18:04Exactly how did you do?
18:05I was going to work in Kashmir.
18:08I was going to work in Kashmir.
18:10I was going to work in Kashmir.
18:12But I was going to work in the return of the time.
18:14I was going to look at what you created.
18:15Of course, I was going to look at images.
18:18I was going to work in the mind.
18:22You haven't used the process, but I did not I was developing it.
18:26I'm going to explain the script.
18:28I knew the script came by virtue.
18:32But the script came from the first time.
18:36I am going to do the sketch.
18:39Then I would like to do a miniature production very first.
18:42If we do a miniature production,
18:44we need to make the scenery,
18:46in the layers,
18:48so that we can do it right now.
18:50The first design of the pre-production was done properly in the first design.
18:53But we wanted to make it easy to design.
18:56We created a world of Sanugaru.
19:00We also had a back-story in Dant.
19:02We also had a set in Arunachal Parash.
19:08In Arunachal Parash, there was an architecture in Arunachal Parash.
19:11That was the first thing you said before.
19:15It was the first thing that was in the 50 years.
19:18It was the first thing that was created in this condition.
19:21It was created in the world and comfort zone.
19:26It was also the same as the room.
19:27At the same time, it was interesting.
19:28We had to create a new frame in Vietnam.
19:31We had to create a new layer.
19:33We had to create a new layer.
19:36We had to create a new layer.
19:38We had to create a new layer.
19:40There is no reference also.
19:42You can't say this should look like that.
19:44It's a world which is imaginary.
19:46But there is a concept of how it came up.
19:50Freedom also has a lot of restrictions also.
19:52Yeah, that's right.
19:53Yeah.
19:53But one day, when I was a guru,
19:55I was a teacher and I was a teacher.
19:57I was a teacher and I was a teacher.
19:59I was a teacher and I was a teacher and I was a teacher.
20:01We created something.
20:03It's nice.
20:05We did like this.
20:06We'll see some in the village.
20:08We found it so that I don't want to give it a chance.
20:09We didn't want to give it a compliment.
20:13You got your compliment.
20:14Rezgurun has no interest.
20:15Your character work is good.
20:18I'm happy that you don't give the compliments then.
20:20Actually, when you see on the screen without sound.
20:22Face mail.
20:24Without sound if it's hitting you.
20:25Like, if the characters are coming through,
20:27there is no sound, no dialogue, none of it.
20:30It has to come through just on expressions, you know, the emotions that creates.
20:34That's when you actually get to know.
20:36That is working.
20:37Yeah, when we were grading Jersey on the sixth reel, I sent Gautam a message saying,
20:42It's a hit.
20:43Because it hit me.
20:44You know what I'm saying?
20:45Without…
20:46And he's…
20:47No sound, nothing.
20:48Grading C is like mute, basically, like remote.
20:51You know that with sound and dialogue and all that, it's going to be another thing.
20:55So, I get that in so many places.
20:58Like, you know, so many things just work for me completely without sound also.
21:01Yeah.
21:02Like the Rajasthan fight, you know, that whole thing.
21:06Correct.
21:07You know, just the car.
21:08The car one.
21:09The interval one.
21:10Yeah.
21:11That without sound, nothing.
21:13I get all of it.
21:15Like, you know, the chase and the fight and all of that.
21:18It only has to go to the next level.
21:19Yeah.
21:20I know that it will fly.
21:21Yeah.
21:23That's the thing.
21:24Like, I can see characters, how it has stayed, you know, all of it.
21:28Yeah.
21:29This is one of those experiences for me.
21:33I have to collaborate with a correct set of technicians.
21:38I have to collaborate with you.
21:39You know, the vision is a multi-fold experience.
21:44I have to be a clear experience in the last one year.
21:47That's why I think it will come only from when you really love the people who are working,
21:53who you are working with and you love the subject that you are working for.
21:56Automatically, you can see that.
21:58Yeah.
21:59You know, every department.
22:00Like, Saravacu, Sanu Saravacu, Karthik Srinivas, editoravacu, Mickey is there.
22:04Everybody is there.
22:05Yeah.
22:06Everybody is there.
22:07Yeah.
22:08Everybody is there.
22:09Everybody is there.
22:10Yeah.
22:11Everybody works through a department.
22:13And also, it is always the location for a Piritrhoj.
22:15And how many times were there?
22:16And that was just being a very bad guy.
22:18When you do an appointment for 9 to 6, you will take a call.
22:219 to 6, he felt personal and that shows always, yeah.
22:28Even Lee.
22:30Oh, yeah.
22:31Home slice.
22:32Yeah, home slice.
22:33He was, for the kind of madness was happening around,
22:38for him to adapt to our production teams and stuff and all that
22:43and understand, but more importantly adapt to the working style is a different thing.
22:47I think he understood our theatre energy.
22:49Correct.
22:50For a film like this, that is very important.
22:53He cannot be just about being technicalities.
22:55Correct.
22:56Because every time I did something in between the short, in between the action,
23:01if it is, it has something to do with, you know,
23:04a high movement or I am giving some detail,
23:07he was the first audience, he enjoyed it so much.
23:10I could see.
23:10That's what you had to do.
23:11That one between thing was a great one and all.
23:14But getting Lee on board was the best decision that we made.
23:17I think that Lee hit two upper parts.
23:19Yes, exactly.
23:20Yes, exactly.
23:21No, in hit two, apparently we didn't know that Sanusar and I both of us knew Lee.
23:27Hit two, Lee came to my set and he wanted to work with me in hit two.
23:33But then we didn't hit two, shoot, finish.
23:35Hit two almost high.
23:36He was able to do a little patchwork and he was able to do a presentation.
23:39That's why we were constantly in touch.
23:42Then, just coincidentally, a Sanusar said,
23:46He was able to do a lot of work with him and he was one of the best technicians.
23:55Then he jumped on board and then...
23:57I mean, he touched with him all through.
23:59Yeah.
23:59Some message, something or other.
24:01Always.
24:02That's why he said something.
24:04I've learnt so much from him.
24:06Yeah.
24:06Lot of technique, you know.
24:07He comes from that whole, you know, classical Hollywood tradition in terms of technique.
24:12And there was so much to learn from him, actually.
24:14Yeah.
24:15I was about to say something and then I was like...
24:18I was there on the set, doing 80 jobs for so long.
24:23Nice covering.
24:24That was right.
24:25Okay.
24:25The producer, you know, the person.
24:27Yeah.
24:27Yeah.
24:28I forgot he's a producer.
24:29Yeah, I'll tell you.
24:30Yeah, happy.
24:31All right, thank you everyone.
24:33In general, a movie made a lot of positive films.
24:36It made a lot of support for a lot of people.
24:37But if you made a lot of positive films,
24:40it made a lot of people.
24:42It made a lot of people who made a lot of people.
24:43They made a lot of people.
24:46You know how you made a lot of people.
24:47They made a lot of people who made a lot of people.
24:49So, you are interested in a lot of people.
24:51You even know how to craft these films.
24:53I had made a lot of them.
24:53It made a lot of people from your budget.
24:55I had made some lights.
24:57I didn't know.
24:59My name is the name is the name.
25:00It might sound very dramatic for you.
25:03I don't know what the budget of our film is.
25:05You don't?
25:05I don't know what the budget of our film is.
25:07I don't know what I have spent.
25:09I am absolutely glueless.
25:10I am genuinely telling you.
25:11I don't even know ballpark figure.
25:13I have, there is a team taking care of things and I said, whatever is needed, go ahead.
25:19And I know, post the release of the film, they might come and tell me,
25:24something like, this is what happened, this is what happened, this is a profit or whatever.
25:28But I haven't brought up that conversation.
25:31I don't know what is going on, what goes out and sometimes when they bring in papers or something,
25:37I will not even read anything, I will just sign things and send.
25:41So, I don't know what is going on, I don't know what is going on.
25:44We never felt he was the producer ever, right?
25:48Yeah, I never felt, somebody has to remind me that I am the producer.
25:54We never felt he is the hero, like he is the main guy on the set also,
25:58he always used to work with the direction department and he used to run around and do all these things.
26:04So,
26:08let's talk about the character, Arjun Sarkar.
26:11Okay.
26:15I want to understand your interpretation of him.
26:18When I first narrated him to you.
26:19Arjun Sarkar is in midlife crisis.
26:24In one word, maybe.
26:26You know?
26:27He is a...
26:29He is a...
26:31He is an example
26:34that heroes are not born, they rise up to the occasion.
26:37They are all...
26:39Every hero, whoever we are,
26:41we are a normal person.
26:44He is a hero.
26:47That's why he is a hero.
26:50That's why I think the best example is Arjun Sarkar is what I feel.
26:52Because what Kundal said, weakness and fear, insecurities, doubts, health.
26:57But in all the matter, he is a confused soul and a grumpy fellow.
27:02Okay.
27:03And irritated and frustrated all the time.
27:06Thanks to Mrudala, some...
27:08Some little bit into his life.
27:12And that will also give Azman relief while we are watching him.
27:16Otherwise...
27:17He is a...
27:21And he had...
27:23He had to face a life and death situation for a...
27:27To behave a little more human.
27:30Yeah.
27:32So, it is good.
27:33He is grey.
27:35He is flawed.
27:36But he is a better version of flawed.
27:40So, if you behave in a normal situation,
27:42If you behave in a dangerous situation,
27:44No, nobody is human.
27:44Yeah, he was the original.
27:46See, he has a lot of comfort.
27:49He has a lot of...
27:51He has a lot of power or one another.
27:56He has a lot of frustration.
27:59But he is a lot of the life and death situation.
28:02He's a good man.
28:03He's a good man.
28:05He's a good man.
28:06That's right.
28:07He's a good man.
28:08That's what I think is Arjun Sarkar.
28:10Yeah.
28:10That's why I think our cinema is convinced.
28:12In the correct place,
28:13you will have to touch the right place.
28:15That's right.
28:16We have seen a lot of the trailer,
28:18and we have seen a lot of violent.
28:23There are many shock reactions that we have seen.
28:26We are there in the location.
28:29We shot this film for which we are getting a lot of shock.
28:34Do you relate to their shock or do you feel...
28:37Was it that violent?
28:39Because we have been so used to the blood, so used to...
28:41We have been shooting there for so many days.
28:43Then, are we realising now, looking at their reaction that we have done something like this?
28:49No, I think, in the writing of the film,
28:52there were many brutal zones in the last half of the film.
28:57I don't think it's organic.
28:59I don't think it's organic.
29:03It's organic, it's not that zone.
29:05It's important that we have seen an episode in the last half of the film.
29:10After that, there is no turning back,
29:14Arjun Sarkar is going to go on a rampage mode in the last half of the film.
29:18That's why we have seen it.
29:20But you are saying it's correct.
29:21We have seen it in the first few days,
29:23we have seen blood in the first few days,
29:24and we have seen it in the last few days.
29:25We have seen it in the last few days.
29:27We have seen it in the last few days.
29:30I think...
29:31Also, I genuinely think that...
29:35Of course, in the last few days,
29:37there is a crime thriller,
29:39there is a lot of blood.
29:42We have seen it clearly,
29:44it's 18 plus.
29:46But also,
29:46you might have seen it in a few days,
29:49and you might have seen it in a lot of violence.
29:53My cinema, actually,
29:55my cinema flow of the while,
29:57how the whole episode happened,
29:59I don't think if they are watching the film,
30:01they will feel...
30:02They will be rooting for something,
30:05some character.
30:05It's not like a trailer shot,
30:06you know, we don't know the story,
30:07we don't know the emotion.
30:08You are already relating.
30:10When you look at the cinema,
30:12when you look at the theatrical high school,
30:15I want to talk about the violence and the topic of cinema.
30:19It will be about the film,
30:22but less will be discussed about violence happens,
30:25the film releases,
30:26is what I genuinely believe.
30:28Correct.
30:29That's what I believe.
30:30Yeah.
30:31If you look at the film,
30:32if you look at the film,
30:33if you look at the scene,
30:34if you look at the scene,
30:35that's what I believe.
30:38Yeah.
30:39That's what I believe.
30:40A lot of the reactions are coming from the kind of imagination
30:42that the trailer would evoke.
30:44Yeah.
30:45The story could be like that,
30:46or it could be like that,
30:47you know, a lot of the reactions are coming from that.
30:48Yeah.
30:49Yeah.
30:50For us who dealt with the story.
30:51In a film like this,
30:52Yeah.
30:53And I don't want to talk about the gradual song.
30:55It's a very investigative first half we have.
31:00What starts off as a...
31:01And the way this,
31:02some YouTuber guys and all that,
31:04they connect and they present,
31:06they will tell,
31:07it could be this,
31:08it is decoding.
31:09Very smart guys.
31:10Yeah.
31:11Extremely smart boys.
31:12Some of the decoding is good.
31:13Yeah.
31:14Very good.
31:15Very good.
31:16Yeah.
31:17Not everything is right,
31:18but few things which we don't think it could be,
31:21they can crack it.
31:23They have just,
31:24through some visual which we don't even know,
31:26they have cracked and connected something.
31:28They have connected with them.
31:29Those boys we need to hire.
31:31They really,
31:32they need to really come,
31:33apply in wall poster.
31:35Yeah.
31:36Yeah.
31:37Yeah.
31:38Yeah.
31:39I have to do that.
31:41Ah...
31:42I'm not sure.
31:43No, no, no.
31:44No, no.
31:45No.
31:46No.
31:47No.
31:48No, no.
31:49No.
31:50No, no.
31:51No.
31:52No.
31:53No.
31:54No.
31:55No.
31:56No.
31:57No.
31:58No.
31:59No.
32:00No.
32:01No.
32:02No.
32:04No.
32:05No.
32:06No.
32:08No, no.
32:09No.
32:18I think we should choose to choose, but I don't think we should choose cinema.
32:21But producer called difficult to call.
32:23I mean, you said to me, you said to me, you said to me, but somewhere...
32:26You had a team or a production team.
32:30What team do you have to talk about?
32:32It's a single window.
32:34It's a discussion.
32:36Yeah, he said to me.
32:37And also, one kind or two kind, but we didn't have to talk about it.
32:42That's why I know,
32:45It's a lot of violence in comparison to you.
32:49I have to address it.
32:53And also, the violence question is definitely one and two.
32:57And at the end of the day, I know...
33:03It is easy.
33:06My friends, in general, have a lot of cinema.
33:11I don't know.
33:16But I know, when you see a film in television,
33:19that's a complete section of audience,
33:22there's a lot of support between every cinema and blog.
33:26And the idea that it was a whole part of the film is a big part of the film.
33:31And it's not a big part of the film.
33:37That's a genuine feeling.
33:39And definitely, I can choose the cinema, the poster, the cinema certificate.
33:44I think that the facts are clear.
33:46You can't tell it you.
33:49And, if you talk about your story, you'll be able to discuss it.
33:53You'll be able to discuss it, you'll be able to discuss it.
33:58That's right.
34:00So, we'll have to take a moment to release the digger.
34:0610 days?
34:07Hello, this will come after 3-4 days.
34:10So, what I am saying, I am telling you, we have to have 10 days to go.
34:13So, release with the egg alone now.
34:18How is the feeling? Confident or nervous?
34:22Or...
34:23Ok, ok, ok, ok.
34:24Sana sir, I am all I know.
34:26My judgment is fully based on, you know, what I feel watching the film.
34:31At that level, I, you know, I mean, more than anything else,
34:34so, what I really care about is the fact, you know,
34:37is whether we manage to create a good film or not.
34:40That's the primary thing that, you know, I am worried about.
34:43At that level, I am very happy, you know.
34:46I know that, you know, this film is a good film.
34:49So, at that level...
34:51That matters the most.
34:52What happens later to it, you know, what it does in the market and all that is a different thing.
34:55But this matters to me so much.
34:57And, you know, I am happy at that level.
34:59And I am happy with what is there.
35:01That's the most important, yeah.
35:04I am very nervous.
35:06To be very honest with you.
35:07Yeah.
35:07And, I think, as a director, that is a feeling, I guess.
35:10I am happy with a team and all that is a lot of customers.
35:15So, the nervousness is because it means so much to you.
35:19It is a good nervousness, I mean to say.
35:22And also, in 2019, one of the things that I have done in the past one year.
35:29One dream is true.
35:30I am going to direct you.
35:33That came to me.
35:34So, I have been very honest with the way I worked and I have tried to be, like, you know, the most effective as possible.
35:55But I am very happy that the way the film has come out.
36:05I am very happy that I have done in the first meeting.
36:08I am very happy that you have made a lot of excitement or anything.
36:12I am very happy that I have a feeling that I have delivered.
36:15But, the audience appreciate it.
36:19Because it means so much to me. Thank you for giving me the opportunity.
36:30Also, what you visualized when you heard it first, and did we really manage to go beyond that, you know, the film which you saw in your head, when you were writing it, it matters so much whether you managed to go beyond it or not.
36:44Absolutely.
36:44To me, you know, that happened. That's why I'm happy.
36:47That happened.
36:48All this little, little, little.
36:50I think that's where all the technicians will come in, everybody's magic works together.
36:54Correct.
36:55When they did go into the next level.
36:57Definitely.
36:58100%.
36:59You?
37:00I think I totally resonated with him that we had our time.
37:04Wake up.
37:05Wake up.
37:06Why would you scare me like that?
37:08In the last 4 minutes, you yawned like.
37:11Yeah, but I thought they'll cut me, they'll cut me.
37:13You know what, I wanted to sleep like that.
37:16Why would you do that for the cinema promotions?
37:18No, listen.
37:19Why would you do that?
37:20Why would you do that?
37:21Why would you do that?
37:22Why would you do that?
37:23Why would you do that?
37:24Why would you do that?
37:25Why would you do that?
37:26I'm saying jet lag.
37:27Yeah.
37:28But he'll cut.
37:29He'll cut whenever I yawned.
37:30No, no, no, we want the yawns.
37:31You want the yawns?
37:32Special clothes.
37:33I went like that.
37:34I know.
37:35I saw sound age.
37:36I know.
37:37That's in sound age.
37:38Cricket sounds age.
37:39Yeah, yeah, yeah.
37:40No, so I resonated with that.
37:41You know, when we had the opportunity, we did what we could.
37:45But I understand from the director's point of view, and not you as a producer, but producer's point of view, you also look at the…
37:51So, I'm very excited.
37:52I have very good butterflies in my stomach, but I am very excited.
37:56I'm super thrilled for the release.
37:59Excellent.
38:00I have a great idea.
38:01I really am excited because in general, we have to take a film.
38:06We could take a film if we could take a film if we could take a film, so we could film in some kind of film.
38:09Yes.
38:10But, if I want to take a film, we will have to film this film.
38:12I would never be updated on that film.
38:14It's the best case.
38:15It's the best case so we could take a film.
38:17I can see how it is.
38:18I can see how it's proud to be in the theatre, the audience is out of the film.
38:22It's the best case.
38:23I can see how it is proud to be the film to film.
38:25And, at the same time,
38:28Do you like it?
38:30No.
38:32That's very cute.
38:33Salishgar is a film.
38:35In general, the excitement movies are a glamour movie.
38:41It's a film.
38:44It's a film.
38:46It's a film.
38:48It's a film.
38:50It's a film.
38:52It's a commercial glamour.
38:54In the first scene, I was told about the excitement.
38:58There was a kitchen blast.
39:00Bamboo.
39:02Even last time, I was shooting.
39:05I was in the next generation of Gujarat.
39:08I was in the next generation.
39:10They were not aware of the generation.
39:12That's why I was also high.
39:14I was also high.
39:16I was in the next generation,
39:18I was in the next generation.
39:20Sir.
39:21I was in the next generation.
39:23A picture.
39:24Nonno.
39:25No.
39:26You'll see.
39:27There's nothing.
39:28The CGNBA is there.
39:29You'll see it later.
39:30Don't be afraid of the story.
39:32Don't be afraid of it.
39:33I'll do a promotion.
39:35As there's Christopher's information.
39:36You will have to stretch out your step.
39:38Just one step.
39:39It's the inception.
39:40But for me, I think,
39:42finally...
39:43I think my feeling is like to tell you how do we feel good about it.
39:49It's the most important thing.
39:51That part is done for me.
39:52So, I am already happy, okay?
39:54And I am not the guy who will...
39:56...producer's eye angle, oh, I lost the way into the set up.
40:00Okay? If I do something else, I will do it.
40:03But also, the other half is someone...
40:05I am always extremely excited to watch it with the ones we did it for.
40:10Yeah.
40:11That is a butterflies kind of a feeling for me.
40:15And it kept happening since 16 years, I went...
40:19For me, it's like, I have...
40:21I have seen a lot of birthdays.
40:24Now, a birthday is nothing. I want it to be done and all that.
40:27For me, the new birthdays are the release date.
40:30They have that excitement.
40:31How I used to wait as a kid to count days for the release.
40:35I do that with the film's release now.
40:37The only reason is just to stand there and see a film starting...
40:43...with an auditorium full.
40:45And just, it's not about even the feedback or what people are saying...
40:49...what reviews are saying or how is it going. Collections are good.
40:51It's not about anything.
40:53Just to see one reactions in a theatre, watching the film...
40:58...is... and to wait for that.
41:00And while I am going into the theatre on the first day morning...
41:02...show itself is a...
41:04...it's a great high. I don't know how to explain it.
41:06I don't think any kind of...
41:09...any...
41:10...substance will give you that kind of high is what I feel.
41:13But...
41:15So, for me, I think...
41:17...that is... I am in that place where I just want this tenders to...
41:20...move a sneak.
41:21I don't know.
41:22I don't know.
41:23I don't know.
41:24I don't know.
41:25I don't know.
41:26I don't know.
41:27So, you are nervous or not nervous?
41:29I am not...
41:30If you can call the...
41:32Butterflies are good butterflies.
41:33Butterflies.
41:34Yeah, yeah.
41:35There is good nervousness.
41:36Yeah.
41:37No, don't put your nervousness here.
41:38There is also good nervousness.
41:39Good nervousness.
41:40Yeah.
41:41His is where...
41:42Other nervousness.
41:43Minus will reach dead length.
41:44Dead length.
41:45Dead length.
41:46Deliveries and length.
41:47For me, for us it is like...
41:48Now, it is beyond...
41:49The results are beyond our control.
41:50But...
41:51We are just excited for that.
41:52Yes.