00:00Dr. Aronis, first of all, what are your reasons for doing this?
00:07I've never done such a story.
00:15The second reason was the new director.
00:21They were involved in some big ideas.
00:26And the third reason was the new director.
00:33Dr. Aronis, first of all, what are your reasons for doing this?
00:44Dr. Aronis, first of all, what are your reasons?
00:49Dr. Aronis, first of all, what are your reasons for doing this?
00:59Dr. Aronis, then you have to face these events.
01:04Dr. Aronis, first of all, what are your reasons for doing this?
01:08So, it's not that there is no connection to anyone.
01:15Do you think that English cinema will struggle with colorism?
01:22No, not really.
01:24With colorism, there is no problem with colorism.
01:27Because when you make a film, you use a palette, a color tone.
01:32And according to the color tone, you want something.
01:35And sometimes, what happens?
01:38Like an example.
01:40We like ice cream, but we don't need ice cream in the cone.
01:43We need it in the bar.
01:44It's the same thing.
01:45So, there is nothing like that.
01:47We need dark people for this character.
01:50We need fair people.
01:51But somewhere else, I think Neeraj wanted me as an actor for this particular role.
01:57Where they felt the need that the tone and palette should match the skin tone.
02:04It should not look something different.
02:07So, I think there is nothing like that.
02:10As we ask our dear sirs, how is a secret story is demonstrating the risk for the Lords?
02:19Can you tell me a moment.
02:20In the
02:22How is a secret story?
02:25This is not a horror, there is no doubt in it.
02:33We are presenting reality.
02:37If we talk about risk, there is always a risk.
02:43It depends on how high your confidence is,
02:47and you work with it.
02:50There is no risk in the world.
02:54It depends on whether you want to take it or not.
02:59Sir, you have asked the casting,
03:04humor, and what casting name?
03:08Is it a risk choice?
03:12As you said, we have seen many characters.
03:20In reality, there is a very different personality.
03:25Their character is subtle.
03:27They are connected to the roots.
03:30They are very good.
03:34Their originality, their character,
03:39they are trying to show us from a film.
03:44They were very good.
03:46In your real life, we have seen your interviews.
03:49You talk about the roots.
03:53You talk about the roots.
03:57I think that the most of the films of Sir,
04:01I think that the most of the films of Sir,
04:05I think that the most of the actual fans of Sir,
04:07the most of the variations of Sir,
04:09I don't think that the most of the actors are.
04:11He is not only known for comedy.
04:13He has done very emotional roles.
04:15And I have come to watch his films.
04:19I think that he is the perfect choice.
04:23There is no doubt about it.
04:25I have a question about what we have thought about,
04:30what we have thought about, what we have thought about,
04:34what we have thought about, what we have thought about?
04:37I have a lot of things that are in my mind,
04:46I work on it on my mind.
04:51Spontaneous things I have done and I have told many times that the location is very important for me in the performance.
05:03The camera mat is giving me the lighting. The director is giving me the support of the director.
05:14The rest of the world requires a service and a service and a service.
05:21to one another.
05:26Female villain.
05:49And I was thinking that, as you can see some character, you can see them from the perspective of the villain.
05:59But there is also a story about their past. What do you know? Every bad person is the past.
06:06He feels bad.
06:08He feels bad because it's a different story.
06:15And the story of the villain and the villain and the villain has made it.
06:23I don't know if it's a villain character in the film.
06:27But it's a good thing.
06:31It's a villain.
06:34You'll get to see it.
06:37It's a villain of what they made.
06:40So...
06:42Thank you for this script.
06:46How do you want to read this script?
06:49I don't want to read this script.
06:51It's a good script.
06:52That's why we don't have dates.
06:56And...
06:58I need to see the script.
07:02I need to see the script.
07:04I need to see the script.
07:07I need to see the script.
07:09It's authentic.
07:12So...
07:25Oh.
07:26What I want now to must have done.
07:28This is my job.
07:31Sometimes you can put a tube light on each other.
07:36It's a job where you have to do it.
07:40That's such a problem.
07:42You learn a lot from your experience,
07:45what you want to do in the film,
07:48what you want to do.
07:49This is a problem of experience and profession.
07:58It's too hard to be different or sharp people.
08:09You have a question.
08:10We have to think about it.
08:13What should it be?
08:17You can ask it in an easy way.
08:21Do you understand what it means?
08:26Critics try to tell you.
08:28You try to make a trailer.
08:30You try to make a trailer.
08:32You try to make a trailer.
08:34Or make a film like this.
08:36What do you want to say to these critics?
08:38Nothing.
08:40What do you want to say to them?
08:42People say to them.
08:44People say to them.
08:46It's fine.
08:47Sometimes you look at social media.
08:49What's your look at?
08:50You look at social media?
08:51Every person is so much.
08:52Everything is so.
08:53What does it mean to you.
08:55What do you want to say to them?
08:57What does it mean by each person?
08:59Whatever you have to say to them.
09:00Every person's own point of view,
09:01they have the same point of view.
09:02Even everyone's own point of view.
09:05Each person is a different point of view.
09:07After seeing them, they will have a different point of view.
09:10Everyone lives in their own.
09:12They are tipping themselves in their own way.
09:18We also feel good that, yes,
09:20one is talking about in mind,
09:22one is talking about publicly.
09:24So what is happening in people's minds?
09:26They reach their minds to the public.
09:29So that's a good thing.
09:31I think that's a good thing.
09:33I think that's a good thing.
09:45Unfortunately, there wasn't a scene in the whole movie.
09:50But, of course, Sanjay sir is here.
09:52And my day is now.
09:54But yes, with Zarina ma'am,
09:56I have done a web show.
09:58And in that show,
10:00he played my mother-in-law's character.
10:02It's a very beautiful web show.
10:03And it's a story about mother-in-law and daughter-in-law.
10:05So I've worked with them.
10:07She's a very good person.
10:09I think she's very cute.
10:12She has my good moments.
10:14We were shooting indoors.
10:15There was a lot of trouble.
10:17And after the pack-up,
10:19we went to the pack-up.
10:20They were sitting on the train.
10:22So it's a very good time.
10:24Sentai sir, tell us about this group.
10:30We need to prepare for the equipment.
10:32I didn't want to prepare for the aircraft.
10:34I wanted to prepare for the aircraft.
10:36And, it's a very difficult type of, his name.
10:39Who is capable,
10:40who's also working for the aircraft.
10:41Who's also working on the aircraft.
10:43Who's also writing for the aircraft.
10:45.
10:56.
11:05.
11:07.
11:09The audience is also different, you can take 15 messages from your film.
11:16What is it going to be taking?
11:19What can we tell you?
11:21We can take this message as well.
11:24We can take this message as well.
11:27Do you want to take a good one from this film?
11:30Yes.
11:32That's why it's not going to be a total solar message.
11:38We want to give a message as well.
11:42Some people can take it as well.
11:44That's what happens.
11:46Do you want to report that you are a Pakistani artist?
11:53What do you want to do in Africa?
11:56Let me tell you about it on your side.
11:59Is it international?
12:02Do you want to do international?
12:06Do you want to do international events?
12:10Do you want to go to Hollywood, do you want to work?
12:14Do you want to do international events?
12:16What do you want to do in Pakistan?
12:20I was listening to Mehdi Hassan in my childhood.
12:25Did he listen to me?
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