00:00I don't like the moments of my life, but I don't like it.
00:03I don't like the girls, but I don't like the girls.
00:05I don't like the girls like that.
00:08We don't get a flimfer award.
00:11Why do we do labor?
00:13If I give a bad dance, you will give me that amount.
00:17I give a good dance, you will give me that amount.
00:21I feel like you are allergic to me.
00:25I call you on the wrestling, you don't come.
00:28I don't like it.
00:31Or you change the dance master.
00:35Let's talk about the fact that you were shooting in the studio.
00:41You were dancing.
00:43How did you tell her?
00:48The producer gave us a lot of time.
00:52The recording was 26.
00:54It was 28.
00:56We were meeting three days for the rehearsal.
00:59My group and us, and we composed that at night.
01:03We requested the producer that Rekha Ji send us.
01:07Because it's very difficult dance.
01:09Rekha Ji didn't come.
01:11I said that for three days there was a lot of time.
01:14There was no movement in the shooting.
01:16But until the time I noticed that shooting was the first time.
01:19The time I came, it was the first time.
01:20The makeup dress was not worn.
01:22The makeup was put on.
01:23I was sitting outside.
01:25I went outside.
01:26So I asked him, what is the issue?
01:28He said that the shooting is cancelled, I don't have time.
01:30So I said, Rekha Ji, I feel that you are allergic to me.
01:34I call you on rehearsal, you don't come to the shooting.
01:39They say that I don't have time.
01:41Or you change the dance master.
01:44You say to the producer, I don't want to work with Saroj.
01:48Something is bad.
01:50You don't want to work with me?
01:52Say to Ayub Ji.
01:54Suddenly she turned her face and saw her eyes.
01:58So I said, I don't have to say anything wrong.
02:01But I feel you should shoot today.
02:04I will do the shooting.
02:06I have to do it.
02:07Because she is ready.
02:09The secretary came and said, what did you say?
02:13I said, I don't have to say anything.
02:15Basically, she is crying away.
02:18Then I went up.
02:20I told her that I didn't say anything wrong.
02:23I didn't say anything wrong.
02:24She said, I respect you so much.
02:26I respect you so much.
02:27And you say like this, that I don't love your work.
02:30I said, no.
02:31I didn't say anything.
02:32I felt that everybody has got their own favourites.
02:34See, I don't say no.
02:36Now, if Govinda calls Chini Prakash, it's because he likes him.
02:40His style suits him.
02:42Sure.
02:43Okay?
02:44If Dimple Kapadia will call Chini Prakash, I should not mind it.
02:47Just because she is my student means she must call me.
02:50No.
02:51Shri Devi calls me because she likes me.
02:54So, Rekha has got her favourite Kamal.
02:57So, why should I mind it?
02:59I mean, we basically, all the dance directors should never mind it.
03:03We have our own students.
03:05We have our own understanding.
03:07who makes your core feelings and everyone doesn't.
03:09It's like other girl who will call Chini.
03:10Some of the girls are always like the same.
03:11Many of the heroes have asked me this question.
03:15So, I say, if you all feel that way, call me, see it.
03:19If you don't like it, no problem.
03:24When Vinod and Mehera were very top,
03:31was the misunderstanding of my and Vinod.
03:36So I said to him that I will not cry for the women, I will change the moment.
03:42But if you look at me, Vinod Mehra Bindiya were the only two people supporting me in this industry.
03:50Till I touched Hero. They used to call me.
03:54So I told Rekha, you can tell me that you don't want to dance with me, you can dance with Kamal.
03:59There's no problem.
04:01But someone's shooting will cancel 4-4 days. That's not right.
04:06No, this is not. I will do this whole song and I will show you how I can dance.
04:10Let's go, that work is good in the mood and spirit.
04:13I think she has never danced so beautifully.
04:16It didn't affect your work at all? No, no, not at all.
04:20That controversy has become like papers.
04:24But there was no misunderstanding between us.
04:26She danced very very well.
04:28She went to the extent of doing all the knee movements, this movement that.
04:33She didn't change even one beat of it.
04:35She said, I will keep this hand here.
04:38No, I will not change it. I will not take it here.
04:40It was that much.
04:41Maybe because of the tension between us, she did that.
04:44But she did the best.
04:46She has danced very beautifully.
04:48Very beautiful.
04:49She also came to hear that the dance of Rekha Ji in Sheshanag,
04:53the dance of Nagina in Shri Devi Ji will be better than Shri Devi Ji.
04:58Is this okay?
04:59No, I can't say that.
05:01Because Nagina's situation was something else.
05:04This situation is something else.
05:06No doubt.
05:07Both of them are snake and chamele.
05:10But it is also very different in both dances.
05:13And Lakshmi Ji has also very different music.
05:16It is very different.
05:18Okay.
05:19You can understand the performance of the film.
05:22In the performance of the film,
05:24you can understand the performance of the dance with the dance.
05:27Why?
05:28What happens?
05:29At which time?
05:30Very, very.
05:31You don't have to say anything.
05:33There is an example.
05:34Ram Lakhan, Teza and Tridev.
05:38What are they running on?
05:39Songs.
05:40Songs.
05:41That goes without saying.
05:42I shouldn't say.
05:43That is like being too much.
05:45You're saying more, you're looking at yourself.
05:47That's not.
05:48Means it's understood now.
05:50The songs have taken lead.
05:52People are enjoying songs and now people are getting conscious about it.
05:57Now, every producer you talk to,
05:59they will say,
06:00you can make one item like Tezaapka.
06:02You can make one item like Tezaapka.
06:03You can make one item like Tezaapka.
06:05So, they are realizing it.
06:07Now, Jadugur, we have seen the songs.
06:10They are very good, very well picturized.
06:12They are seen.
06:14So, when did this happen?
06:16After everybody is shaken up.
06:18Then,
06:19I will give you an example.
06:22We don't get a film fair award.
06:24Why do we labor?
06:26If I have a good dance,
06:28you will give me that amount.
06:31If I have a good dance,
06:33you will give me that amount of money.
06:35If I have a good dance,
06:36you will give me the amount of money.
06:38If I give them a work,
06:39then there will be no aim in life.
06:40If I have succeeded,
06:41then I will give them an award.
06:42We are not doing that.
06:45If your dance director says that your work is not good, then they will say that it is not good,
06:50then what do we do?
06:51Sometimes artists come, sometimes go, and who is going to get a reward?
06:55This is the last sentence.
06:57So, we are now competing.
07:00Now I am competing with myself.
07:04Or I am getting a good dance master.
07:07I am getting 2-3 good dance masters in front,
07:10which I think I am competing with myself.
07:12But there is no aim in my life.
07:15Because they can't go for Oscar awards and all that.
07:18At least we should bank on Flimfer.
07:20Why don't you all start this award, Lehre Awards?
07:23And start respecting dance masters and all that.
07:26So, people should learn.
07:28Shukriya, thank you.
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