00:00I don't think I'm good at all.
00:03I don't think I'm good at all.
00:05I don't think I'm good at all.
00:08We don't get any flimfair award.
00:11Why do we do labor?
00:13If I'm a bad dance, you'll give me that amount.
00:17If I'm a good dance, you'll give me that amount.
00:21I feel like you're allergic to me.
00:25I'm calling you on a rehearsal,
00:27you're not coming, shooting,
00:29you're not coming,
00:31or you'll change the dance master.
00:34Let's talk about the fact that you were shooting in the studio
00:39when you were shooting Sheshnaa.
00:41He was dancing.
00:43He was standing in a big room.
00:45How did you tell us?
00:47The producer gave us a lot of time.
00:52The recording was 26 years ago.
00:54He was 28 years old.
00:56We were meeting for rehearsal for three days.
00:58My group and us,
01:00we composed the thing at night.
01:03We asked the producer to send us a dance.
01:07Because it's very difficult to dance.
01:09So Rekhaji didn't come.
01:11I said that every day,
01:12when I was shooting in the studio,
01:13I was wearing a mask.
01:14I was dying.
01:15I felt very difficult to dance.
01:16I was not going to wear a dress.
01:17That night,
01:18I was wearing a mask.
01:20I was wearing a mask.
01:21I was wearing a mask.
01:22I was wearing a mask.
01:23Just outside.
01:24I was sitting outside,
01:25so I was asking,
01:26what's the issue?
01:27And he said,
01:28I'm not going to be canceled.
01:29So I said, I think that you are allergic to me, that I call you on rehearsal, you are not coming to the shooting,
01:39you say that I am not good, or you change the dance master to the dance master.
01:45You say to the producer, I don't want to work with Saroj.
01:48Something is bad, you don't want to work with me, say to Ayub Ji.
01:54Suddenly she turned her face and saw her eyes in her eyes.
01:59I said, I have not said anything wrong, but I feel you should shoot today.
02:04I will do the shooting, I need to do it.
02:07So she is ready, she is ready.
02:09The secretary came and said, what did you say to her?
02:13I said, I have not said anything.
02:15Basically, she is crying away.
02:18Then I went up and went and said, I have not said anything wrong.
02:23I have not said anything wrong.
02:24She said, I respect you so much.
02:26I respect you so much and you say like this, that I do not love your work.
02:30I said, no.
02:31I did not 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, his style suits him.
02:42Sure.
02:43If 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.
02:56So, why should I mind it?
02:59I mean, we basically, all the dance directors should never mind it.
03:02We have our own students.
03:04We have our own understanding.
03:05We have our own understanding.
03:06Kisi ko mere moments achse lagta hai, kisi ko nahi lagta hai.
03:09Koi ladaki ko asa bhi lagta hai.
03:11Kisai ko nahi lagta hai.
03:12Kisai ko nai lakta hai.
03:13Kisai ko bulayenge to kai woh ladakiyao ki jaisa to nahi nacha deegi.
03:15Many heroes have asked me this question.
03:18So, I say, if you all feel that way, call me, see it.
03:23If you don't like it, no problem.
03:25One time, Vinod Mehera ji was very top.
03:30Vinod Mehera ji and Vinod Mehera, at that time,
03:33the misunderstanding of Vinod Mehera and Vinod mehera,
03:37I said to him that I will not cry for women.
03:40I will change the moment.
03:42But if I look at the moment,
03:44Vinod Mehera were the only two people supporting me in this industry.
03:50Till I touched hero.
03:52They used to call me.
03:54So, I told Rekha, I said, you can tell me,
03:56that you don't want to dance with me.
03:58You can dance with Kamal.
03:59There's no problem.
04:01Lekin kisi ki shooting cha-cha din cancel ho jayate.
04:04That's not right.
04:05Nahi, aisa nahi hai.
04:07I will do this whole song and I will show you how I can dance.
04:09I said, chalo, woh gusse mein, spirit mein, woh kam toh behat acha ho gaya.
04:13I think she has never danced so beautifully.
04:16Didn't affect your work at all?
04:18No, no, no.
04:19Not at all.
04:20That controversy has become like papers,
04:22kya kya kya kya.
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,
04:32this movement that.
04:33She didn't change even one beat of it.
04:35He said, I will keep this hand here.
04:38No, I will not change it.
04:39I will not be here.
04:40It was that much.
04:41Maybe because of that tension between us,
04:43she did that.
04:44But she did the best.
04:46She has danced very beautifully.
04:49In the sense that Rekha Ji's dance in Sheshanag,
04:53that Shri Devi Ji's dance in Nagina,
04:56will it be better than Shri Devi Ji's dance?
04:58Is it okay?
04:59No.
05:00I 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 chamash.
05:10But in both dances, there are a lot of differences.
05:13And Lakshmi Ji's music is very different.
05:16Very different.
05:18In the sense that the film is very important,
05:21you can understand that the good dance with Gita,
05:26is it also a good dance?
05:28Which way?
05:29It's very important.
05:30You don't need to say it.
05:32There are examples in front of Ram Lakkan,
05:35Teza and Tridev.
05:37What are they running on?
05:39Songs.
05:40Songs.
05:41That goes without saying,
05:42I shouldn't say it.
05:43That is like being too much,
05:45you're talking to yourself,
05:46you're watching yourself.
05:47No.
05:48Means it's understood now,
05:50the songs have taken lead.
05:53People are enjoying songs,
05:54and now people are getting conscious about it.
05:57Now, every producer you talk to,
05:58they will say,
05:59that,
06:00let's make one item,
06:01as it was as it was.
06:02Let's make one item,
06:04as it was as it was.
06:05So they are realizing it.
06:06Now we have seen songs,
06:09they are very good,
06:10very well picturized,
06:12and they are seen.
06:14So when did this happen?
06:16After everybody is shaken up,
06:18then?
06:19No.
06:20I am giving you a example,
06:22we don't get a film fair award.
06:24Why do we labor?
06:26If I am a bad dance,
06:29then you will give me that amount.
06:31If I am a good dance,
06:33then you will give me that amount.
06:35If I do labor,
06:37then there will be no aim in life.
06:39If I got a success,
06:41then I have to aim for this award.
06:43We are not doing that.
06:45If you dance director say,
06:47that your work is not good,
06:48then they will say,
06:49okay,
06:50then what do we do?
06:51Sometimes artists come,
06:52sometimes go,
06:53and who will get an award?
06:54This is the last sentence.
06:56So,
06:57we are not doing competition.
07:00Now,
07:01I am competing with myself.
07:04I am getting a good dance master.
07:06I am getting 2-3 good dance masters in front,
07:09when I am competing with myself.
07:11There is no aim in my life.
07:13Because they can't go for Oscar awards and all that.
07:17At least,
07:18we should bank on film fair.
07:19Why don't you all start this award?
07:21Lehre Awards.
07:22No,
07:23start respecting dance masters and all that.
07:25So,
07:26people should learn.
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