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NewsTranscript
00:00Shekhar, I am so happy to meet you.
00:04I am so happy to meet you.
00:06I know we keep texting each other.
00:10But I also know you are very shy.
00:13I like to call it Padmaravannagar Studios.
00:19I don't know.
00:21I don't know.
00:23It's almost like a love story.
00:26You are also in Padmaravannagar Studios.
00:29He took me around the world.
00:31I was in Mumbai to go to Goa.
00:34I was in Sadar Patel College.
00:36I was in Sadar Patel College.
00:38Did you do that before?
00:40In shooting.
00:42It was a love story.
00:43Yes, it was a love story.
00:44I think I was one or two times.
00:46But I know that in five years, Shekhar was once.
00:50I was going to tell him about Jubilee.
00:53He is very shy, I know.
00:56But also, Raj Mowalikar will be correct, Shekhar.
00:59He will be able to play a pre-release event.
01:01He will be able to play a single line.
01:04I think Shekhar Kamala comes across very shy.
01:07But he is very adamant when it comes to his filmmaking or what he wants.
01:12He will be very perfect.
01:14He is very softly adamant.
01:16Yeah.
01:17Let me put it, that's it.
01:19Actually, I think directors, I think, in general, should be a little adamant on the face of the face of the face of the face of the face of the face of the face of the face of the face of the face.
01:24And some, what they want to say.
01:26But he got, I was glad he said that.
01:29He said that, but you have a big team, no?
01:31Correct.
01:32Which you listen to.
01:33Correct, correct.
01:34I think Devi said that, you know, the background score is all over.
01:38All over.
01:39All over.
01:40All over.
01:41All over.
01:42You take everybody's opinion.
01:43He takes his opinion, but admit.
01:45Finally.
01:46Yeah, yeah.
01:47Final decision, I didn't think about it.
01:48The team, the gang, what we call it.
01:51This gang.
01:52Gang, gang.
01:53Gang.
01:54The gang.
01:55They always jam about ideas.
01:57I will convince someone to do something like that.
02:01I will attack the people.
02:03Suri, Chaitanya, Ajayko, Mella.
02:06They will tell you, sir, I will tell you, sir.
02:09I will tell you.
02:10But they have a very nice understanding amongst them.
02:13But they have a very nice understanding amongst them.
02:14And they have code language.
02:15No code language.
02:16You don't have code language.
02:17You have a single line in your mind.
02:19It's a single line.
02:20Yeah, okay.
02:21Solid sync.
02:22And only, I think, after that, only the sync you start the film.
02:26Correct.
02:27Probably.
02:28Correct.
02:29About the characters, everything.
02:30Correct.
02:31Correct.
02:32But they do,
02:33I think,
02:34in the set, they do a lot of improvisations.
02:37Yes.
02:38They do a lot of dialogue.
02:40It's about the situation.
02:41Right?
02:42Correct.
02:43They do a lot of dialogue.
02:44You will be able to sit down and you have a bow.
02:46That will be the same.
02:47Maybe they will do the same things as well.
02:48How long to do that?
02:49That one will be the same.
02:50I will.
02:51That one will.
02:52He will.
02:53That one will.
02:54He will.
02:55Does he have words?
02:56Yes, even he will.
02:57Not the same.
02:58Not, right?
02:59But you will have to have a little control.
03:00I have so much control.
03:02Oh, I have so much control.
03:04You are the star of the night.
03:10But I had a wonderful experience though. I don't know, I am sure you also had a wonderful experience.
03:16That's what you keep talking about.
03:17Yeah, a superb experience.
03:20More than anything for me as an actor.
03:23In a cinema, you know, how many ever days we shot, for me it was like a workshop every single day.
03:29Because I feel, you know, as an actor you come out very different.
03:34You sort of, if you don't want to do this in the industry, you will have a fresh perspective.
03:41So, that I really enjoyed and I keep saying it.
03:44And in workshops, I am an actor.
03:48But at this time, the first time we had a proper shooting, we had readings, script sessions.
03:56So, I feel...
03:57You don't want to do that.
03:58I don't want to do that.
04:00No time, right?
04:01No. Yeah, you are Samir, right? I can't make...
04:05No, it doesn't...
04:06I don't want to do that.
04:07With him, see, with you, I was telling also, with you, fixed, I know, from since childhood, whatever,
04:13and I don't want to do that.
04:14I don't want to do that.
04:15I'm telling you what your nuances, style, and the most important things in the world.
04:18With him, we worked a lot, saying that to me, I can't remember.
04:21So, I...
04:22He's like...
04:23I don't want to do that, I don't want to do that.
04:25I don't want to do that.
04:26You used to pick out.
04:28Yeah, pick out.
04:29I think I don't want to do that.
04:30He can do that.
04:31We didn't want to do that.
04:32So, the team all is getting all the energy.
04:34So, that was fun. What is a good angle, what is a good mannerism?
04:42Interesting.
04:43You know how much hair is going to be curly?
04:48I'm not going to drink my morning, I'm not going to drink my morning.
04:50It's a juicer.
04:51It's not a juicer.
04:53In Love Story Cinema, we had a short shot.
04:57I'm not going to say short, I'm going to do a short shot.
04:59I'm not going to do a short shot, I'm not going to do a short shot.
05:04I'm not going to do a short shot, I'm not going to do a short shot.
05:07I'm not going to do a short shot.
05:11And so, both of us will go running towards him and ask him,
05:15Shekhar, what do you feel?
05:18And then, okay, he'll probably look at me and he'll say this is an input.
05:23He's not going to do it.
05:24Bound and happy.
05:26Yeah, in a competitive spirit.
05:27So, in this process, Shekhar Ghar is going to do it.
05:31I'm not going to do it.
05:33I'm not going to do it.
05:33I'm not going to do it in college, I'm going to do it in the cinema.
05:36I'm going to do it in the monitor.
05:38Right.
05:39I'm not going to do it in any way.
05:44Okay, we'll get on to the movie.
05:46Yeah.
05:46We did small talk.
05:48Small talk, okay.
05:49We did a movie talk.
05:50Movie talk, yes.
05:51That's the whole idea.
05:54About the movie, firstly,
05:55We expect a soft, you know, very poetic, some human emotions driven, this kind of a narrative.
06:09Now everyone, I choose the majority of the movies.
06:12But when I saw Kubera first, the trance of Kubera, it is not your approach at all.
06:18Completely, it breaks my style completely.
06:21It's a big presentation.
06:24So, I wanted to know where was this thought,
06:27ever since there was this thought,
06:28like whether it was a love story or something like that.
06:31Love story or something like that.
06:34Story, the story called for that.
06:36It's a very big canvas.
06:38Like the rich, middle, conflicted individuals, and then poor, poor.
06:43And underneath, the story, it required a lot of...
06:49It's a, it's a, actually it's a true happening, I mean, emotions character larger than life kind of thing.
06:56So, Bombaylogy. So, it's a big scale.
06:58So, to tell this in a trailer or something,
07:01a big dialogue about it, this is our film.
07:03Suddenly, it occurred concept of the movie.
07:06That's when at music,
07:08In a film that is like one thing,
07:09so, the story was just a bit like,
07:10Like, I'm sure I'm sure I'm so scared,
07:12But that's what struck me.
07:14Right.
07:15In terms of the material, what I want to say is,
07:17so I want to say,
07:18and what I want to say,
07:19for things like the film,
07:20what I want to say is
07:21the story, the art, the art, the art, the art, the art, the art.
07:25So, that's kind of, I also.
07:28That's kind of, that idea was a little
07:30you know, in the trailer.
07:31Right.
07:32But, in general, this content demanded that I shoot like this
07:35Some completely different, all my backlighting, like soft lighting
07:40The cameraman had so many kinds of editing
07:44To Rosh lighting
07:44Rosh, dance, dance and then music kind of that
07:54We wanted to do a piece with the Devi Sri Prasad
07:57I wanted to show the story and then I said, I said, I narrated the story and suddenly changed it to hard guitar
08:05What do you mean by me?
08:07From the films you've been doing to this character's, you know, Shekar Gauru style
08:12I know it is very very different from what you've been doing
08:15What do you mean by me when he came to you?
08:17Yeah, definitely out of my zone which I generally work
08:22I've already said in other interviews
08:25First day he told me, don't walk like a hero
08:28He said, I'll do it
08:31There's some arrogance in the eyes
08:36He told me your character
08:40It took me 2-3 days but very
08:43What this character, how do we define it exactly?
08:48It is, he has principles, he's sacrificing, he's going against his principles
08:55For, you know, somewhere I think it shows the middle class or where they have to compromise
09:04Compromise
09:06Though they have principles, they have to compromise for certain reasons
09:09For their kid, for their wife, for their family, for surviving
09:15And generally, you know, educated middle class is completely exposed to the world
09:26But they don't have the means to acquire it
09:28Right
09:29Right
09:30So, and there, whereas the below poverty line people, they don't even know
09:36They don't even know they can have that
09:39They don't even think about it
09:40That is Danush's character
09:43So he, and like he said, the other character is the billionaire's character, Jim Saurab's
09:49He has so much but he wants more
09:54Right
09:55It is not enough
09:56He wants the whole world
09:57Right
09:58Never, he's actually, he's not a happy man
10:00Right
10:01Whereas I, I see the, the below poverty, I mean the homeless Danush character
10:09They're happy people actually
10:10In their own way
10:12And this, my character is confused
10:17This way or that way
10:20Conflicted
10:21It's a very conflicted character
10:23Which I never played before
10:25I never played before, it did take, Shekar, I completely
10:29I don't know, I just want to surrender to Shekar
10:32Just like you did
10:33Right
10:34Right
10:35Surrender to me, you can ask questions
10:37Yeah
10:38Whatever he said, I did
10:40Because somewhere we got along, I think
10:42We come here and found the character
10:44After 2-3 days
10:46I think
10:47I think
10:48I think
10:49I think
10:50I think
10:51I think
10:52I think
10:53It's very rare that
10:54Right
10:55And it happens on set trick when acted and
10:56Right
10:57Really people will, I think it will resonate
11:00Right
11:01That's all
11:02Amazing, I think the way
11:03You know
11:04It's like
11:05It's like
11:06It's like
11:07It's like
11:08It's like
11:09Yeah but
11:10It's
11:11It is very
11:12I feel
11:13I mean
11:14I'm not
11:15You
11:16This character has a lot of
11:18Variation
11:19Variation in this film
11:20I mean
11:21To
11:22Completely broken down
11:24Again he rises up
11:25You know
11:27Completely broken down
11:29You know
11:30Pre-release event
11:32That you can't see anyone else but dad in this character
11:35So
11:36What happened is the moment we narrated and he said, yes sir, we are like jumping as well
11:40That's right
11:41That's right
11:42That's right
11:43That's right
11:44Okay
11:45You know
11:48No, yesterday I spoke to you, you also talked to me, you also talked to me, you also talked to me, you also talked to me, you also talked to me once he's done with the film and it's about to release
12:02Right
12:03Even other films I talk
12:05Not just my films, I simply call
12:07Since I know
12:08It's a good judgment and
12:10It's a good judgment and
12:11You know
12:12I was like
12:13I was like
12:14You know
12:15No, sir
12:16I asked him, I did a character
12:21He said, no sir without you, my character is not going to be the film
12:27Everything is revolved around you
12:30And
12:33I cannot see anybody
12:35Right
12:36I can tell you
12:37You know, you brought dignity to the film and you brought bigness to the film. That's what it needed.
12:44And he was saying, I'm very happy. I was actually very happy yesterday.
12:49He was telling me every RR, I've been doing it for years actually.
12:53I'm very curious. First of all, Meera, Devi, Kalsi, Panjassanar, I know Devi's energy.
13:01He's 24-7, he's a non-stop jumping.
13:06And Meera, he's very calm, very composed, settled. In fact, when you go to the studio, when he walks into the room itself, there's energy, sir, Devi.
13:15Correct.
13:16And he reacts very well, sir.
13:21And every time, ready to work like this. No hazards.
13:27Right.
13:28In the studio, it was like that. And same, that's how he worked and did songs and all.
13:34That trance of Kubera for me is a, what a beautiful composition.
13:38Correct.
13:39And the lyrics, it's so interesting. It just set the tone for the film.
13:45Correct.
13:46It's miraculous, miraculous.
13:49No, that is my favourite.
13:51Favourite.
13:52Poyra Poyra is also a very nice song.
13:54If you want to sing the Taliban, you'll like it.
13:58Your songs, you'll count.
14:00Okay.
14:01Your release, Ivala.
14:03Okay, okay. Sorry.
14:04Thank you very much.
14:05Thank you very much.
14:06Thank you very much.
14:07Thank you very much.
14:08Thank you very much.
14:09Thank you very much.
14:10Very nice.
14:11Thank you very much.
14:12Very nice.
14:13Very nice.
14:14Very nice thing.
14:15Yeah, yeah.
14:16And Niketh.
14:17Niketh.
14:18Actually, Niketh's first film and with me, we worked together.
14:22Correct, correct.
14:23So, Niketh, I felt, you know, damn excited.
14:26And also, Tanu, his energy is, you know, he's crazy.
14:31Crazy energy.
14:32Same.
14:33He's crazy.
14:34What was your reaction?
14:35Tanu mara, noo mara.
14:36Noo mara.
14:37Noo mara.
14:38In our set, generally, no shouting.
14:41Silent.
14:42This guy shouts.
14:43Shouts.
14:44Shouts.
14:45I mean, all phoneted words.
14:47I was wondering, what is Sheikhar doing?
14:51Sheikhar needs to say that.
14:53Noo mara, noo mara, noo mara, noo mara, noo mara, noo mara.
14:57So, he's like that and now he got used to it.
15:00He shouts some, like, and probably he's shouting more because I don't shout.
15:04He's a set look.
15:05I don't know.
15:06I don't know.
15:07Maybe he would have a lot of them less.
15:09Same.
15:10Energy.
15:11There's a lot of beautiful work.
15:13And you can see a lot of praise.
15:15Yeah.
15:16My character, I mean, of course, my character, I loved it.
15:19But Danush's character also.
15:21The graph is fantastic.
15:23That graph from a homeless, completely on the street boy.
15:29To a graph where his, he's hidden intelligence, intelligence which was oppressed comes out.
15:40Comes out.
15:41Slowly.
15:42And slowly the questions he asks, that character asks are very, very good.
15:47You know?
15:48You know?
15:49Those dialogues were very, very good.
15:50There's one dialogue which he says to Rashika.
15:51Bratku.
15:52Bratku.
15:53Bratku.
15:54Bratku.
15:55Bratku.
15:56Bratku.
15:57Bratku.
15:58Bratku.
15:59You know?
16:00That's right.
16:01Ok.
16:02You know?
16:03I'm not a friend. I'm not a friend.
16:06I'm not a friend.
16:07I'm not a friend.
16:08I'm not a friend.
16:09I'm not a friend.
16:10I'm not a friend.
16:11I'm not a friend.
16:12I'm not a friend.
16:13I didn't even know where he was.
16:17He's completely merged into the background.
16:20I think that's it.
16:21And also our dialogues, I think all the characters in the film,
16:25it's a reflection of our everyday conflict in life.
16:28I don't want to be a problem.
16:30I don't want to be a problem.
16:33So, it's always about, you know, I think you...
16:36Wanting more.
16:37Wanting more.
16:38It's also, I think a little personal reflection is,
16:42first to me, I'm going to do a love story.
16:45I'm going to do that journey.
16:47Anything like any other young guy,
16:50these brands, there's no interest.
16:52If you're looking at it,
16:54I'm thinking,
16:55I'm very happy.
16:58I'm going to do that.
17:00They know what they want.
17:01They know what their happiness is.
17:03That's why I focus on this.
17:06I really observed all of you.
17:08And I think,
17:09my gang and you,
17:10I have a lot of money, actually.
17:14I'm really so happy.
17:16And it's like,
17:17it takes something.
17:18It takes something.
17:19If you're questioning,
17:20if you're questioning,
17:21if you're questioning,
17:22if you're asking,
17:23when you let it go,
17:24there's pressure.
17:25Happy, happy going to.
17:26That is a great...
17:27It's like,
17:28it's life.
17:29Let it, you know,
17:30let it go forward.
17:31So,
17:32you know,
17:33characters through,
17:34dialogues through,
17:35or message
17:37or
17:38transfer to the audience,
17:40it transferred to me
17:41while working with you,
17:42you know,
17:43in a way.
17:44So,
17:45I really feel good.
17:46And,
17:47just that,
17:48what you said.
17:49Yeah.
17:50Now,
17:51we know the character,
17:52because I don't know.
17:54I mean,
17:55literally,
17:56he's a bigger character.
17:57So,
17:58we didn't know.
17:59So,
18:00we didn't know what we were doing.
18:01Now,
18:02there's a conflict.
18:03We don't know what we were doing.
18:04We don't know what we were doing.
18:06We don't know what we were doing.
18:07We don't know what we were doing.
18:08We don't know what we were doing.
18:10Saturday,
18:11we don't know what we were doing.
18:12Sunday,
18:13we don't know what we were doing.
18:14So,
18:15he knows,
18:16those are the gods for him.
18:17So,
18:18he can live without,
18:19long time,
18:20he can be hungry.
18:21And then,
18:22he has a memory of an elephant.
18:23Yeah.
18:24So,
18:25he knows.
18:26No,
18:27he has,
18:28you created a kind of a super
18:30natural,
18:31something is driving this man.
18:33Something is driving this man.
18:34Yeah.
18:35It's a very nice way.
18:36When he told me the story also,
18:37he told me
18:38about that.
18:39I told him,
18:40he told me about it.
18:41He told me about it.
18:42He told me about it.
18:43Yeah.
18:44He told me about it.
18:46He told me about it.
18:47He told me about it.
18:48Is there an action in the trailer?
18:51There is action.
18:52Trying to,
18:53Okay.
18:54Okay.
18:55I am a CBI officer.
18:56Right.
18:57Okay.
18:58Playing a CBI officer in the film.
18:59Okay.
19:00Okay.
19:01So,
19:02who knows about all,
19:04Right.
19:05All this,
19:06what happens,
19:07where does the money go,
19:08where is the money coming,
19:09all of that.
19:10I am an expert in that.
19:11Right.
19:12Right.
19:13Right.
19:14Right.
19:15Right.
19:16Right.
19:17Right.
19:18Right.
19:19So, I know and there is action and there is my character is, is.
19:26It is,
19:27It is,
19:28It is,
19:29It is a grey tone.
19:31Grey,
19:32for the,
19:33for the question of survival,
19:34it becomes grey.
19:35Right.
19:36Right.
19:37For the question of survival,
19:38that's where the conflict.
19:39There is a conflict.
19:40There is a conflict.
19:41Survival of his.
19:42Internal struggle.
19:43Of her daughter,
19:44of her wife.
19:45His performance,
19:46I think he never,
19:47never,
19:48I failed,
19:49I failed never before.
19:50I have never seen her.
19:51Okay.
19:52Terrific.
19:53There is a nice story.
19:55And there is a nice Ronamudu.
19:56Of course,
19:57I think a soft scenes which you said,
20:00Sekar has in his films between a man and a woman.
20:04You have one or two scenes like that between me and my wife.
20:07Correct.
20:08Yeah.
20:09Very nice, natural scenes.
20:11I remember when coming back.
20:13Correct.
20:14Doing, don't know.
20:15Correct.
20:16I don't know what to do.
20:17Correct.
20:18Why?
20:19This night all survived.
20:21And at the time,
20:22the time,
20:23the time,
20:24the time,
20:25you know,
20:26become completely,
20:27totally wonderful.
20:28Right.
20:29Right.
20:30It was very, very nice.
20:33Yeah.
20:34You know,
20:35and also I am curious to see how my action,
20:37I know it's not like typical action,
20:39but a realistic action also,
20:41you know,
20:42I am very curious.
20:43Yeah.
20:44Good episode.
20:45Good episode.
20:46Yeah.
20:47Because I never before,
20:48I think,
20:49with the,
20:50you know,
20:51the tone,
20:52you know,
20:53your character,
20:54the action,
20:55you know,
20:56the action,
20:57you know,
20:58you know,
20:59you know,
21:00something I will do,
21:01some.
21:02Yeah,
21:03but,
21:04actually,
21:05it fit.
21:06It fit.
21:07It fit.
21:08It fit.
21:09It fit.
21:10It fit.
21:11It fit.
21:12It fit.
21:13Now,
21:14you know,
21:15you know,
21:16you know,
21:17but,
21:18it fit.
21:19It's very nice.
21:20And, of course,
21:21in the cinema,
21:22the women play very powerful,
21:24pivotal roles.
21:25You write beautiful characters.
21:27So,
21:28Rashmika,
21:29what's her character like?
21:30Very underplayed,
21:31very,
21:32and first time,
21:33I am also first time,
21:34beautiful,
21:35very lovable.
21:36Right.
21:37Very interesting.
21:38See, I,
21:39my favourite in the film is her.
21:41Yeah.
21:42Rashmika,
21:43one of the scenes,
21:44one of the scenes,
21:45one of the scenes,
21:46but,
21:47I have no idea of dubbing.
21:48I have no idea of dubbing.
21:49My favourite is her.
21:50No, no.
21:51She was so good.
21:52And,
21:53she suited the role so well.
21:55Right.
21:56She really transformed,
21:57I guess,
21:58into any character.
21:59We have seen her in a variety of
22:01characters in the last few years.
22:03Yeah.
22:04It's too good.
22:05Too good.
22:06And,
22:07you know,
22:08continuously,
22:09she is so busy,
22:11one day,
22:12half a day,
22:13she is so busy.
22:15Very,
22:16very,
22:17very,
22:18very,
22:19very,
22:20very,
22:21very,
22:22very,
22:23very,
22:24very,
22:25really.
22:26The look,
22:27the skin,
22:28or,
22:29I don't know,
22:30with your glasses,
22:31and all that,
22:32the,
22:33your eye line,
22:34look,
22:35I have seen a lot of
22:36in every shot,
22:37like,
22:38normally itself.
22:39I don't know.
22:40What did you see,
22:41Rishikar?
22:42The glasses were always,
22:43like,
22:44a little bit,
22:45a little bit,
22:46a little bit,
22:47I don't know,
22:48I don't know,
22:49a lot of shots were very observable.
22:51There were a lot of shots.
22:52I saw Charles,
22:53like,
22:54I watched him,
22:55like,
22:56like,
22:57aged,
22:58battered,
22:59like,
23:00one part of me looks like,
23:01charming,
23:02charming,
23:03charming.
23:04All dresses suit him.
23:05It just fits.
23:06Like,
23:07that won't go.
23:08Yeah.
23:09And then, he,
23:10struggling and all,
23:11Bala Vandila,
23:12very good,
23:13very interesting, sir.
23:14I said,
23:15shooting is a really,
23:16a pleasure,
23:17with,
23:18shooting with you,
23:19happily,
23:20Bala Vandila,
23:21and how he,
23:22happily,
23:23is like relaxed,
23:24and then he doesn't,
23:25let us do,
23:26and at long to the set,
23:27no control,
23:28don't worry,
23:29at long to the moment.
23:31No, I totally agree.
23:32No,
23:33but I think,
23:34with any actor,
23:35first man,
23:36first schedule,
23:37we are also trying to,
23:39you know,
23:40when like,
23:41we are also trying to,
23:42probably push,
23:43and then,
23:44all my team,
23:45I have to choose,
23:47understanding,
23:48automatically,
23:49I think actors,
23:50we want to keep giving,
23:51the film,
23:52we want to keep giving,
23:53the character,
23:54because,
23:55me characters,
23:56honesty,
23:57you know,
23:58very grounded,
23:59root level,
24:00honesty,
24:01the writing,
24:02starts to influence,
24:03the individual,
24:04at least,
24:05this is what I went through.
24:06So,
24:07then you start submitting,
24:08to the process,
24:09which is,
24:10which becomes,
24:11effortless.
24:12I really like,
24:13I really like,
24:14I really like,
24:15I really like,
24:16what you did,
24:17here,
24:18here,
24:19like,
24:20just before the climate.
24:21Yeah, yeah, yeah.
24:22So,
24:23there are,
24:24there are,
24:25a lot of,
24:26that scene.
24:27that scene.
24:28I think we will do this,
24:29and,
24:30we will do this,
24:31that's a very good,
24:32key.
24:33Did you tell Sunil Gar,
24:34a story?
24:35Kubera.
24:36Sunil,
24:37Narang.
24:38I am Sunil Narang,
24:39producer Gar.
24:40The story,
24:41you mean it?
24:42You mean it?
24:43You mean it?
24:44He heard,
24:45he heard,
24:46he heard,
24:47he heard,
24:48he's like,
24:49attention span is very low.
24:50If you say,
24:51I can't read it,
24:52oh, I'm a billionaire.
24:53and then,
24:54just like,
24:55It was a good point.
24:58He went like that.
24:59Yeah, yeah.
25:01When you said a statement in this event,
25:04Saraswati Devi Talatkon Chusei Cinema,
25:07you said in this context,
25:09you said that was a strong statement.
25:12No, I was thinking,
25:14I was thinking about what I was talking about in general.
25:17I wanted to tell what is this film very positive.
25:21I was very confident to say that.
25:23When Anand happened, I told once that
25:25when I made Anand, I was like,
25:27first, they don't know what happened.
25:29Just because the cinema is 30, I don't know what it is.
25:31Then I said,
25:32the cinema is going to be, Saraswati Devi may not jump in joy,
25:34but she won't feel sorry about it.
25:37Right.
25:37That she will, I didn't do any mistakes.
25:40Then, for 25 years later, I thought, what should I say?
25:42Now, this movie, she will be really proud.
25:44Proud.
25:44And she will be happy to say that.
25:46This kind of,
25:47see, this kind of story, it won't happen.
25:51I am not saying it with arrogance or pride,
25:53but it won't come across me.
25:55I'm not saying it with arrogance or pride,
25:55but it won't come across.
25:56Even if I was a divan,
25:57even if something was a kid,
25:57even if I was a kid,
25:59even if I was a kid,
26:00even if I was a kid,
26:02it was one of the lowest and highest,
26:05and the middle class kind of.
26:08So, when I was a kid,
26:10I was a kid,
26:11I was a kid,
26:12I was a kid,
26:14and they were invisible people.
26:16And we don't care,
26:17we don't know.
26:17So, when I was a kid,
26:19I was fortunate.
26:20That I don't know about them,
26:21I don't know about Uber Rich.
26:22Right.
26:23So, when I was doing this,
26:24I thought I was really,
26:25I was really interested in it.
26:27Then I thought,
26:28okay, my craft was a gratification.
26:32You keep making films of stories,
26:33you're making entertainers,
26:34you're making happy films of music,
26:36and this is something that,
26:38maybe it's destined,
26:39it came to me on a feeling.
26:41So, I was like,
26:41a little overwhelmed.
26:42Okay, okay, okay.
26:43I don't know about it.
26:44Yeah, but we also meant,
26:47the writing was so good.
26:48The writing was so good, yes.
26:49The writing was so good.
26:50It all came together.
26:51Correct.
26:52Whenever we are listening to the dialogues,
26:54and all of that,
26:55writing was so good,
26:56so,
26:57it makes you think.
26:59Correct.
27:00The dialogues.
27:01Correct.
27:02Some of the dialogues make you think.
27:03Correct.
27:04So, it's a nice dialogue,
27:08which we used it in the trailer.
27:10Dabbu Pavare.
27:12Yeah.
27:13It's a nice dialogue.
27:14It's a nice dialogue.
27:15It's a nice dialogue.
27:16It's a nice dialogue.
27:17It's a nice dialogue.
27:18All those dialogues are very, very good.
27:21Correct.
27:21Yeah.
27:22Yeah.
27:22It's like Saraswati Devi,
27:24Talatukuni.
27:25And Lakshmi Devi also,
27:26Talatukuni.
27:27It's a nice thing.
27:29So,
27:30we'll be very happy.
27:32Happy.
27:33Meergod, you spoke about Maya Bazaar,
27:35and a parallel draw, sir, Kubera.
27:37Yeah.
27:38See,
27:39what I feel,
27:40the actors,
27:41some time ago,
27:44maybe
27:46before 25 years ago,
27:49the actors then,
27:50they were always
27:51they did films,
27:55they did characters,
27:57every hero,
27:58every hero,
27:59so Maya Bazaar is one such example.
28:02Manchi Kadal ra wali,
28:04Manchi cinema ra wali,
28:05and anta onta mo.
28:07I really think the actors have to help directors.
28:12Right.
28:13Directors can write stories.
28:15Stories.
28:16It's not, stories is not the problem.
28:18But when you have one big actor,
28:20or a star in this,
28:21you just,
28:22you need to have an equally big actor.
28:24Right.
28:25On the other side.
28:26So,
28:27in Maya Bazaar,
28:28if you see
28:29N.T. Ramarov Garu,
28:31Nanan Garu,
28:33Eswirangarov Garu,
28:35Savitri Garu,
28:37and Relangi Garu.
28:38And Relangi Garu.
28:39Relangi Garu,
28:40he was a,
28:41he was a hero himself.
28:42Hero is correct.
28:43In those days.
28:44You know,
28:45all of them,
28:47they,
28:48they,
28:49they didn't know anything.
28:50One screen time,
28:51one screen time,
28:52one screen time,
28:53one screen time,
28:54one part,
28:55one part,
28:56they didn't know anything.
28:57They didn't know anything.
28:58They didn't know anything.
28:59Maya Bazaar,
29:00they did.
29:01And I believe,
29:02that's why I said,
29:03this film is Shekar Kamala's Gubera,
29:05and that was K.V. Reddy Garu's Maya Bazaar.
29:06Right.
29:07And at like,
29:08if you see,
29:09Kundamma Kada,
29:10you see Mishamma,
29:12you see Krishna Arjuna Yuddhaum.
29:14No.
29:15All these films,
29:16they were characters.
29:17You remember characters.
29:18Right.
29:20So,
29:21that's why I drew the parallel.
29:22And Maya Bazaar is a film,
29:24I don't...
29:25Yeah, it's,
29:26it's the film.
29:27It's a film.
29:28It's a film.
29:29And I'm sure,
29:30almost every Telugu,
29:31Prati Telugu Prekstra will choose under.
29:33No.
29:34I did not see the film.
29:35No.
29:36So,
29:37I drew that character.
29:38Even if you look at my films like,
29:40Annamaya and all this,
29:42I don't find myself as a hero.
29:44I feel,
29:45Ragwinder Rao Garu.
29:46Right.
29:47It's his.
29:48He's the hero.
29:49He's the star.
29:50Kirwanee Garu is the star.
29:51Right.
29:52All those films. And that made, that lifted us.
29:56And also, I feel, when an audience comes to mind, we remember this character.
30:02In the cinema, you will be able to reference that character.
30:08I think that is a success. That is a success.
30:13That's why I took the reference of that. And this film is, it does not belong to us. It belongs to this gentleman.
30:24So, Sheikhar, I think that the cinema is a part of Padma Rho Nagar.
30:29At that time, maybe the maximum.
30:32You can't say that Padma Rho Nagar is a part of the show.
30:34It's a lot of people who are in the world.
30:37There are many people who are in the world.
30:39At that time, when I was there, I would say that I'm not going to say that.
30:44In the worst production, he was happy.
30:46In the worst production, he was here.
30:48So, Padma Rho Nagar, at that time.
30:51The maximum.
30:52If I was there, I would say that he would go to Nizambath.
30:56Yeah.
30:57Or more.
30:58But in the cinema, it was almost like a mini world tour.
31:01I heard you guys went to Goa, you guys went to Bangkok.
31:04Bangkok.
31:05Bangkok.
31:06Mumbai.
31:07So, he did.
31:08I was at the airport at the airport.
31:09I was at the airport.
31:10I was at the airport.
31:11I was at the airport.
31:12What was that?
31:13I was at the airport.
31:14I was very shocked.
31:15So, how challenging was it?
31:17How challenging was it? Because I know, Meiru, you prefer only real locations, but the set is on the side, so how was it managing the real locations and Danush's character also was in slums, in roads, Dad's character, so how did you manage all this?
31:36Challenging?
31:37No, I didn't know how they did and you won't believe in Chowpatti, he was sitting with a hidden camera, so you cannot believe that happened also, that shot was on the teaser, he was sitting on the beach, so complete Gorilla, no permission.
31:54Chowpatti, Chowpatti, no?
31:55He was sitting with a car and he was sitting with a hidden camera and he was sitting with a hidden camera.
32:00Sure, sure.
32:01Meiru, Mahon is getting tension when you see the crowd, because he will want to make sure everyone is okay.
32:06Underbound Ali, you know, he ever came, don't have any problems.
32:10From the light man to the main actor, Shekhar will make sure everyone is okay.
32:15So, let's manage that, sir.
32:17In the bomb, he wanted it.
32:18My mom, he wanted it to try and try again.
32:21We shot it.
32:22We shot it.
32:23We shot it.
32:24We shot it.
32:25We shot it.
32:26We shot it.
32:27We shot it.
32:28We shot it.
32:30We shot it extensively.
32:32That was good.
32:33And I give credit to them all.
32:35And the railway station.
32:36Railway station.
32:37Subway station.
32:38Subway station.
32:39Rail tracks.
32:40And the tracks.
32:41That's all.
32:42That's all real.
32:43And you, Nillipap and Dhanushan on the show, it's a garbage dump.
32:46Garbage dump.
32:47A real garbage dump.
32:48Oh, really?
32:49That's all.
32:50That's all.
32:51That's all.
32:52That's all.
32:53That's all.
32:54That's all.
32:55That's all.
32:56Amazing.
32:57Amazing.
32:58That's all.
32:59I said, this script is real.
33:02That's all.
33:03That's all.
33:04Even Nag did a lot of never before things that he did, I think.
33:11In Bangkok, there was a gorilla shooting.
33:13Yeah, in Bangkok.
33:14That's all.
33:15That's all.
33:16That's all.
33:17That's all.
33:18That's all.
33:19There was a lot of hotel lobbies.
33:20Everywhere we did.
33:21It was quite an experience.
33:23But because in our real environment, as actors, it changes the energy.
33:29You know, automatically.
33:30When you're in a set atmosphere, you're conscious, it's a different environment.
33:34Our real energy, we become a part of that moment.
33:38I noticed that.
33:39I stick to that rule.
33:42It makes a lot of difference.
33:44It makes a lot of difference.
33:45A lot of difference.
33:46When you're looking at it, you're looking at Ramgopalwar.
33:48Yeah, he's looking at it.
33:49In Hyderabad, you're looking at it.
33:51Shiva.
33:52Shiva.
33:53Shiva, I remember when I was in college or something.
33:57Yeah.
33:58Keys High School.
33:59Yeah, Keys High School.
34:00He was in my mind.
34:01He was in Padmananagar.
34:02Okay.
34:04We're there for 15-20 days.
34:05We're there for 15-20 days.
34:0715-20 days.
34:08In college, we're there.
34:09We're there.
34:10We're there.
34:11We're there.
34:12We're there.
34:13We're there.
34:14We're there.
34:15We're there.
34:16He did it.
34:17Ramgopalwar has an eye.
34:18Yeah.
34:19Yeah.
34:20Yeah.
34:21And also, I remember shooting in this Krishna Nagar part.
34:24In Sanjuri Nagar, I came.
34:26You and Amra were sitting.
34:27I came and took an altar.
34:28Yeah.
34:29That's the first time you went on to.
34:32That's the first time on a film set.
34:34That's the first time on a film set.
34:35In Sanjuri Nagar, I had a friend of Sanjuri Nagar.
34:38In Sanjuri Nagar even a film set, I was there.
34:40I was there a first time.
34:41In Sanjuri Nagar in Sanjuri Nagar.
34:42Yeah.
34:43Maybe he was there at that time.
34:44I was there a lot.
34:45I was there.
34:46At the same time, I had a good-
34:47Anybody from there.
34:48A bounceer.
34:49And everyone one got into a little bit,
34:51That's a little bit.
34:52Even a little bit.
34:53Have we had a vibe to create this relationship with anyone else and one of them.
34:56Once again, they're going to talk about that.
34:57They're going to talk about that.
34:58And they've already answered that.
34:59So, I thought…
35:01You don't have a lot of bouncer.
35:03We also did have a lot of bouncer.
35:04We didn't have any protection management, we didn't have any bodyguard, no security, nothing.
35:10Open it, there's no caravans, nothing, no caravans.
35:16Outside, yeah. Nice, nice days.
35:20Nice days, yeah. Yeah, yeah. I used to love them, love it.
35:24The days without cell phone cameras.
35:26Ah, my God.
35:29Ah, no, caravans are actually, I don't want to go like this, sir.
35:34You can't do it. Yeah, there's a problem.
35:36Because it's actually quite a boundary.
35:38Quite a boundary, but you can't sit outside because, you know, everywhere someone's got a camera phone.
35:43You know, I used to come out in the rough story.
35:46I used to fill board and camera, quite a bit.
35:48I used to close phone to the caravan, so.
35:50Terrace, there's a boundary.
35:54Yeah.
35:55I used to say, 3, I used to say, 3.
35:57I used to say, 4 and I used to say,
35:58I used to say, 3 and 4.
35:59And I used to say, but there's a boundary.
36:00There's a boundary.
36:01So, it's just like, normally, actors,
36:04normal people are using it.
36:06It became so convenient.
36:09What questions are there?
36:10So, I had to plan this.
36:12I didn't get it.
36:13I didn't get it.
36:14I didn't get it.
36:15I didn't get it.
36:16I didn't get it.
36:17I didn't get it.
36:18I didn't get it.
36:19I didn't get it.
36:20I didn't get it.
36:22That's right.
36:24To the camera, the cinema would be released.
36:25I didn't get it.
36:26No.
36:27I didn't get it.
36:28It's just 500, you'd have to pay it,
36:3050,000.
36:31I worked for the cinema.
36:33If you wanted to register,
36:35I would register.
36:37If you want to register for this,
36:39I would register for this.
36:40If you're interested for this,
36:41I'd register for it.
36:43Movies.
36:44You?
36:46I don't want to.
36:48I don't want to.
36:54Be honest, what is the highest amount of father pockets?
37:02I don't know.
37:04Now, we're going to spend a hundred thousand dollars.
37:06Fifty thousand dollars.
37:08I have taken two-rupee notes.
37:10One-rupee note.
37:12In our pockets, the maximum big note would be ten rupees.
37:16Ten rupees.
37:18Big note would be ten rupees.
37:20Five-paise, two-paise, three-paise, two-paise, one-paise.
37:22One-paise, twenty-five-paise.
37:24That's it.
37:26At my time, big notes were five hundred.
37:28Just tell me.
37:30Oh, oh, oh.
37:32Five hundred-rupee notes.
37:34I don't know.
37:36There.
37:38Yeah.
37:40Because I'd pay for 10 rupees,
37:42I'd pay for the situation.
37:44How would you pay for 10 rupees?
37:46A hundred percent?
37:48A hundred percent?
37:50Yeah.
37:51You'd pay for school,
37:52college or college.
37:54College is definitely.
37:56That one day, whatever money is given, it's all right.
37:59Just one day, it's all right.
38:02If you're not going to buy it, you'll buy it, you'll buy it, you'll buy it.
38:05That's it.
38:06That's it.
38:07That's it.
38:08That's it.
38:09That's it.
38:10That's it.
38:11Something like that.
38:17What's your habit to steal from each other?
38:22From each other, stealing a habit.
38:26You know, I'll steal his discipline in eating and exercise and conscious.
38:32I mean, health conscious.
38:34I would...
38:35I would...
38:36I would...
38:37I would...
38:38I used to tempt him to give upma.
38:40He would say,
38:41Raj, he would say,
38:42I'm going to say,
38:43I'm going to say,
38:44I'm going to say,
38:45I'm going to say,
38:46I'm going to say,
38:47I'm going to say,
38:48I'm going to say,
38:49I'm going to say,
38:50I'm going to say,
38:51Upma is about...
38:52Upma is...
38:53Upma is...
38:54Upma is about...
38:55Upma is about...
38:56I used to just...
38:57I just...
38:58I know he used to tell me all what health and health are.
39:01And then...
39:02He had a lot of things to learn from him.
39:04What he looked at,
39:05like balance,
39:06smile, calm...
39:08But he...
39:09I like his childlike innocence.
39:11Yeah.
39:12He's so...
39:13infectious.
39:14Right.
39:15He's so happy.
39:16He's so happy.
39:18Especially on sets, you know.
39:21Childlike innocence and...
39:23He's so happy.
39:24He's so happy.
39:25He's so happy.
39:26Especially on sets, you know.
39:27Childlike innocence and...
39:28He's so happy.
39:29He's...
39:30Used to be jumping like a monkey watching.
39:33The...
39:34Monitor.
39:35Right.
39:36Very rare to find.
39:38Very rare to find such...
39:39Yeah, you know.
39:40That intensity.
39:41And that being there in the moment,
39:44in the moment...
39:45in that moment,
39:46Is very, very...
39:47Difficult.
39:48Correct.
39:49And I would like to steal that.
39:50I agree.
39:51They want to see such a big blow.
39:53You might want to see such a big blow.
39:54You might.
39:55So, they also understand for a big blow.
39:58Yes, I know.
39:59No, I know.
40:00I know.
40:01You might want to see such a big blow.
40:02It's like a big blow.
40:04I don't know,
40:05I just want to see such a big blow,
40:06No, I don't know,
40:07I know.
40:08So, he...
40:09My father used to say that.
40:10Interesting.
40:12It's the same word right? Alanti sense.
40:15Amani used to. She used to say it to me. Amani, my mother.
40:20She said, I don't want to double check. I said, Cadbury, London, now.
40:25I remember that.
40:27In the school, I would ask for a Cadbury chocolate every day.
40:33And it's not in this, but I'm still curious.
40:36If you ask for WhatsApp, then you can ask for WhatsApp.
40:40Where is WhatsApp?
40:42Shekhar Ghar is using WhatsApp, social media.
40:47That is not there.
40:48He doesn't use WhatsApp.
40:50Phone is using it.
40:51Oh, no, but WhatsApp he doesn't use it.
40:52Actually, he doesn't use it.
40:54He doesn't use it, his signal is...
40:58Yeah, at home, he uses WhatsApp.
41:00He doesn't use it.
41:02You only need to. First day, Jay Sintar, I have a WhatsApp channel.
41:04Whenever I call you, then WhatsApp starts.
41:06It's like, Raj Moligari question.
41:08He says, I don't want to.
41:09When I was in a meeting, I would ask for a message.
41:12I would ask for a WhatsApp, I would ask for a message.
41:16But lots of people don't use WhatsApp.
41:18Why?
41:19You can use WhatsApp, but there is a messenger.
41:22You can use SMS.
41:23Only SMS.
41:25SMS.
41:25If you use the phone, you can use it.
41:27Yeah, that's it.
41:28Just SMS.
41:29He's stuck to that.
41:30But it's a blessing and thank you to keep that discipline.
41:37What do you want to do?
41:39What's happening?
41:40Videos or messages.
41:43Only SMS, right?
41:45Only SMS.
41:46Old-school SMS.
41:46WhatsApp, videos, PDF.
41:48PDF, photos, whatever you want to share.
41:50Memes.
41:50I don't want to share it.
41:52I don't want to share it.
41:55I don't know about memes.
41:57Yeah.
41:57I don't want to share it.
41:59I don't want to share it.
42:00I don't want to share it.
42:01That's the reason.
42:02Yeah.
42:03But you go into YouTube and all of that, no?
42:06Necessary.
42:06Yeah, necessary.
42:07I think you should do.
42:08Your group or your gang or your gang will share it.
42:12It's bound.
42:13It's bound.
42:14That's true.
42:14Yeah.
42:15Yeah.
42:16Yeah.
42:16I've seen a lot of films, but I've seen a lot of films.
42:19He keeps.
42:20He doesn't watch.
42:21You don't?
42:22He keeps.
42:22Yeah, that's true.
42:23In the film school, I want to share it with my professor.
42:25If I am not watching films, is that bad?
42:28Right.
42:29In the film school.
42:29Then he said, no, no, no.
42:31I want to share it with your signature.
42:32So, you get your own style.
42:35Yeah.
42:35Yeah.
42:35I don't know.
42:36I don't know.
42:37I don't know.
42:37I don't know.
42:38I don't know.
42:38I don't know.
42:39No, no.
42:39You will tell you.
42:40Influencer.
42:41Correct.
42:41In the film school, generally, anybody who wants to become a filmmaker,
42:45is part of the curriculum.
42:47Happiness.
42:47Relax.
42:48So, students only have the film.
42:50Night over, day over.
42:52It's work.
42:53Yeah.
42:53I don't know.
42:54I don't know.
42:55I don't know.
42:56I don't know.
42:58You said, when you were talking about the pre-release event,
43:00Shiva 4K, you said,
43:02you said, what's happening?
43:04What's happening?
43:04What's happening?
43:05Yeah, yeah.
43:06Fans had, you know, Shiva 4K, Shiva 4K and play cards,
43:10you know, what's happening?
43:11Yeah, I said,
43:13I'm doing it.
43:15Correct.
43:16We are getting Shiva completely.
43:184K already, you know, mastering, you know.
43:21Sound also remastered, complete.
43:24So, this year...
43:26So, confirm.
43:27Confirm.
43:28Okay.
43:28Shiva 4K will release and it will be an experience.
43:32I will promise you that.
43:33If you want to choose one or two reels,
43:36you know, remastered,
43:37you know, the sound.
43:38It's fantastic.
43:39They pulled out.
43:40Mm-hmm.
43:41It is a sounding almost Dolby Atmos,
43:45Dolby 7.1 feel of sound.
43:47I don't know if you don't know how much people got impressed.
43:59Now, we are doing it in this proper Dolby Atmos.
44:01Right.
44:02Dolby Atmos.
44:03Shiva 4K.
44:04And imagine the chain sound.
44:06Yeah, yeah, yeah.
44:07It will be amazing.
44:08Yeah.
44:08Because I am looking forward to the cinema theatre.
44:10So, I am really looking forward to that theatrical experience.
44:13Yeah, yeah.
44:13In our generation, there are a lot of people.
44:15Shiva Guru is still online.
44:18I am looking forward to it in the theatre.
44:20So, I am really, really looking forward to it.
44:22Yeah.
44:22We are doing it definitely.
44:24But the visual is a little bit of a vintage feel.
44:27Right.
44:28We are trying to keep that feel only.
44:29We are not trying to make it too colourful.
44:32No, sir.
44:33How the guitar is used in the sound track with Dolby,
44:37only Dolby is the noise.
44:39He is like, silence.
44:40Shiva is the beauty of silence.
44:42Silence is a lot of silence.
44:45Cash or card?
44:46What do you use?
44:49I prefer cash.
44:50You can also buy cards in the digital world.
44:53Yes, I can buy it in the digital world.
44:54You should be able to cash and carry it.
44:57If cash is all you carry, you can buy it.
44:59Yes, I can.
45:00You can buy it.
45:01You can buy it.
45:02Please, sir.
45:03It's bad.
45:04Please, sir.
45:05How much money can you buy costas?
45:08How much money can you borrow?
45:09I can.
45:10Well, you can buy this just as long as you buy cash or card.
45:14I will buy it.
45:15Yes, sir.
45:17Yes.
45:17Yes.
45:18Yes, sir.
45:19Yes.
45:20If you come to the hotel, you'll have to go to the hotel.
45:23You'll have to go to the hotel.
45:24Same, same.
45:27Do you feel a dumb purchase in India?
45:31Dumb purchase.
45:33Do you feel a dumb purchase in India?
45:36Do you think it's just a dumb purchase in India?
45:38No, it's just a dumb purchase.
45:43I don't...
45:45Dumb purchase, dumb purchase, dumb purchase.
45:47A lot of regret is like really, you'll see in Instagram.
45:53It's so bad.
45:54Why can't you suddenly go at Instagram?
45:55It's so bad.
45:56It looks so good.
45:57How much was it on Instagram?
45:59It was all working on him.
46:01.
46:02It wasn't too much.
46:04.
46:07There was a very close relationship.
46:11I had a very close relationship.
46:13If you've photographed it, if you know it.
46:14I don't know.
46:15And in that moment, there is a lot of money.
46:17It's easy because one click away, you know, it's become so easy to buy.
46:21Just one click away.
46:22One click away.
46:23So, those are quite a few dumb purchases.
46:26Like that recently.
46:28Yeah.
46:29Done.
46:30Talking about Sunil Narang, because he was a producer for Neeku, Naaku,
46:34Trondi Cinemalki for Kumera and of course Vishayakir as a director.
46:39Yeah.
46:40Sunil and it's quite impressive too.
46:46Asuna, it looks like this one.
46:48This budget and this kind of scale, he went on all the way.
46:52He went on on scale completely and even love story also.
46:57For what the film needed, it was so beautiful.
47:00No, no.
47:01And he gives a fantastic release.
47:04Absolutely.
47:05And all that, make sure.
47:08That's why I love story and e-cinema.
47:11He always has a question.
47:13He believes in his director, he believes in his actors.
47:17He believes in his questions and budget.
47:21That's why there is a discussion.
47:22I think he believes in the team, believes in the people and goes, that's amazing.
47:27I think I'm going to be a very successful film.
47:29Yeah.
47:30Can you see the next film?
47:31Yeah.
47:32It's possible.
47:33I'm going to be a very successful film.
47:34I'm going to be a very successful film.
47:36I'm going to be a very successful film.
47:37I'm going to be a very successful film.
47:38He's happy.
47:39He's doing it.
47:41No, no, no.
47:45Thank you Sunil for making this film with us.
47:48Yes, thank you.
47:49Yes.
47:50And of course, I'd like to wish you all the very best.
47:54Thanks for coming, Chaitanya.
47:55Thanks for returning.
47:56No, no.
47:57It's very nervous for me.
47:58I don't want to say anything.
47:59I don't want to say anything.
48:00I don't want to say anything.
48:01I don't want to say anything.
48:02It's me.
48:03It's you.
48:04It's dad and Sunil.
48:06Three people I love and are very close to me.
48:08So, I hope it went well.
48:11Wishing you all the best.
48:12Yeah.
48:13No.
48:14It's done very well.
48:16How are you feeling?
48:17You're feeling.
48:18How did you release Rape Cinema?
48:19I think this is one film I would say.
48:22It's very, very exciting.
48:23I've seen the RR and I've seen the film and all.
48:25I think
48:26I think
48:27like
48:28we've done some
48:30very, very special film.
48:35So, how the audience take it?
48:37Like how they react to it?
48:39I mean, definitely your audience wouldn't have seen anything like this.
48:42I don't know.
48:43That I can tell.
48:44From what I've watched.
48:45And also,
48:46a lot of film,
48:47a lot of take,
48:48a lot of action,
48:49a lot of everything is first time.
48:51I hope that
48:52they
48:53flash on.
48:54There are a lot of pictures.
48:55Oh, damn good.
48:56No, because I know Meeru,
48:57what a critic you are of your own work.
48:59Correct.
49:00Meeku,
49:01completely
49:02and I'm sure you're very confident.
49:06Meeku, I'm feeling, you know,
49:08audience will find
49:10a new me
49:11in the cinema.
49:12And
49:13the way you've carved my character.
49:18And
49:19my admirers,
49:22my fans from a long time,
49:24they might be wondering,
49:25why are you doing it?
49:26I'm feeling it.
49:27I'm feeling it.
49:28I'm feeling it.
49:29But
49:30when I've done films like this also,
49:32they all appreciate it.
49:33Correct.
49:34I'm feeling it.
49:36I'm feeling it.
49:37They appreciate it so much.
49:39And
49:40finally,
49:41I'm
49:42what we are going after.
49:46What we are going after,
49:47what we are going after is
49:48a good film.
49:49It's a good film.
49:50A good film is not good for you.
49:52In the routine,
49:53a good film is not good for you.
49:55All the time.
49:56And I hope you all like it.
50:00Thank you all.
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