- 6 months ago
- #saiyaara
- #mohitsuri
Mumbai, Maharashtra: Bollywood romantic drama 'Saiyaara' is ruling the box office and getting great love from fans. In an exclusive interview with IANS, director Mohit Suri shared his thoughts on the intense emotional scenes in the film and praised debutant Ahaan Panday for his dedication and honesty on set. Mohit Suri also praised Aneet Padda for her skills and for understanding the depth of storyline. Whereas, Lyricist Irshad Kamil, who wrote the soulful songs, spoke about making the lyrics heartfelt and relatable for today’s generation. Singers Faheem Abdullah and Arslan Nizami also shared their excitement about being part of such a beautiful soundtrack.
#saiyaara #mohitsuri
#saiyaara #mohitsuri
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00:00I want to start off with you three years you made us wait the audience wait now
00:03understand it's a creative process not like a very robot robotic or mechanical
00:06process things take time you need to inspire from start to finish of sayara
00:12how what kind of ignited your creative impulse to sketch the story in the
00:17entire world around it what's the process was like from start to finish
00:20well the process was really interesting I was after making two
00:27thrillers back-to-back not without any disrespect meant to anyone case sub
00:35we buildings for it yet helicopters or if he and sub we carry the end of a hot
00:43char trailer dekha tha minha profil dekhani gaya nimi khud
00:49Mujhe lagata agar mein khud nahi jaha parah what why should I expect anyone or
00:53something surprisingly at that time us work koi idea nahi tha but mine I saw
01:00something called the romantics documentary and great series and I understood ke
01:06jab how the romantic hero came in and someone did it and tab I spoke to my
01:12writer who was also working with me as my assistant associate director
01:15uh-huh let's write a romantic film uh us-paa koi producer nahi tha kuch he
01:22nahi tha but uh there was no plan to do anything uh in fact uh coming remember remind me to tell
01:30you this ke hama ase kuch plan nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi
01:33nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nahi nah
02:03for a love story even by her.
02:06So, at the beginning, I thought that I don't know whether this will really work out.
02:10But I think when they read it, they said this is the kind of film they've been wanting to make.
02:16It's unusual that I had never thought that after seeing the romantics, I'll finish writing it.
02:24But when I met them, I didn't know they would be looking for something like that.
02:27So, I remember when I was listening to Irshad Bhai, he said, because of the nature of the subject,
02:39he said, you didn't cast a lyric writer and you took a picture because of the nature of the film.
02:45And I said, sorry sir, the film just got made the way it has to.
02:52But a lot of firsts in this film.
02:54In fact, when I was shooting the last picture, I didn't have the title.
02:58And at that time, I know Tanisha, but I didn't get it from him.
03:04So, I often called Tanisha and said,
03:09I need the title of the film, which is the critical part of the film, which is the climax of the film.
03:19And this is the name of the film, this is the picture of the film.
03:27And from a little bit of a nudge from Sumadha, but Irshad Bhai wrote this brilliant song.
03:36And we got our title, which was Sayyara.
03:38So, then this film wasn't about, it was about a focus on film, a direction on film.
03:57So, I give him Sumanna, give a position, it's not a film about the music world.
04:08It is not a film about just heartbreak.
04:11It is not a film about just falling in love.
04:14It's gone beyond that.
04:15It's about that everlasting love or that person that will always be in your life,
04:23even if you can be with that person or not.
04:26So, I think I thank them a lot for giving that position.
04:28Because I was making a story, but the feeling was added by both these two people.
04:34And Irshad sir, it goes beyond the scope of what we see in today's world about the love stories.
04:42Very young tale of love, very young saga of love.
04:46Plus, it goes beyond the realm of what's already there.
04:49I want to understand from you the basics or the tenets of the poetry of Sayyara
04:54and the other songs as well in the film.
04:55If you could please break us down that.
04:57See, basically what I feel, yeah, that love is the only emotion which is immortal.
05:04You have anger, it goes down.
05:06You have irritation with someone, it goes down.
05:10True.
05:11The love that you have to be with, that love is so basic emotion and so dynamic,
05:17as we always say, that you cannot deny it on any level.
05:25So, this is a film in the film and in this film.
05:33Love is not a word.
05:34It's like a rainbow.
05:36Yeah.
05:37Absolutely.
05:37You know, rainbow is a word, but you know there are colors in there.
05:41What is the word, sir?
05:43You know, so love is not a just word.
05:47There are colors, emotions, so those colors, those emotions, you know.
05:55You know, Mohit, sir, is known for the, you know,
05:59Asky 2v, we have had a different one.
06:01Yeah.
06:01Saat me.
06:02Saat me.
06:03I think.
06:03So, in it's a, you know, a quote, it's romantic emotions.
06:05Yeah.
06:05We are winding up the emotions, we are winding up our stories.
06:35So, what he said is really nice, it was a mixture of so many colors, Tanishq's backdrop, we worked before in the past, but he also comes from a different, say a different perception of India.
07:04I represent a different kind of section, these boys come from a completely different background, I think it was actually a merge of colors, you know, but then getting guitars done by someone in Assam, someone abroad, even making a song, that also at every stage, from the writing to the poetry, to the singing.
07:24I remember one small thing, I mean not small, it's a big thing.
07:29So, the first time, when it was dubbed, you know, it's a very unusual word.
07:38But, I said, this word, which is Sayyara, you have done it.
07:45And, Adi saw also surprisingly picked up the same thing.
07:49And, I said, no, no, sir, I understand, this is a rough dubbing, but it was a rough dubbing, they didn't even do it.
07:55Okay, okay.
07:56That was Tanishq's mystery, which he does a lot.
07:59But, till the last thing, I sent it to him, and Fahim and Arsalan worked on it.
08:08And, sir, that dubbing, they just shifted, not the emphasis on the word Sayyara, but on the Tu.
08:15And, it just suddenly changed the whole color of the song.
08:18Yeah.
08:19See, this is…
08:20Very minor and…
08:21Yeah.
08:22See, in creativity, what I feel, as these are involved, they must, you know, say this also,
08:31that, sir, just like you said, that it's a small thing.
08:34Yes.
08:35But, very big.
08:36In creativity, there's no small thing.
08:40If you have a little bit of an angle change, you can change your hair.
08:44You can change your hair, you can change your hair, you can change your hair.
08:47Everything changes your hair.
08:48Now, what happened to you, and what happened to you, I'll tell you,
08:51you came to a direct relationship.
08:55That's right.
08:56The story of the story of the story of the story,
08:59that's the material that was the part.
09:01So, that was the part.
09:02A philosophy that was the part.
09:03Yeah.
09:04Personal, it's very important.
09:05Personal, it's very important.
09:06When you talk about love, when you talk about emotion, when you talk about emotion,
09:09that emotion should be very personal.
09:12Very direct.
09:13Very direct.
09:14So, this is a change from a big difference.
09:18Okay.
09:19And, my next question is for the two singers.
09:22Both of you, I would like both of your inputs.
09:24Like, Arshad sir said,
09:26In creativity, there is no small thing.
09:28Every minute thing can lead up to something big in the bigger puzzle.
09:33While you are recording, you also have your own ideas.
09:38That, I will say this way, this way, this way.
09:40I will pitch.
09:41This way, I will emote.
09:43When do you know where to stop?
09:45Because creativity is an endless process.
09:47How do you put a stop?
09:48Yeah, this way, it will not be better.
09:50Anyone can take three.
09:51Let's start.
09:52I feel like being really honest,
09:56that we don't know about the process.
09:59When we start writing,
10:01or start writing,
10:02or start making melody,
10:03we don't have that thing in our minds,
10:05that we have to go in this direction.
10:07If we go in that direction,
10:09maybe we will get confused about it.
10:11So, that is my take on it.
10:13Okay.
10:14I think the process was very spontaneous.
10:16And I was just in my mind,
10:19Mohit sir, Arshad sir, Dada.
10:22And embodying that thing,
10:24I was dub the vocals.
10:26How would they have thought of it?
10:29And honestly, not thinking too much about it,
10:31just going for it.
10:32It is a pure emotion.
10:34I think that in spontaneity,
10:36when you create something first or two times,
10:39that is pure.
10:41That is what it is.
10:42That is how our process actually works.
10:44Okay.
10:45And Mohit sir,
10:46I want to talk about the colour palette of the film.
10:49Magenta and purple is mostly in the family.
10:53There is a certain mysticism
10:56which is related to the purple shade.
10:57And it also kind of trickles down into
11:00the overall orchestration of Sayar,
11:02from what I have heard,
11:03from what I have understood.
11:04If you can tell me something,
11:06how did you marry it?
11:07I don't know people notice so much,
11:08I think.
11:09I don't think India has a picture of it.
11:10We have tried to do that.
11:11That's something which,
11:13as again,
11:15Isharad Bhai pointed out,
11:17creativity,
11:18there is no small path in creativity.
11:20I don't like to over-intectualize it.
11:23Because I think that
11:24the person can see the picture
11:28or make it.
11:30I think,
11:32while there are rules that you have to stay within,
11:35you try to achieve.
11:36Sometimes the best shots happen
11:38when their rules are broken.
11:40Yeah, absolutely.
11:41So,
11:42there is a difference in,
11:44life has colours,
11:45life has seasons.
11:47This is at a different stage in life,
11:51but that is at a different stage in life.
11:56I always,
11:57when I went through different stages of love,
11:59sir,
12:00I always used to look at how the sunset looked different.
12:02Yeah.
12:03And I think that's how you decide.
12:07The nights are beautiful.
12:08The nights are unusual.
12:10The lights sometimes feel sinful.
12:12Yeah.
12:13But it's the sunset
12:14and the sunrise that actually
12:15through.
12:16Yeah.
12:17Besides the colour palette of it.
12:18Yeah.
12:19So,
12:20I don't,
12:21I'm glad you brought this up,
12:22but I wouldn't want to over-talk about it.
12:24Because I don't like to
12:25in-textualize filmmaking.
12:26I like to
12:27keep it simple and heartfelt.
12:29Okay.
12:30Okay.
12:31And,
12:54what are working on here?
12:56There are two artists here.
12:58Right?
13:00They are talking about one zone
13:04which is generally the artists talking about.
13:06This is a very big thing.
13:10It's not that you don't have to do it.
13:14You don't have to do it.
13:16You don't have to do it.
13:18You don't have to do it.
13:20Right?
13:22You can easily connect your own words.
13:28I think I can tell you this.
13:30I don't have to explain it.
13:32I don't have to explain it.
13:34I need to explain it.
13:36What is your mind?
13:38The books,
13:40I feel like I used to use the phrase as well.
13:44When your time is over,
13:48you can read it.
13:50You can read it.
13:52You can read it.
13:54It's important.
13:56You know,
13:58I don't have to use it.
14:00I don't have to use it.
14:02I don't have to use it.
14:04I don't have to use it.
14:06I don't have to use it.
14:08I don't have to use it.
14:10But you can read it.
14:12You can enjoy it.
14:14When you really think,
14:16you enjoy it.
14:18You enjoy it.
14:20You enjoy it.
14:22You enjoy it.
14:24That your mind is not there, your heart.
14:30So, this is a simple language, straight language.
14:35Sometimes, sometimes you will see as I said
14:40that if the word is used there,
14:43so, it is not that it is like this.
14:46Youthfulness, books, and relations,
14:50you know, if you study these days,
14:53and these are the artist guys,
14:55and they are talking about the days.
14:59So, simple language,
15:01that's it, communication.
15:04I am a little underplay,
15:06I think, given in the film that the girl writes poetry,
15:08while we could do dialogue and could write the scene,
15:13I had to, I went to Aishraaz Bhair,
15:16and I said, Aishraaz Bhair,
15:17you have to put the personality of this girl.
15:21It is very tricky that she is a 22-year-old girl.
15:25But he had to tell me, which is like with the song,
15:27that what you see in the trailer, and you see the voiceover,
15:29is there in the film where she's writing it.
15:31And that's the, what he added to the personality of the girl,
15:37is something that I think I would not be able to capture with three dialogue scenes.
15:42Okay.
15:43Because it just talks,
15:44and the person is,
15:45it just puts that mysticism,
15:47the character,
15:48and at the same time not,
15:50so I actually turned around and I said,
15:52Aishraaz Bhair, how do you in the end explain Sayyara in the simplest way?
15:58He said, would you like me to do it?
16:00I said, yes, sir.
16:02Because, and he, he's worded it so well,
16:06but at the same time not philosophied it.
16:10So, I, what I really liked about his writing,
16:14even the poetry, it's almost,
16:16I wouldn't say additional dialogue,
16:18but like the poetry of the film,
16:20has been written by Aishraaz Bhairai.
16:22Thank you because that adds to the personality of the girl,
16:26ki baat badi honni chihye shabd nahi,
16:30is what he's really taught me,
16:32have done in this film,
16:34and which is what, you know,
16:36the girl's character essentially gets established.
16:39So, he's very underplaying it with the,
16:41not just saying that the,
16:43he's playing it to the youth,
16:45but he's also spoken of because,
16:47you know, we've been looking at,
16:51ki the youth doesn't understand,
16:52it's completely wrong.
16:53When you meet people like,
16:54Fahim and Arsalan,
16:55the depth that they have,
16:57we, you know, we overanalyze it as things,
16:59you know, it's, they're young,
17:00they will not understand.
17:01It's, it's lies,
17:03this whole thing that Gen Z doesn't get this,
17:05Gen Z doesn't like depth,
17:06Gen Z is only on the phone.
17:08I think we are underrating them completely.
17:10Yeah, of course.
17:11Yeah, yeah.
17:12I think with just how we've caricaturized children today,
17:15or the youth today,
17:16the depth and the kind of writing that even he makes me hear,
17:20or the songs he hears,
17:22they're 20,
17:23they're the age group.
17:24And I mean,
17:25Shah was very clear about it.
17:26He said,
17:27this is all rubbish that people feel that they would not understand that.
17:30Don't,
17:31don't get scared about this.
17:32This is not your,
17:33this film requires it.
17:34So I think what he's done is he's had added to the,
17:38what the requirement of the film is,
17:40which is the emotional gravitas.
17:42Yeah.
17:43Yeah.
17:44So,
17:45they like challenges.
17:48Yeah.
17:49Yeah.
17:50Yeah.
17:51Yeah.
17:52Yeah.
17:53Yeah.
17:54Yeah.
17:55Yeah.
17:56Yeah.
17:57You know,
18:00their mind was stuck.
18:01Yeah.
18:02Yeah.
18:03Yeah.
18:04Yeah.
18:05So you do your work with honesty,
18:06with integrity and they will understand,
18:21they will understand.
18:22They will understand.
18:24Exactly.
18:25They know more than you guys.
18:27So you do your work with honesty, with integrity and they will understand.
18:33They will understand.
18:35You know?
18:36Abhi aap dekh liena ya sayara, sayara word hi aap dekh liena.
18:41Yeh gana kis tarih se jaysi loog sun raha hai hain abhi.
18:44Inki awaz ne jaadu kiya ya woh music ne jaadu kiya
18:49ya woh jis tarih se fix raya a gya ya us tarih usne jaadu kiya
18:52ya lafzo ne joh bhi jisne bhi kiya.
18:55Yeh basically ek simple love story jab pohunchti hai ek simplicity
19:01aur imaandari ke saath, ussi simplicity aur imaandari ke saath
19:05receive bhi ho jati hai.
19:07And pishle sawal mein mohich sir nahi kaha tha ki the girl,
19:11the character of a girl is a poet.
19:13That's not the character.
19:14I mean, I think it's something she does.
19:16You can't care.
19:17That's the problem.
19:18It's not like if a person plays a businessman,
19:21he's not a character of a businessman.
19:23That's a profession.
19:24So I think character is very different.
19:26That's why we tend to only put the job that they do as a character.
19:30I think what's a taxi driver's character?
19:32What's a holiday person in Malaga?
19:35What is his character?
19:36That's not his character.
19:38He's not a blogger.
19:39So with regards to that, poetry is one aspect of her personality if I may put it that way.
19:45How do you fight the temptation being the poet yourself, not to overdo it, not to kind of overexpose myself as my craft or myself as a poet into that aspect of her personality?
19:57Yes.
19:58Actually, this practice was just in my case.
20:02So I think that I carried it forward.
20:05As Mohi Sir rightly said,
20:09Writing is a profession.
20:12I have a character who writes.
20:15I am a writer who works in the bank.
20:18That's also possible, right?
20:21Anjum Rajabali Sir, for the longest time he used to work.
20:24Yes.
20:25So there is a lot of work.
20:30Character is another thing.
20:31Profession is different.
20:32Profession is different.
20:33Profession is different.
20:34Profession is different.
20:35Profession is different.
20:36That's what I am trying to tell you.
20:37Okay.
20:38And as I had a picture of a picture,
20:42Chamkeela was also a writer.
20:45So I had a great practice of saying,
20:48I don't have to come.
20:50Profession is different.
20:51In my case,
20:52who is an person...
20:53The person who is saying,
20:54What's your personality?
20:55Profession is different.
20:56I don't talk about this,
20:57that talks about this character.
20:58This man who is writing,
20:59who is writing,
21:01who has poetry,
21:04who has played.
21:06You know?
21:07Profession is different.
21:09I think he has done so much work as a professional to know that.
21:12I think we still...
21:14He tells us that this is wrong.
21:17You are putting yourself into it.
21:18This is not what the character is.
21:19the characters. So, that's the wrong thing that I would do to put myself on it.
21:24I don't have to talk about it. When I talk about it, nobody will see what to do or what to do.
21:31So, what does the director say to you? What kind of character?
21:39Within those boundaries.
21:40Yes, what kind of profession is.
21:42Now, a girl who knows how to write, there will be a basic depth of it.
21:49Because the person who writes is a little bit of learning.
21:53Yes, a little bit of observation.
21:57Yes, there are a lot of reactions to it.
22:02And notice the things that people generally overlook.
22:08Right.
22:25Aapne aapko htana aur phil apne aapko htane ke baavjood kisi dousre ke taaboot mein apne aapko rakhna, that is, you know, the fun. That was the fun part.
22:43Is he ready? Then get him in, I think. We've been, we've finished only two questions. Are you going to the next segment with him?
22:49Next one? Okay. I'm just wondering, I thought we were going to put him in. He's okay?
22:53Please wrap it up. Okay. Okay, we're just trying, right?
22:58No, no, no, sorry, this is not against you. I was trying to push out Tanishq into it.
23:02My next question is for Faheem and Arsalan. He used this one word for Tanishq, mischief, you know, to discuss to that dubbing of Sayyara word.
23:11Tell me, what was the jamming between the three of you while you were recording the song? What was the give and take while putting the song together?
23:17I have to tell you one interesting story just in that. Sorry, I'm bitting it.
23:20Yeah, please. Full income serious hota, jab tak min hota ta, uske baad kya karte te, mein kare ko
23:25bhehej te te te, ka mere samm yes sir. Then the, I just realized the fun part started after that.
23:30So now you can continue. Yeah. There he comes, mischief. Yes, sir.
23:34Sir, I think it was, it felt like a responsibility at one point because the pressure got real when
23:43I, for the first time saw sir and, I mean, I was starstruck basically, uh, inki kehania mein
23:51apne bachpan se dekhta ha raha ho. And, uh, pher unki hi ek movie ka hissa hona, uh, was a big deal for the both of us.
24:00Uh huh. And, uh, uh, we're very grateful to Dada to understand ki humari sensibility or sir ki jo sensibility hai ho kahe na kahe mel khati hai.
24:10And, you know, he could bring both of these two sensibilities together.
24:14Uh huh. So, wo bohat hi ek khubsoorat zhehn hona chahi, ose cheez ko samajhane ke liye ki, you know, where can I put what.
24:21So, I think that was beautifully, uh, curated by Dada that way. And, I think the process of, uh, us making the song, it has been the most, uh, open.
24:31Yeah. I would say, you know, we come from a very indie background and, uh, hume, uh, uh, koi us cheez pe lagam lagane ke liye hai nahi.
24:40Yeah. Some, some music director would tell us what to do or what not to do. Uh, it felt almost the same here and it felt such a beautiful, um, collaboration.
24:51It tih hai, uh, uh, sirki taraf se wombs. Uh, sir ke sahat for the first time, inchhaat sir ke sahat when we sat, it was such a learning process.
24:58I was like, you know, that, that kid right outside this candy shop and he's just, he's just looking at, getting startled.
25:06That's how we were and, uh, I think Dada has made it, um, sure ki we are very comfortable whenever we are here or in Kashmir.
25:14Uh huh. Hum remotely hui kat chuke hain kaafi sare calls and everything. Um, I'm just glad.
25:20Is he a very hard taskmaster?
25:22No, no, I have to tell you one very good thing.
25:23Yeah, I think Tanishk used to look at me when we were all sitting in the room and now I'll
25:29explain why I mentioned that before and he said, sir, abhi aap nikal jau.
25:33So practically he told me to get out because what he realized is that these guys will not
25:38be able to, they were trying to impress me but not give their heart out.
25:43So while he was a hard taskmaster with them after I left, you have to understand how much
25:50he was protecting them.
25:51Yeah, yeah, absolutely.
25:53He all throughout has been the nae nae nae.
25:56Sir, unlog ko waha pa nii dab karao because they're in their comfort zone.
25:59Ya ke inlog dar jaegi hai.
26:02That was such a sweet thing.
26:03It was like a father who was holding and protecting them, you know, I must say that.
26:07So what all they don't know is how much I'm a very not interfering but very curious director
26:14who wants to be everywhere.
26:15Yeah, yeah.
26:15I was told to get out by Tanishk.
26:20But how do you do that?
26:21How do you tell Mohit Suri like Zhaer, Mawolameh?
26:24He's a musical genius.
26:26He knows how to do it the best and the one thing I know is in music,
26:35it's the idea that's the genius, not anyone else.
26:39It's the tune that's the genius.
26:41Sometimes I ask Tanisha, I ask Mitul, how do you get this tune?
26:44I always understand how do you think about it in their minds?
26:49How do you think about it?
26:51How do you think about it?
26:51How do you think about it?
26:53How do you think about it?
26:56Which film to make?
26:57Yeah.
26:57And that is the maximum of discussion.
27:01So yeah, you should know when to, when genius is at play,
27:06not to be a problem to it just because of your own self-validation.
27:10Let it flow.
27:11Let it flow.
27:12And so I must say that they were working.
27:16In fact, when you came in the first meeting, I didn't know that.
27:19The first twist is that I had to get out.
27:24So thank Tanisha for doing that.
27:26Yeah.
27:27I must say that because you know managing that is the most difficult thing.
27:30To turn around and tell me not to come was the best thing to do because I would have only come
27:36when spoiled it and they've come out with such a brilliant thing with writing it. And at the same
27:43time, you know, which small things, yeah, like repeat this line twice, fly the song here,
27:49let's not pick up the rhythm here. It's so unusual. Typically the chorus starts and you should start
27:53the rhythm. But that's something I told myself, let the song get adjusted first. He said, don't start
27:59the rhythm. These are the small things that he does, which are so brilliant, which I think just
28:04take the song everywhere because I think what he does is he's not following a structure of a song.
28:08He's just letting it flow. So we must give him a lot of credit for both these songs.
28:13And he like, I remember when I called him and I told him I'm looking for a song with this emotion
28:17thing. He said, I have something for you. And he had met here. And I had, and he said,
28:24I said, tell me how to tell you how to tell you. He said, tell me how to tell you. He wondered
28:28what I meant to hear it in your voice. But I couldn't wait as usual. So he sang it in his voice
28:35and sent it with dummy lyrics and bad pronunciation. And it wasn't a word also. Then it was just like,
28:44and it was kind of all over. Then I was thinking something in the tune. What luckily happened to me,
28:50I sent it to Irshad bhai. And Irshad bhai said, why is this not an adag? I was in a different zone,
28:57and I was in a different zone.
28:58mucho más.
29:02Much to you.
29:07Much to you.
29:07Perhaps you had the right to say you should be.
29:09You should be watching this video on the final one.
29:14That's the case.
29:15It was a word for you.
29:17You should be listening to my original one.
29:19You should be listening to your original or the other one.
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