00:00Actually, if you follow a story, then you will get to understand that because Dr. Bhargav,
00:13who is kidnapping, is taking place from one place to the other place.
00:18So, organically, it's the same way in the script.
00:22It's a logistical night.
00:30We had a fantastic crew, which again, whether it's in Budapest, Georgia,
00:36or our local line production,
00:40that team was very capable of.
00:44If you miss one day of shoot,
00:54you will not be able to, if you miss one day of shoot,
01:00then everything goes for a toss.
01:21It's a big punt and sometimes we have to shuffle within a shuffle.
01:25So, naturally, you take the help of AccuWeather apps and stuff like that.
01:32So, you know that, okay, today is not a great day to shoot outdoor.
01:36There's rain, possibility of rain and all.
01:39So, you plan an indoor shoot on that day.
01:42So, that shuffling within the schedule is very much possible
01:46and that happens at times.
01:48Sometimes you also fall behind.
01:50That, today it's raining.
01:52Three hours, you've lost to the rain.
01:54You couldn't do it.
01:55So, we have to catch up.
01:56So, how do we catch up?
01:57So, there's always that thriller within a thriller kind of a thing happening in these shoots.
02:08It depends.
02:09Sometimes, when it marries to the concept, then it's a different idea.
02:14But it's not that, because I love to travel, I like to do such stories.
02:17That's in that genre where, you know, you, it's an external agency, right?
02:23RNAW.
02:24So, obviously, most of their work is going to happen outside the country.
02:28And then it depends on the story.
02:30Where, what's the story about and where all it's happening.
02:34So, the nature of the format is such that it does allow you to travel.
02:38Having said that, when you do, say, like, for example, when you're doing Dhoni.
02:44So, you're still going with his career graph.
02:49Toh jo chiz raachi se shuruo hoti wo khadagpur jayati ya khadagpur se.
02:53Then it goes to Delhi, Bombay, all, and then all over the world and all that.
02:57So, that's the nature of the story.
02:58I can't do anything about it.
02:59I mean, maybe it marries well, my love for travel and the stories that we end up doing.
03:12Nothing by that yardstick.
03:14It's all a function of the script.
03:16The script needed someone who could be slightly unpredictable.
03:21Also, I didn't want to cast someone who was very known.
03:24Tahir is relatively known, but at the same time, not too exposed.
03:28So, that was a big plus.
03:31And a good actor.
03:34Also, the fact that, you know, the character is very unique.
03:39Sudhir's character, the one that he plays.
03:42So, it helps to have a person who is slightly less exposed to pull it off,
03:47who has not done too much of work.
03:49It's a genre that I have not done before.
04:00We'll talk about it at the right time.
04:03But it's a film and it's going to come out hopefully by next year.
04:08End of next year.
04:10My take has always been that what people say, they don't know anything about this business.
04:23This is the most unpredictable business.
04:25There's no pattern.
04:26Now, everybody will start looking for a love story.
04:35Everyone will start looking at new faces.
04:37We'll just dive in it.
04:38Then, you'll know if there's a new trend.
04:41So, people love to slot.
04:43The basic thing is that once a thing works.
04:46So, three work, then horror comedy became the genre.
04:50Everybody was making horror comedies.
04:51Now, this one has worked.
04:52So, everybody is looking for a love story.
04:54Now, this is the phase.
04:55But it doesn't work that way.
04:57It doesn't work.
04:58A good story will cut through at any given point of time.
05:00A well-made film, more often than not, will cut through at any point of time.
05:04I feel that next year is when we will touch pre-COVID levels in theatrical business.
05:16Yeah.
05:17And if not next year, then definitely 2027.
05:22There is a generational shift.
05:27You will find that when we were growing up, there was an age at which we got fond of theatre.
05:36And then we started getting a habit.
05:39So, that is a generational shift.
05:41And I think that now there is a new generation of cine-goers that will start coming in from next year, this year, next year.
05:50And so, they will be your new patrons.
05:53They will be the ones who will drive the opening day collections.
05:56So, that thing is going to happen, in my opinion, by next year.
06:06I think it's a great tool.
06:09Today, we are talking about that because of tech, right?
06:12People are going to consume this interview also because of tech.
06:17So, it's a fantastic tool.
06:20It's also the use or misuse.
06:23It's also the pros and cons.
06:25But it's the tool that the person responsible for this is us.
06:33Either we are right or we are wrong in using the tool.
06:36That's what it is.
06:37So, as long as we use the tool rightly, it's all good.
06:42It boils down to the same thing.
06:43We often mistake these things.
06:44It will again boil down to the story and the script and the film.
06:57If you make a bad film with anyone, it won't work.
07:01And if you make a good film with anyone, it will work.
07:04That's the general consensus.
07:06So, the stars, obviously, they've got, you know, why are they called stars?
07:12Because they have got that pull, right?
07:14They get that pull.
07:16So, if they bank on the right film, of course, there's an audience waiting.
07:27No, I won't pass a moral judgement to each his own, to each your own.
07:31That, you know, whatever the demand of the story, how can I comment on, like, that person's
07:40point of view of telling a story is right or wrong.
07:43But then there's also rating.
07:45You know, whether you should watch it with your family or not.
07:49That's the whole idea of giving ratings.
07:52That, you know, you should know what to watch with your family, what not to watch with your family.
08:01There will be a data which will strongly suggest that which kind of content works.
08:05Okay.
08:06So, the people sitting at the OTTs, they know that, okay, this kind of content works.
08:12Which is the reason why they push that kind of content, right?
08:15Into commissioning.
08:17So, they know exactly what works.
08:21Which is the reason why you see that kind of content.
08:23But even if their family is still swimming, it's all the same thing, it's just another route.
08:39That's, maybe convenient to Aamir.
08:42So, I mean, and he has every right to exploit his film, the way he wants to.
08:47Don't give me the thought right now.
08:49These things are calibrated once you are up for release.
08:54The focus right now is to get our content, our film made and as and when the right time
09:02comes we will take a call in there.
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