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NewsTranscript
00:00I don't know how to do that.
00:04My DNA is a crime thriller.
00:07I don't know, it's an interesting fact.
00:09I have written a what-next narrative in the screenplay.
00:16I've seen a scene in the kitchen.
00:18I've seen a scene in the kitchen.
00:20I've seen a scene in the kitchen.
00:22I've seen a lot of people.
00:23I've seen a lot of people in Tamil.
00:26I've seen a lot of people in the kitchen.
00:28You can see a few other people.
00:30You can see a couple of people.
00:34It's a little bit of a feeling.
00:36I know that you see a bit of a feeling.
00:38You know the scene you score.
00:40You know the mood you score.
00:42You know the mood you score.
00:44You know the two points.
00:46You cut the cuts.
00:48So, the emotions are very disturbing.
00:52You can see the actors who are emotionally performing.
00:54Kamal Saro, Surya Saro, Kaatthi Saro, Dhanush Saro...
00:57If you look at the camera, you can see the performance in a new scene.
01:01I can't tell you anything about it.
01:04If you don't like it, you can't tell me anything about it.
01:09We are very happy to be with Flimby Beat Tamil.
01:12We are very happy to be with you.
01:15We are very happy to be with you.
01:18We are very happy to be with you.
01:21We are very happy to be with you.
01:23Nelson, we are very happy to be with you.
01:29I know your favorite monster hit.
01:31There is a good announcement about it.
01:34He is very proud to be with you.
01:36He will be very happy to be with you.
01:37We are very happy to be with you.
01:39When you look at him in the field, you will see a monster hit.
01:44This was a good announcement.
01:46Fargana Review-Wise was a great announcement.
01:48It was a good announcement.
01:50Why are you so excited?
01:52So, how are you doing this?
01:54I'm happy. I'm happy.
01:56I'm happy.
01:58I was in the 10th year.
02:00I was in the 10th year.
02:02I was in the 10th year.
02:04I was in the 10th year.
02:06I was in the 14th year.
02:08I was in the 14th year.
02:10So, how do I put it?
02:12I'm satisfied.
02:14This is the most important thing.
02:16I feel the same.
02:18If you're an audience, a theater,
02:20a powerful emotion.
02:22I feel the same.
02:24I feel the same character.
02:26That's why I'm so excited.
02:28You can see it in the 10th year.
02:30You can see it in the 80th year.
02:32I can see it in the 80th year.
02:34I can see it in the 80th year.
02:36That's a good aspect.
02:38I feel comfortable with the audience.
02:40I'm happy to see it in the 80th year.
02:42You can see it in the 80th year.
02:44See, there is a battle between Balai and Balai and Balai and Balai.
02:53Then, there is a battle between Balai and Balai and Balai and Balai.
03:00There is one point where you meet the two.
03:03You meet the audience and you meet the audience.
03:05So, that's how I do it.
03:08Okay.
03:09But, you know, there is one genre on Facebook.
03:13There is one genre.
03:14There is a monster.
03:16Farga and DNA.
03:18So, what kind of genre?
03:20Do you have a name in this genre?
03:23What kind of genre is it?
03:26What kind of genre is it?
03:28I don't know.
03:30As a creator, I am very excited.
03:37We have to experience more of the tenure.
03:41Now, I am a emotional core.
03:43To get away from the process of wedding.
03:48The stress.
03:50The monster.
03:51As a monster is,
03:52we had to go down to the old house.
03:57That's a core.
03:59In other words, in a small city, in a small city, there are challenges that treat society as a society.
04:10It's emotional core.
04:15If you say that, it's a bond, it's emotional core.
04:19This is the first time I hit.
04:21This is the first time I tell you.
04:24This is the first time I tell you.
04:27What is the first time I tell you is the first time I tell you.
04:31This is a pure and pure drama.
04:34This is a pure and pure investigation crime thriller.
04:39My DNA is not a crime thriller.
04:42There is an interesting fact that
04:44I have a treatment in the screenplay.
04:48This is a thrill aspect.
04:52I create a drama.
04:55But when I edit it and present it, it's a final.
04:58It's the first time I tell you.
05:00It's the first time I tell you.
05:02I tell you, it's a crime action drama.
05:07It's a crime action drama.
05:09The audience is telling you, it's a thriller.
05:11I tell you, it's a DNA.
05:14If you get a thriller, you get a thriller, you get a thriller.
05:17It's a drama that you get a thriller.
05:19It's an emotional drama with a little action.
05:21That's how I perceive it.
05:22But if we perceive it, the audience is like this.
05:27They are the final.
05:29I tell you, it's a thriller.
05:30I tell you, if you're going to do a thriller,
05:32it's just a pure thriller.
05:36But we wanted to focus heavily.
05:38We wanted to focus heavily.
05:39We want to focus heavily on that.
05:40It's about the horror.
05:41The horror.
05:42The horror.
05:43The horror.
05:44The horror.
05:45The horror.
05:45The horror.
05:46The horror.
05:47The horror.
05:48The horror.
05:49Because I told you, I'm not going to say anything about it.
05:52I told you that the thriller was going on.
05:53When I was in the first scene, I was going to go in the thriller.
05:56In that thriller, I approach the scene.
05:58The emotional scene was tough.
06:00I'll do that in a moment.
06:04If you're family and children, they have a relationship to me.
06:07They can also be a relationship.
06:09Now our circle completes.
06:11That's why I'm having to present and try to do it.
06:12If you're any present, you will tell me.
06:14But I'm very happy.
06:16So, I am very happy.
06:19Actually, I saw a cut from the editor.
06:24I've been talking about DNA, but it's a good meaning.
06:28So, it's like DNA, it's called a science read.
06:34It's called DNA.
06:38It's two.
06:39I'll tell you about DNA.
06:41If it's called a science read,
06:44it's called a major tool of identification.
06:46Scientifically, it's DNA.
06:48DNA is a sequencing.
06:50That's what we can do.
06:51In the past, DNA is a forensic-related issue.
06:56If you test it, it doesn't exist.
06:59So, in that way, we can do it.
07:02But if we can say it, it's a problem.
07:05Do you know the name of the script?
07:09No, actually.
07:10DNA?
07:11No, it's called an Anand Divya.
07:12It's called a working title.
07:15Okay, fine.
07:16Then, I'll present it to DNA.
07:19DNA.
07:20So, this character is a monster.
07:24This character is original.
07:26I'm sure you've seen it.
07:27I'm sure you've seen it.
07:28I'm sure you've seen it.
07:30I'm sure you've seen it.
07:32I'm sure you've seen it.
07:34I'm sure you've seen it.
07:36Like, how much can you tell that character?
07:38That's the story.
07:39I'm sure you've seen it.
07:40You've seen it.
07:42That's the character you've seen it.
07:43That's how you've seen it.
07:44He has to watch it.
07:45He's seen it before.
07:46That's more than the character.
07:47I am a big fan of SJSR. We have a very special relationship.
07:58We know that the story is very eccentric.
08:06It's very intelligent.
08:12I told you about the story of the monster.
08:15In this building, there is a lot of nourishing and taste.
08:20When you reach the building, you can reach the shortest distance.
08:25That's intelligent. That's a villain.
08:29That's a personality.
08:32I am not talking about the physical aspect, but as a character.
08:37SJSR has a style.
08:41It's a live action comedy.
08:44It's a performance and energy.
08:47It's a big deal.
08:49Plus, we have a whole hole.
08:53I spoke to a interview about the kitchen.
08:55There is a scene in the kitchen.
08:57It's about 6-7 minutes.
08:59It's a scene in the kitchen.
09:01It's a scene in the kitchen.
09:03It's about a dialogue.
09:05It's about a dialogue.
09:07It's about a dialogue.
09:09You can't see a scene in Tamil Nadu.
09:11This is one reason I cast SJSR.
09:13Okay.
09:14Then, what did you tell the story?
09:17How did you tell the story?
09:19After release?
09:20Yes.
09:21Yes.
09:22Yes.
09:23I met him in Hayat.
09:24He was eating a fish.
09:26It's very interesting.
09:28The fish is fresh.
09:30Fresh.
09:31Fresh.
09:32Good.
09:33Good.
09:34Good.
09:35Not enough of a person can do it.
09:38We are like you what we are spending.
09:39Those are the создадities and the power when we talk about it.
09:41If you think about this then we have taken a better precisamente.
09:43It's not too that I want to stop it.
09:44It gets involved to the content and it's information right now.
09:47That's the energy that I look at.
09:49I had a very interesting experience working with him.
09:52I've learnt so much from him.
09:53So much from him.
09:55Is he a director?
09:56Yes, he is.
09:57As a person.
09:58More than one actor and for a staff.
10:00About how we have approached the cinema,
10:03As a director, I had discussed that.
10:06But he has to be able to get the actor, actor and actor.
10:12I told him that he was a killer.
10:20We pushed him and he was a character.
10:26But I've learned a lot from him.
10:29Are they going to be a path?
10:31I don't know, I don't know, actually.
10:33I'm going to talk about it.
10:34Now, I'm going to talk about it.
10:35I'm going to talk about it.
10:36Then after the lockdown,
10:38did you have to go to Fargana or Monstro?
10:41It was a lockdown.
10:43Then, we started a project with Dream Warriors and Surya Sir.
10:46We were talking about a project.
10:47We were talking about script work.
10:49So, Covid,
10:51we traveled to many countries,
10:53and we couldn't execute the script.
10:55We couldn't do this.
10:57We were talking about Dream Warriors already.
11:00So, we had to execute this script.
11:03We had to execute this script.
11:05We had to execute this script.
11:06So, what did you say about this script?
11:09DNA?
11:10No, it's not.
11:11Surya Sir, it's a different script.
11:13It's a different script.
11:16So, in Covid, we plan to execute this script.
11:19So, we had to execute this script.
11:23So, the delay is because of Covid,
11:25it's not a delay.
11:29Then, after the lockdown,
11:31it wasn't a hero or something,
11:35it was just okay,
11:36you said,
11:37what I'm saying is that
11:38I can't do it.
11:39I'll have to say it before,
11:40it's a heroism,
11:41it's a mass.
11:42It's not like that.
11:43But it's a hero.
11:45Okay.
11:46How did you get the DNA in your DNA?
11:49No, we didn't see it.
11:51Plus, we have a young hero like Adarva who does action well.
11:55Adarva is an action and performance.
12:01I want to see that side as well.
12:02He has very bold eyes.
12:04He has a profile.
12:05He looked very good every time.
12:08He looked very good.
12:11So, we have a mood, a meter, a style.
12:16So, we can explore a little bit.
12:18So, what is DNA?
12:20Exploration.
12:21So, we will make it better from here.
12:23Adarva, how did you get the process?
12:26The producer is Ambed Kupan.
12:28After he finished his phone, he told me about it.
12:32He was in the theater.
12:34Okay.
12:35So, I told him to meet.
12:37Actually, Adarva is a character.
12:39He was already talking about it.
12:41He was already there.
12:43Okay.
12:44But, how do you receive it?
12:46I don't know.
12:47But, 45 minutes.
12:48That's why I met him.
12:49That's why I met Adarva brother.
12:51That's why I met him.
12:53So, that's why I went to Tuckna.
12:56Now, you have to go to Tuckna.
12:58You have to go to Tuckna.
13:00Sometimes, you have to get a script.
13:04They did process, sign, and it took time.
13:09This is June-July.
13:11Then, October first week shoot.
13:13So, that was the magic again.
13:15How did you get the magic?
13:17How did you get the magic?
13:18How did you get the technique?
13:21No.
13:22No.
13:23No.
13:24No.
13:25No.
13:26No.
13:27No.
13:28No.
13:29No.
13:30No.
13:31No.
13:32No.
13:33No.
13:36No.
13:37No.
13:42No.
13:43Then, we started in June, July, August, September.
13:46So, we had confidence in the future.
13:50I have a good team.
13:51My co-director, Nagaraj, cameraman party, composers, editors.
13:55We did work as a team.
13:59As a team, we did pull-off.
14:01We did it almost in April, May, June.
14:05Then, we had a post-production, business-related discussions.
14:09We came in January, February.
14:11But I'm glad that it worked out in May.
14:14So, half-year was going in January?
14:17Yes, yes.
14:18In my opinion, there was a release date of a director or producer.
14:22It was a lot of people.
14:24There were many people.
14:26They know the people.
14:31But, when they came to this project,
14:33they would come to this project.
14:35They would come to this project.
14:37They would come to the calendar.
14:39They would come to the calendar.
14:41They would come to the calendar.
14:43So, if they had a release date,
14:45or they would come to the calendar,
14:46or they would come to the calendar,
14:47or they would come to the calendar,
14:48they would come to the calendar.
14:50So, after that, we finished shooting,
14:52and made it ready.
14:53If any business development is done,
14:56then, they will come to the release date.
14:58So, that's why we did a delay.
15:00You, sir?
15:01You were a pleasant surprise.
15:04I have to thank Arun.
15:06Arun Paneram Padmini.
15:08Arun Kumar, Director.
15:09I'm Arun.
15:10We have a good rapper.
15:11He called me to talk to Arun.
15:13He was talking to Arun.
15:14I was talking to Arun.
15:15I was talking to Arun.
15:16I was talking to Arun.
15:17He was talking to Arun.
15:18He was talking to Arun.
15:19So, he called Arun.
15:20He was talking to Arun.
15:21He was talking to Arun.
15:23Then, he told Arun.
15:24He said that he was talking to Arun.
15:25Then, he told Arun.
15:26You go to Arun.
15:27And I was talking to Arun.
15:30He talked to Arun.
15:31The answer is trying to meet Arun.
15:32I mean, the answer was coming to Arun.
15:34Let's ask Arun.
15:35He said he said that he can't get access.
15:37He said that they were like a sensible director.
15:41Sensible director.
15:43He said he said thank you.
15:45I asked him next.
15:47He asked him about the first time.
15:48In the last couple, he said 45 minutes.
15:50They were looking for the full capacity.
15:51Then, there are no questions.
15:52I asked him questions about the character.
15:55What is he doing? What is he doing? What is he doing?
15:58Love only?
15:59Video call.
16:00Video call. Okay.
16:01Zoom.
16:02Later then, I said, I had a half hour or an hour time.
16:04I said, I'm going to talk to you.
16:06Sorry, right? Okay.
16:08I'm going to talk to you.
16:09I'm going to talk to you.
16:10But I'm going to meet you.
16:12Turn in person, it helped.
16:14I had to do dates very tight.
16:16I had to do something and I had to do something.
16:18But I had to do something.
16:20So I went and met her in Kochi.
16:22So this is how she came to the film.
16:28And I'm a huge, huge Sajjain fan.
16:33I'm a great Indian kid.
16:35I'm a great Indian kid.
16:36I'm a great Indian kid.
16:38I'm a great Indian kid.
16:40I'm a great Indian kid.
16:42She is based out of Mumbai.
16:44She is more Mumbaikar than Kerala.
16:48So when we were auditioning, we were talking to you.
16:52But if you look at it and say, I'm going to shoot you back.
16:54If you look at it, you'll see it in the same way.
16:55And tell you to go, I'm going to try and get.
16:57So you're going to see it.
16:58Now, you've got to see it.
16:59You'll see it.
17:00You'll see it in many different moments.
17:01You'll see one of those moments.
17:02You'll see it in India.
17:03he was a kid who was a Shithaa, he was a child, I had a great night,
17:06he was a kid, I had a great day, it was a kid who was a kid who was a kid.
17:11So, they were huge fans of Nimishya Sajai.
17:13So, I put her on Parvitha Aliya Patron or Parvitha Konkana San Sharma.
17:17So, I am a very fond of him.
17:19His character is a complicated character.
17:22That's why you did the audience in this character.
17:27A very reason is because of the famous characters.
17:31I mean, we have seen a few things.
17:36We all know about it.
17:39It's a great thing.
17:42But naturally, the mom has a instinct.
17:47It's like a turmoil.
17:53But we've got the major reason for the lead actors like Nimesha and Adhrawa.
18:02The character is the same precise thing and the reason I'll give it to Nimesha.
18:09I'm not sure if I'm in the paper, I'll be in the paper or if I'm in the paper.
18:12I'm not sure if I'm in the paper.
18:14They'll give it correctly.
18:15That is why I was going to make a director.
18:19I was going to make a decision.
18:23You're going to make a decision.
18:25You don't have to make a decision.
18:28That is a good thing.
18:32That is a good decision.
18:36This doesn't have a challenge.
18:40We talked about this along the way.
18:44But we talked about it, but we talked about it.
18:47When we shoot for 24 hours, we shoot for 24 hours.
18:52When we shoot for 24 hours, we shoot for 24 hours.
18:58It's a premium talent.
19:00Did you shoot for the first shot?
19:02I shoot for the first shot.
19:05I don't know.
19:08Must be some montage.
19:10I don't know.
19:12I don't know what to do.
19:14When we shoot for the first shot, I saw the rest.
19:18If you work, you can see the first shot.
19:22I saw a combination.
19:24I was very excited.
19:26When I saw the rest, I saw the rest.
19:30I saw the rest.
19:32I saw the rest.
19:34I saw the rest.
19:36I saw the rest.
19:38I saw the rest.
19:40Don't make me conscious.
19:42But how do I put it?
19:44I told you 10 days.
19:46Honestly, when I was 24 hours,
19:50I took the rest of 24 hours.
19:52I took the rest of 24 hours.
19:54I took the rest of 24 hours.
19:56I took the rest of 24 hours.
19:58If I felt the rest of 24 hours,
20:00I took the rest of 24 hours.
20:02I took the rest of 24 hours.
20:04But I promised that I will do it next time.
20:06Oh, fine.
20:08How did you say that?
20:10Actually, if you were looking for the rest of 24 hours,
20:12you said that,
20:14how did you say that?
20:16How did you say that?
20:18How did you say that?
20:20How did you say that?
20:22How did you say that?
20:24I did my best for the rest of 24 hours.
20:26I did my best.
20:28I had to tell them what I felt.
20:30That was fun.
20:32The rest of 24 hours,
20:34I struggled with presidents.
20:36I tried to give them things.
20:37If I did this,
20:38I was married,
20:40I did him,
20:42you know.
20:44It is a collaborative process.
20:46They are a actor,
20:48they are an approach.
20:50So, they can prove when they're underaph of an actor.
20:52I have a contribution to him.
20:54If I don't want to do anything in this world,
20:56I don't want to do anything in this world.
20:58So, I am comfortable with collaborating.
21:02I don't want to say that.
21:05But I prefer that collaboration.
21:07I don't want to say anything.
21:09I don't want to say anything.
21:11No, that's not my job.
21:12I know.
21:13But I know what I want to do.
21:15That's why I want to do it.
21:17If you have 10 points,
21:19I can't do it.
21:22I can't do it.
21:23I can't do it.
21:25If I do it,
21:26I can't do it.
21:28If I do it,
21:29I can't do it.
21:31I can't do it.
21:33If I do it,
21:35I will focus on making it better,
21:38making it very finer,
21:40making it very perfect.
21:42No, it's not the core.
21:45Fundamentally, we can do it.
21:47I can't improve it,
21:48I can't do it.
21:49I can't do it.
21:50I can't do it.
21:51It's not the same for me.
21:53Actually,
21:54I said that you've been a character
21:55in the two scenes.
21:57One of the scenes,
21:58is like the other scene,
22:00and in the other scene,
22:01a guy named David Juana,
22:02and the other scene,
22:03or a guy named David Juana.
22:04Second,
22:05if you see him,
22:06the other scene,
22:07you have hit the ball.
22:08How did you get the ball?
22:09How did you get the ball?
22:12Actually, there were two single shots.
22:14Because I was shot in the first scene, right?
22:18So, there was a house and I was going to go to the kitchen,
22:22and I was sitting there sitting there and sitting there and sitting there and I was going to get back in the kitchen.
22:25So, the whole thing was cut.
22:27It was cut in the chair.
22:29It was a long time.
22:31I was told, if you type in the room and cut in the room,
22:35that you put the clothes on the other side.
22:37That's why I said that.
22:38That's why I was like, I know it's going to be like,
22:40So, apthane...
22:42Now we are trying to get started with it.
22:44So, our head has been set in the middle.
22:46The mood is getting to grasp and
22:48you can get the time with it.
22:50As 81% of the mood has been set in the middle.
22:54The mood is going to get the set.
22:56And the mood is going to get a good mood.
22:58So, we are going to show the scene,
23:00the mood,
23:03the mood will be keeping them.
23:05In the mood, we will have to get the groove in the middle.
23:07So, as we go to the stage,
23:08we will have to get the groove in the middle of a scene.
23:10It was a very lengthy scene, very emotional scene.
23:12So, I couldn't tell you how to do it.
23:15I was also conscious about it.
23:18So, I didn't cut it off.
23:20I didn't cut it off.
23:22No, I didn't cut it off.
23:24So, I couldn't cut it off.
23:26I couldn't cut it off.
23:28I couldn't cut it off.
23:32The other aspect of Nimish, I appreciate it.
23:35They are involved in that character.
23:38But, when the make sure the image is in the standing position,
23:42the middle, the middle of the left of the left,
23:45it's a very important thing about the character and the character.
23:47They refused to assault.
23:50I thought, you know the character's name.
23:52I felt like you, you know the character's name is in the neck.
23:54That's the character's name.
23:56I thought you, you know the character's name?
23:58That's the character's name.
24:00I saw an artist.
24:02That's the character's name.
24:04So, when you add the video, you get a blast.
24:10We got that emotional light.
24:12Why would you like to do the primary thing?
24:15Even if you have a good mood,
24:19especially the emotion.
24:23Lengthy shots will help you to get closer to the film.
24:26You can't watch it without cutting cuts.
24:29It will really help.
24:30There are many factors to use for long shots.
24:33When you have very good actors like Adharva Annamisha, then you can go without Cotswara and longer shots.
24:38So, is there a single shot in the script?
24:41No, it's a single shot in the script. I'm prepared to go there.
24:44The shot division primarily depends on my location.
24:47Now, the shots are the most important in the script.
24:50Now, Adharva is the most important thing to reveal.
24:53I can tell you about this.
24:55Or, Farhana, Aishwarya Rajesh, the frame, the face of the face.
25:00But I don't know what the other thing is.
25:04But, I think that the momentum, the mood, the moment, the moment, the moment, the moment, the moment, the moment.
25:08I don't have a single shot, all lengthy shots.
25:11Plus, we were very clear that in the second half, this is emotional high.
25:16So, emotional cuts come from the moment.
25:20If you see actors who are emotionally performing, Kamal Saro, Surya Saro, Karthi Saro, Danush Saro,
25:25in one of the scenes, we have seen a scene with the camera before it goes to the camera,
25:31so that we have this scene and we have this scene.
25:34We both did that, too.
25:35But we don't know what the camera is.
25:37Especially, this is an amazing scene.
25:39That's a great scene.
25:42The first scene is, how far we all get it,
25:45I was able to get a car and get a coil in the car.
25:52I told him that he was in the paper.
25:54But he was able to do anything.
25:59I was able to say that this is emotional weightage.
26:03I was able to get a paper in the paper.
26:06I was able to get a paper and edit.
26:09But, when I was in the end, it was a hit for the audience.
26:16So, it's collective magic.
26:19So, when I was in the city, I couldn't talk to the city.
26:25So, my co-director, Nagarajan, suggested that I was in the street.
26:31I told him that I was in the street.
26:33I was in the street in the street, I was in the street.
26:37I was in the street, I was in the street, I was in the street.
26:40That's the major reason for my decision.
26:42There is an open space.
26:44Sound, the camera is bright.
26:47That's why it's a private space.
26:48So, in the street, I was in the street.
26:51In the street, I was in the street with no other street.
26:55Then, after I decided, the static shot was made.
26:58One lens, one static shot.
27:00The camera move was made.
27:01In that shot, there was some disturbance.
27:05The audience will be able to get the opportunity to get the opportunity to get the opportunity.
27:09So, we will have a single chat.
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