- 11 months ago
Join Malayalam stars Asif Ali, Aparna Balamurali, and Hanna Reji Koshy alongside acclaimed director Jeethu Joseph as they dive into the making of the much-awaited psychological thriller "Mirage". Hear their perspectives on working together, character preparation, and why "Mirage" is one of the standout releases of 2025. The conversation also features Jeethu Joseph sharing exciting updates and behind-the-scenes developments about "Drishyam 3"—giving fans a rare glimpse into the future of the Drishyam franchise. ജീത്തു ജോസെഫ് ആസിഫ് അലി അപർണ ബാലമുരളി എന്നിവർ ഏറ്റവും പുതിയ വരാൻ ഇരിക്കുന്ന ചിത്രം MIRAGE നെ കുറിച്ച് സംസാരിക്കുന്നു
ജീത്തു ജോസെഫിന്റെ ഇന്ത്യ മുഴവൻ കാത്തിരിക്കുന്ന ദൃശ്യം 3 യെ കുറിച്ചും ജീത്തു സൂചിപ്പിച്ചു
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സമയോട് എന്നും പ്രണയം, അവൾ എനിക്ക് തലചായ്ക്കാനുള്ള തോളാണ്: ആസിഫ് അലി :: https://malayalam.filmibeat.com/features/when-asif-ali-revealed-how-wife-zama-masreen-changed-his-life-called-her-the-love-of-his-life-133419.html?ref=DMDesc
ആസിഫ് അലിയേക്കാൾ പ്രതിഫലം ചോദിച്ചോ? ഒടുവിൽ പ്രതികരിച്ച് നസ്ലിൻ; 'വർക്കിൽ ശ്രദ്ധ കൊടുക്കുന്നു' :: https://malayalam.filmibeat.com/features/naslen-reacts-rumours-about-him-mention-asif-ali-and-tikki-takka-132657.html?ref=DMDesc
എങ്ങനെയിങ്ങനെ പറയാൻ പറ്റുന്നു, മരിച്ചത് ഇത്രയും ദിവസം കൂടെയുണ്ടായിരുന്ന ആളല്ലേ; ആസിഫ് അലിക്ക് വിമർശനം :: https://malayalam.filmibeat.com/features/netizens-slams-asif-ali-for-his-comment-about-kalabhavan-navas-death-132235.html?ref=DMDesc
~PR.16~
ജീത്തു ജോസെഫിന്റെ ഇന്ത്യ മുഴവൻ കാത്തിരിക്കുന്ന ദൃശ്യം 3 യെ കുറിച്ചും ജീത്തു സൂചിപ്പിച്ചു
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സമയോട് എന്നും പ്രണയം, അവൾ എനിക്ക് തലചായ്ക്കാനുള്ള തോളാണ്: ആസിഫ് അലി :: https://malayalam.filmibeat.com/features/when-asif-ali-revealed-how-wife-zama-masreen-changed-his-life-called-her-the-love-of-his-life-133419.html?ref=DMDesc
ആസിഫ് അലിയേക്കാൾ പ്രതിഫലം ചോദിച്ചോ? ഒടുവിൽ പ്രതികരിച്ച് നസ്ലിൻ; 'വർക്കിൽ ശ്രദ്ധ കൊടുക്കുന്നു' :: https://malayalam.filmibeat.com/features/naslen-reacts-rumours-about-him-mention-asif-ali-and-tikki-takka-132657.html?ref=DMDesc
എങ്ങനെയിങ്ങനെ പറയാൻ പറ്റുന്നു, മരിച്ചത് ഇത്രയും ദിവസം കൂടെയുണ്ടായിരുന്ന ആളല്ലേ; ആസിഫ് അലിക്ക് വിമർശനം :: https://malayalam.filmibeat.com/features/netizens-slams-asif-ali-for-his-comment-about-kalabhavan-navas-death-132235.html?ref=DMDesc
~PR.16~
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NewsTranscript
00:00This is the same thing. I was looking at that interview.
00:04It's not like you have to pay attention.
00:07It's not like you have to pay attention.
00:09You're not looking at it, you're looking at it.
00:14In the first few, we announced a few days later.
00:17You're so good.
00:18You're still going to call that person.
00:21It's true because you won't be able to tell the audience.
00:24It's not the only way you can tell.
00:27Doesn't that mean you're doing a course?
00:28There are many characters in the generation.
00:31There are many characters, like this, and there.
00:34It's not a good thing.
00:35It's a good thing.
00:38There's a lot of chemistry in the world.
00:41I've never heard of a lot of the filmmakers.
00:45I've never heard of a lot of film history.
00:49I've never heard of cinema, I've never heard of cinema.
00:52I've never heard of a story.
00:54I've heard of you.
00:56He said, I'm going to run with a chicken lollipop.
01:01And now he's got healthy food.
01:03My brother, I'm not a chicken.
01:06I'm not a chicken.
01:07He's a chicken.
01:09No, I'm a chicken.
01:11I think I'm a chicken.
01:12I'm getting a chicken.
01:13I'm going to get a little nostalgia.
01:15This is my hand.
01:17Chilli Chicken.
01:18I'm going to get a chicken.
01:20You're going to get a chicken.
01:21I'm going to get a chicken.
01:23I don't know how to do this.
01:25I don't know how to do this.
01:30I saw a movie in Palakka.
01:32I saw a guy who was watching a video.
01:35I thought, I'm going to go there.
01:37I'm going to go there.
01:39I saw Palakka.
01:40I saw Palakka.
01:42I saw Palakka.
01:43I saw Palakka.
01:48I talked about what I was talking about.
01:50I was talking about perspective.
01:52Angel and Demon.
01:54That's why I didn't work.
01:56That's why I didn't work.
01:58I don't know how to do this.
02:00That's why I was shooting an action sequence.
02:02That's why I was shooting an action sequence.
02:10Hi, hello, viewers.
02:11Welcome to our show, Untold with Aisin.
02:13Today, we have a lot of Untold stories.
02:15We have Chithu Joseph, Asipeli,
02:18and I have a lot of friends.
02:20So, welcome to our show.
02:23Asipeli and the actor,
02:24I have given the definition of Palakka.
02:26What is a daring actor?
02:28What character is a father who is a father?
02:32It's a negative, positive,
02:34a positive,
02:35a positive,
02:36a positive,
02:37nothing else.
02:38He can perform in space.
02:40We have a good actor.
02:41So,
02:42huh.
02:43He has told his parents all the time,
02:45he's doing something.
02:46With a small generation.
02:47Now,
02:48it's a little tiny thing.
02:50It's like,
02:51it's like the characters we have.
02:52There's no problem here.
02:54It's just like the character.
02:55We get very good.
02:56I don't know.
02:57He has a great actor.
02:58I don't know.
02:59What is an incredible actor.
03:01We had to perform the size of the film and we had to perform the size of the film and we had to perform the size of the film.
03:13We had to perform the botherations.
03:17We had to do something like that.
03:21I had to do the same thing for that actor.
03:25I was a good actor for that interview.
03:27I had to do this interview with a couple of other people,
03:31but I had to do that interview with a couple of people.
03:34I was a good actor.
03:36He was a good actor.
03:38He was a good actor.
03:42You know, I don't understand the story of the India.
03:44I've never heard the story about that.
03:47I think that's what I think about.
03:51I think that's why I think there are many characters in my life.
04:00But I think that's why I think there are characters in my judgment.
04:07Then, after that, I had a lot of questions.
04:11I had a lot of questions in the hostel.
04:14I had a lot of interaction with school and college timing.
04:17I had a lot of interaction with a lot of personal life in the hostel life.
04:22Then, I had a lot of different relationships that were toxic.
04:27So, it was possible that I had a lot of experience in the film.
04:32I was surprised that I had a lot of experience in the film.
04:34Ashwin is an online journalist who is an investigation journalist.
04:42He has a page. He has an identity.
04:46He has an identity. He has an attention to the people who are interested in the news.
04:52He has an attention to the people who are interested in the news.
04:57That is very relatable to me.
04:59He has a lot of people who are interested in online media.
05:03He has a lot of people who are interested in the social media, the news, and the credibility.
05:08He has a lot of attention-seeking and desperate.
05:14Ashwin has an interesting character in the chat.
05:22Ashwin has a lot of people who are interested in the radio.
05:28He has a lot of interest in the radio.
05:30I don't know who is interested in the radio.
05:35He says that he will be interested in the show.
05:39Ashwin is a good idea.
05:42He is the most part of the character in the radio movie.
05:46Rundown the Jitthu Joseph cinema, Vindum Asapeli cinema.
05:51Sherega, I know you're excited about it.
05:54I'm very happy Jitthu sir, I'll talk about this.
05:59Now, we are the first actor, and that's why we are surviving.
06:06It's a difficult task.
06:08We can do great films like Jitthu sir and directors.
06:15We can do great films like Jitthu.
06:18You can do great films like Jitthu.
06:22And I was also excited about that.
06:27But I was also excited about that.
06:29It's exciting.
06:34The story of the name is the story of Miraj.
06:43I felt that it's really good to be a part of Miraj.
06:49I'm very proud of you.
06:50I'm very proud of you.
06:51I'm very proud of you.
06:52I'm very proud of you.
06:54Jitthu Joseph.
06:55I'm very proud of you.
06:57I'm very proud of you.
06:58But I really would like to watch a family drama.
07:01I think you have a courtroom drama.
07:03I'm very proud of you.
07:05I like it.
07:06I'm very proud of you.
07:07They could only crack crack, but they don't even know it.
07:15They don't feel like they're feeling like they're feeling like they're feeling like they're feeling like they're feeling like they're feeling like they'll be feeling like that.
07:19I don't understand because of the visual gimmicks.
07:22Is there anyone who gets very honest?
07:25They've been doing an entrance without him.
07:29They don't even know it.
07:32This is the way to get there for them.
07:35I am doing cinema.
07:42What is the cinema?
07:45What is the cinema?
07:48I am saying that it is the only thing that I am saying.
07:52I am not saying anything about this.
07:55Because there is a great idea of a tradition.
08:02At least, this is the cinema.
08:05This is how it is.
08:08If you're watching this,
08:11I'm going to show you this movie.
08:14I'm going to highlight it.
08:17This is a mystery,
08:20thriller kind of cinema.
08:23This is not emotion based.
08:26Events.
08:28There are events.
08:33There is a character.
08:37That is the center point.
08:39There is a travel character.
08:41She is searching for something.
08:46She is searching for something.
08:50This is a reporter.
08:54There is also a colleague.
08:57He is protective.
08:59He is a friend.
09:01These three days,
09:03on the journey,
09:05one day,
09:06one day,
09:07one day,
09:08one day,
09:09one day,
09:10one day,
09:11one day,
09:12one day,
09:13one day,
09:14one.
09:15One day.
09:16Two days,
09:17go
09:34I was like, I don't want to see the only film.
09:39This is the start of my own.
09:41John Diss was the company's FTA entrance inside.
09:46Did you go to Punei's office?
09:49No, I didn't.
09:51I was like, I went to Punei's office and went to a school.
09:57I didn't study this.
09:59I was like, I was a senior director.
10:01I told you, I don't have anything to do with cinema or anything like that.
10:05I told you a story.
10:07I told you a lot.
10:09That's why I didn't have anything to do with cinema.
10:13Then I told you,
10:15what kind of making is I private?
10:17I told you, fine.
10:19I was there.
10:21It's not my style.
10:23It's not my style.
10:25I told you,
10:27I told you,
10:29I told you,
10:31I didn't have anything to do with the making.
10:33I told you,
10:35I told you,
10:37I couldn't do any making.
10:39I didn't approach how to do it.
10:41I didn't approach you.
10:43I didn't understand what you were doing.
10:45That's why I told you.
10:49How do you feel about the film?
10:51Do you feel like you have the same thing?
10:53I also feel like you have the same thing.
10:55I have the same thing as a story like you.
10:57It doesn't matter if we don't have any excitement.
11:00It doesn't matter.
11:01But, see, I think there is a challenge.
11:05First, we don't have to say this scenario.
11:09So, I asked myself, before auditioning or performing,
11:13will I be able to do that?
11:17I felt I can.
11:19Because the person who is guiding me is Jidu Sar.
11:22I have confidence.
11:23That is the biggest thing for me.
11:27It doesn't matter as much as the excitement.
11:30It doesn't matter as much as the excitement.
11:31You can work with me.
11:32You can work with me.
11:36I will be able to do that excitement throughout the film.
11:40So, I think that is the experience in the random movie.
11:44You have a fan of me.
11:47You have a fan of Asif Abarn.
11:50You have a fan of me.
11:52What is your friendship?
11:57What is your relationship?
11:59What is your relationship?
12:01In the class, there was a friend in the class.
12:07A friend in the boys connected to a girl's group.
12:11That was a wavelength match.
12:13We didn't have anything to do with it.
12:17We had a connection there.
12:20We had a lot of fun on Sunday holiday, but we had a lot of fun.
12:26We were close on Sunday holiday.
12:28We are close to our families. We are close to our family and we are close to our family.
12:36We are spending a lot of time on the off-screen. We are spending a lot of time in the week.
12:42We are bonding at the same time. We are very comfortable shooting at the same time.
12:48We are not able to get a lot of time. There is a lot of chemistry at the same time.
12:54I am effortless here. From the beginning, when I was effortless, I would like to say something like jelly or jelly.
13:05I would like to say something like that. I was a beginner.
13:14I would like to say something like that or something like that.
13:20Finally, I would like it as a teacher. Asif, I thought I would like to speak to them as a teacher.
13:30I would like to speak to them as a teacher. I thought that's a real choice.
13:37I think that approach is working. I think that we have to go out to Sangha.
13:47It is very easy.
13:49We can't talk about it, we can't talk about it.
13:57But that effortless approach has always been to us,
14:01and that genuinity alone can be easy to work and work.
14:05We can't spend all of time.
14:08Food Daddy Partners?
14:09Yes.
14:10I've been talking about it, I've been talking about it.
14:13I've been talking about the shooting of the Jajamad Diahon,
14:16I've been talking about the shooting of Chakos.
14:19If you have a chef with all the food, you don't have any food.
14:23Chakochana is a chef in the area.
14:27Chakochana is a chef in the area.
14:30I don't know what to do.
14:32When we shoot in traffic, Chakochana is a chef in the area.
14:38He is a chef in the area.
14:40He is a chef in the area of Chakochana.
14:44You can make food, food or salad, and eat any food.
14:51Every day, we call them a chef in the area.
14:56He is a chef in the area.
14:59So, it is healthy food.
15:02I thought that I had a lot of food.
15:05I asked him to get some speciality.
15:10I am a chef at Chakochana.
15:12That's a good experience.
15:15That's why we have a diet plan.
15:21That's good.
15:24Do you have a set of food for me?
15:27I don't know.
15:29I enjoy the food for me.
15:33I think it's different.
15:37That's what I do.
15:39I enjoy the food for me.
15:42There's a dish.
15:45Then I eat a diet.
15:49Then I eat a chicken.
15:53That's how I eat.
15:55I don't know if I eat a chicken.
16:00That's how I eat a dinner.
16:03That's cool.
16:05I eat a chicken.
16:07I eat a chicken.
16:09I eat a chicken.
16:10I eat a chicken.
16:11I eat that.
16:13You don't want to eat a chicken.
16:15Yeah.
16:17Then I get my friends all around.
16:21I you're ordering them all.
16:23I'm ordering them all.
16:25That's what I need to do.
16:27I think it's a shift.
16:28What's it like?
16:29Basically, there's a weakness.
16:33There's a weakness, a weakness, a weakness, and a weakness.
16:40I don't know what I'm doing.
16:43I don't know how to do it.
16:46We don't have to do it.
16:48There's a weakness, a cup, a cup, a cup.
16:50There's a Chinese.
16:51Chinese is a good thing.
16:55I'm going to be a party.
16:57I'm not going to talk about this.
16:59I'm going to shoot a few more people.
17:02I'm going to call it Chiang and Chili Chicken.
17:10Chicken fried rice.
17:12It's a special design for Chiang.
17:15It's a Chinese.
17:19Indianese Chinese.
17:21I'm going to try to make that.
17:24My three sisters and my aunt have settled on Arnaud.
17:32I think I was going to come to Samethe and I...
17:35Malaya.
17:36Malaya.
17:37I'm not going to come to Malaya.
17:38You're not going to come to Malaya.
17:40Malaya is going to come to Kerala.
17:44I'm not going to come to Samethe.
17:47I'm going to come to this school and get to my auntie.
17:51In the beginning, there is also a reason for this
17:55Andi's wedding.
17:58You were going to do a school in the hostel,
18:03and a few friends.
18:06I was going to do something wrong with you.
18:10I was going to do something wrong with you.
18:11I was going to do something wrong with you.
18:14I thought, this is my Andi's wedding.
18:17I was a full excitement. I was like, what is that?
18:22I was like, what is the Chilli Chicken?
18:24I was like, why are you doing this?
18:27You are like, why are you doing this?
18:29I'm like, I'm like, I'm like, I'm like, I'm like, I'm going to go.
18:34But the Chilli Chicken has a fanbase.
18:38The Chilli Chicken has a fanbase.
18:40I was shooting LAL-SAR.
18:44My name is Lalsar.
18:46He's what he said.
18:48I am going to write Lalsar before.
18:50He's done well.
18:52When Lalsar is in a movie shoot, he'll call me for a movie.
18:56He'll call me for a while and ask me for a while.
19:00I'm free.
19:02Today, I am not free.
19:06I need to be free.
19:08Don't forget to be free.
19:10I'll go to Palakarta.
19:12I went to the restaurant and went to the restaurant.
19:14That's why it's not a good thing.
19:17It's a craving for us.
19:19But I thought,
19:20I don't want to eat a meal.
19:23I'm going to eat dinner.
19:25I'm going to eat dinner.
19:27I'm going to eat dinner.
19:29That's not the package.
19:31I'm going to eat dinner.
19:33The shop is going to eat food.
19:36The shop is going to eat food.
19:38The shop is going to eat a microwave.
19:40The shop is going to eat food.
19:42They eat chili pork,
19:44sweet corn chicken soup.
19:47It's 65.
19:49It's 65.
19:50It's 65.
19:51It's 65.
19:52It's not a chicken.
19:54It's not a sandwich.
19:56Capsic-caps.
19:58Capsic-caps.
19:59It's a sandwich.
20:01I don't know.
20:03I don't know.
20:04I'm going to eat food.
20:06I'm going to eat food.
20:07I'm going to eat into food.
20:09That's another writer.
20:11I'm going to eat food.
20:13Love Take Jaguar.
20:15Love .
20:16I'm going to eat food.
20:18I think,
20:19Viraj is working with regular writers and writers.
20:23So now I have thought about the various styles.
20:25I welcome you to a different style.
20:30But now I am very interested in Dinoon.
20:33I am very interested in Kudasha.
20:35I am very interested in the script.
20:38I am very interested in the script.
20:41When the script comes, the script comes,
20:43and the discussion comes in a little bit,
20:44and the changes are already solid.
20:49The story of this story is a film in Hindi.
20:52The story of a film in the UK is a film in Hindi.
20:58The story of the screenshot is made by a screen.
21:02I didn't have any time for the screen.
21:04As I said, I've been working for 4 years.
21:07I see a lot of this story.
21:11I've worked with my family, but I have been living here.
21:16I'm very proud of that.
21:17That's what I did with Malala Thile.
21:20That's why there are some changes in the process of changing the changes.
21:24I think that's why Srinivasan said that.
21:32We have discussed about the angle,
21:36the writer,
21:38the idea of how to approach it.
21:42I don't think this is a problem.
21:45If you have a new script, you have a thought process, you have to discuss, share, you have to deal with the interaction,
21:53you have to deal with it, you have to deal with it.
21:56That's what I do.
21:58It's a scripting line of thinking.
22:03I think it's a good thing.
22:06I think it's a good thing.
22:09Is there a pressure barrier to life of Joseph?
22:16There's a pressure barrier to life of Joseph.
22:18He's doing a lot of research.
22:20It's a great thing.
22:21I'm talking about the approach, I'm talking about the approach.
22:27I don't have a writer.
22:29I have a perspective.
22:33That's why I work out.
22:38Now, I think it's a problem.
22:41When this happens, we have a helicopter, a helicopter, a helicopter.
22:47That's why it's a helicopter.
22:49That's our perspective.
22:51We can't get a helicopter.
22:53I can't get a helicopter.
22:55We have a helicopter.
22:57That's why people are interested in this,
23:01so I think we can't do anything.
23:03We can't do anything.
23:05We can't do anything.
23:07In this climax, there is a pack-up video, and there are three or two of them.
23:14It's the last day of the shoot, it's the climax.
23:17Yeah, it's the last day of the shoot.
23:18New works and climax.
23:20That's it.
23:22In different locations, the pack-up in the court, different locations, different experiences.
23:27What different experiences are you going to do?
23:29I don't know if you're going to do it.
23:31I don't know if you're going to do it in such interviews.
23:34We don't know if you're going to do it in such a way.
23:39I don't know if you're going to do it in such a way.
23:42I don't know if you're going to do it in such a way.
23:45I'm not sure if you're going to do it in such a way.
23:48You can't do it in such a way.
23:53There were a few locations in our shoot.
23:56Kaliket, Coimbatore, Karekodi, different locations.
24:01At least, I was going to do it in such a way.
24:05Yeah.
24:06I was going to shoot three locations in the same time.
24:10That's one location.
24:12I'm going to tell you about it.
24:13That's the action sequence.
24:17Action sequence?
24:18Yes.
24:20Reintroducing them in the same way.
24:22Oh, you're going to shoot these in for the first look.
24:27See if you change the time?
24:27No.
24:28Yes.
24:29Yes.
24:30I'm sorry.
24:33Go to the next level.
24:35Yes.
24:36You're going to find the same level.
24:38Can't we do the same thing?
24:40Actions?
24:41There are a few actions in this film.
24:43They are actually very good.
24:47Now, I'm not going to do the first look at this film.
24:51I'm not going to do any of the characters in real life.
24:56So, they are very close to that film.
24:58They are called Karsha, Don, and Police.
25:02So, do you have to do any of the characters in real life?
25:07No. I have a reference to an attitude.
25:14As we were discussing, we were discussing a lot of things.
25:20I was watching you on the internet.
25:28I was talking about things off-camera.
25:32I would have a question that I could do.
25:36I think it's very important to me.
25:39There is a lot of attitude.
25:41There is a lot of attitude on this topic.
25:47There is a lot of attitude references.
25:50As Ashwin mentioned,
25:54there is a lot of questions about Ashwin.
25:59There is a lot of references.
26:00I don't know if I'm straight.
26:04What is it?
26:06I am a good character. He is working in a finance company like Abhirami.
26:13Jansson?
26:14No.
26:15No.
26:16He is an unsubscribed character. He is working in a finance company.
26:20I am a colleague.
26:22That is something fishy.
26:24You can share it. We are working in an office.
26:27Even in a crisis, there is no problem.
26:31There is no problem.
26:34The only one person should be killed by the mother.
26:39I see a dog.
26:40He is a dog.
26:41I am a journalist.
26:43I cannot imagine that he is a dog on his own.
26:46You have to touch him.
26:48He has to touch him.
26:50That's how he will get him.
26:52I have to touch him.
26:53I am very big.
26:54We are not all about a documentary.
26:56I wasn't an influential celebrity.
27:00In terms of the influence of the culture, there are a lot of names that are influenced by that.
27:05Then, also the latest and standard artists,
27:08that model benchmarks are implemented in classical classes.
27:13They are implemented in the school, in Tamil Nadu.
27:16So, this is a good side.
27:18It's a good side. It's a good side.
27:20It's a good side. I don't have any perspective.
27:23I don't think that cinema is an influence.
27:26Now what is this when movie?
27:28, about the direction of hot water,
27:31I just represent on one side
27:33I'm looking fine,
27:35some of you guys are working in
27:372nd part of the film,
27:39I purple up there,
27:41I am listing the There's some grocery stores
27:43Yes, but I'm getting�муled
27:46they were down on a World.
27:48daily transport
27:49Of course, I started reading
27:51controller
27:51It's been a long time for a while.
27:53The cinema has definitely influenced me,
27:57like costumes and stuff.
27:59But I don't know what to do.
28:01I don't know where to do it.
28:03That's why I'm not the question.
28:05A filmmaker or a society
28:07sent a message to a filmmaker
28:09to a filmmaker.
28:11It's good.
28:13He did it.
28:15Now, he's not a filmmaker.
28:17It's a circuit.
28:19He's a filmmaker called a filmmaker.
28:21He's not the filmmaker.
28:23He's the filmmaker.
28:25He's not the filmmaker.
28:27Then, what about the film?
28:29We're doing it.
28:31It's good.
28:33It's good.
28:35You're not a filmmaker.
28:37He has a social awareness.
28:39He's a voice.
28:41It's good.
28:43At the same time,
28:45it's entertaining.
28:47But we announced a few things about Drishyam 3.
28:51We didn't have any pressure on it, because Drishyam 2 was able to do it.
28:58So, how do you think about it and how do you think about it?
29:05You have to be honest.
29:07I'm going to go to that place.
29:10If you want to go to the audience, you will be able to go to the audience.
29:13You will not be able to go to the audience.
29:15I will not go to the audience.
29:16I can't remember, I can't remember, I can't remember.
29:30Ticket-tuck?
29:31Ticket-tuck is almost 50% of the shoot.
29:37I could do a little bit.
29:42Did you ask me about the issue in the following week,
29:46you had a great year and two years to get up with the duration?
29:50Did you speak to them before?
29:54No, it was about 1-2-1-2-1-9,
29:572-2-2-1-2-2.
30:03and 3-3-2.
30:05Well, is it the duration past then?
30:08Yes, I've been thinking about about that.
30:10I don't think it's a good time.
30:12You can tell me that I'm going to give you the second half.
30:14I'm going to give you the second half.
30:16And then I'm going to give you the second half.
30:18And then I'm going to give you the second half.
30:20You can get the second half.
30:22But it's not even full.
30:24You can see the second half.
30:26That's it.
30:28You can see how many deleted scenes are available.
30:32What's your name?
30:34That's not a wastage.
30:36But I'm doing scripted.
30:38It's a very rare ride.
30:45What do I say?
30:48I don't want to shoot any type of waste of money.
30:51I used to write a script for a stopwatch.
30:57I used to shoot a scene visually visually visually visually visually visually visually visually visually visually visually visually visually.
31:02If I was to shoot a car, I would like to shoot a crane shot.
31:06I would like to shoot a crane moment in the world.
31:08I would like to shoot a time.
31:12I would like to shoot a second.
31:14I would like to shoot a total add and total duration.
31:17That's a very important part.
31:19Now, I would like to shoot a number of pages.
31:23I would like to shoot a length and duration.
31:26I would like to shoot a description.
31:36It's also very important to me.
31:39I used to it as well as two writers in the world.
31:43After that, I would like to shoot the script.
31:46He would like to shoot a script after my body,
31:50But I would like to shoot a duration of my resume.
31:53and then there were three people in Malayalam.
31:55I was going to give up to them,
31:57I was a little girl later.
31:59I was like, I know I am a girl.
32:01I have seen them on Malayalam.
32:03I was in Tamil,
32:05I was like, I got a little bit of cut scenes.
32:07I was like, I got a little bit of cut scenes at the time.
32:11I was like, this is the end of the video.
32:13I am going to edit it at the end of the video.
32:17What is the second issue?
32:19You have to edit it.
32:21That's why he's doing it logically.
32:24He's doing it logically.
32:27That's why he's doing it.
32:30That's why he's doing it.
32:33Mirash Arangumbo,
32:36because as of now, you don't have any excitement in the theater.
32:41I don't have any expectations.
32:46There are a lot of expectations, because there are a lot of events, and there are a lot of curiosities that are naturally going on.
32:55I think, all of us, there are a lot of expectations in that situation.
33:02Same thing.
33:03If you have 100% expectations, you can expect the best.
33:08Oh.
33:09There are a lot of expectations, and there are a lot of expectations.
33:17There are a lot of expectations, and there are a lot of expectations.
33:24Our audience is a little bit different.
33:29There are a lot of expectations that we have to do.
33:34You see, the point in cinema is not the point.
33:37There are a lot of expectations that we can do in this country.
33:39But, we don't know if there are other actors in the theatre.
33:43But, we don't know if we have any actors in the audience.
33:46This is not the case, but it is not the case.
33:48Oh, absolutely.
33:50I am Aashimd Chitra.
33:51I'm a Aashimd Chitra.
33:52And, I'm a Aashimd Chitra.
33:53I'm a Aashimd Chitra.
33:54I'm a Aashimd Chitra.
33:55All I have been asked to do is join in the Royal Rheelawks theater.
33:58I'm a Aashimd Chitra.
33:59Thank you for the time.
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