00:00इन दोनों देश सहित प्रदेश में नकसल का मुद्दा गर्माया हुआ है उसकी बज़ा ही यह है कि केन सरकार ने नकसल समस्या 36 गड़ से समाप्त करने का दावा किया है और उसके डैडलाइन भी जारी कर दी गई है 31 मार्च 2026 को प्रदेश नकसल मुक्त हो जाएगा यह दा�
00:30सबसे चर्चा करेंगे सबसे पहले हम निर्माता से जानना चाहेंगे कि इस फिल्म का कॉंसेप्ट आपके मन में कैसे आया किस समाया और इस बीच क्या क्या चला देखें बस्तर में हमारी जो फिल्म है इसका नाम ही माटी है और बस्तर की जो इस्तिती परिस्तिती है और जि
01:00I think that's true.
01:01The truth is the truth.
01:02We have a sequence and a story made.
01:05That's the film Marty.
01:07Marty, the most important thing about it is that the film was made by Buster.
01:12The narrative set of the characters, the people who were there were a lot of people who were
01:18who were there.
01:19He was now in Buster who was now in the 36th grade.
01:21He was now in the 25th grade.
01:23He was in Buster who was in the 36th grade.
01:25nike jasya, but we have a narrative that is a narrative that comes from the
01:32picture, when we have made our director, our director, our director, our director
01:40has been living in the future, so we have seen that we have been living in the future,
01:46the future has been a very strong way of our film industry, theater. I have seen
01:54foreign
02:08foreign
02:22foreign
02:33foreign
02:38foreign
02:43foreign
02:47foreign
02:50।
03:20foreign
03:49foreign
04:19foreign
04:49two-three things. First of all, the people who came to Naksal was that they came from the forest and lived in the forest.
05:00So one good thing was that for us, our shooting was in the forest. And Naksal Sangat had not been a long time for Naksal Sangat.
05:08So it was a change in the forest. But to be in the forest, to be in the forest, to be in the forest and to be in the forest,
05:15it was in their mind completely. So when we started shooting, there are a lot of shots, a lot of scenes.
05:23The day of Naksal Sangat has told us that, I am giving you an example, that we were taking a shot,
05:31taking a shot, and we told you how to move from one to the other, and how to film us.
05:36So we put drones and cameras, and when they started moving, I saw that in the camera,
05:43that in the forest, in the forest, the last girl who was walking, he was holding a tree.
05:48And he was holding the tree from the bottom, and that tree is falling down on the ground.
05:54So in this frame, we had a new idea. As a director, I didn't have any idea of this.
05:59So when the shooting happened, I asked you, why were you holding this tree?
06:02So he told us that, whenever we are walking from somewhere,
06:04we are going to get a tree to get a tree.
06:09So this is the whole way of Naksal Sangat.
06:12That's why you came very well.
06:14Because people have done it themselves.
06:16And because we were doing it from them,
06:18who are doing it from long time,
06:20so there was no problem.
06:22It was just a little bit that you have to tell this frame,
06:24that this is a frame, and you don't have to go outside.
06:27Like any scene that you are learning about the Dax,
06:30and you have to take time for people,
06:31or you have to work a lot,
06:32or you have to work a lot for people,
06:34or the people for the time,
06:35the people for the time.
06:36The most difficult thing was that,
06:37because those people were falling down in the Ugarua,
06:38in the forest,
06:40in the forest,
06:41so there were such shots,
06:43which were filled with the state of the forest.
06:45I felt that,
06:47that at that time,
06:48because they were a new,
06:49maybe they will be a little bit,
06:52but by shooting,
06:54they were shooting.
06:55So,
06:56when the first started shooting,
06:57the cop was hammering.
06:58If you left behind their people,
06:59in the last several years,
07:00you had to engage them with something.
07:01In other words,
07:02they might have to accept them
07:04the second self-oueures.
07:05I felt like they were a little of a hole,
07:07but in the way of shooting,
07:08or in the way of shooting,
07:09and in the way of the day,
07:11after the day,
07:12they learned slowly,
07:13slowly, slowly,
07:14and slowly,
07:15slowly,
07:17into some more.
07:18It's all that I felt like I was taken by slowly and slowly,
07:24in their eyes, these things were made.
07:26In shooting, there was such a sthetis that it felt like we were all
07:30a family, and our family were sitting from us.
07:33They came from different areas.
07:36After shooting, it was this sthetis that they would have known.
07:39So, when we were away from each other, all we were looking at the eyes.
07:45People came from the water in the water.
07:48of the film's heroines, because the heroines and the hero are two characters of the film,
07:52and the whole film goes on. First of all, we are going to work with the heroines,
07:57how do you feel, and what are you doing, and what will you say about the picture or the story?
08:03Thank you everyone. I was working with a dancer in the film, so I didn't have an idea
08:13of how to do things, but in the film, because there were also senior artists,
08:18who were experienced, even though professionally they were not acting,
08:22but because there were senior artists in the film, plus director sir's direction,
08:28and as they told him, Naksali, Samarpit Naksali,
08:31so a little mark direction.
08:33How do you see Naksali?
08:35No, I didn't have any idea, I never thought,
08:38that actually they will sit with you.
08:40How do you see Naksali, who were very high-posts, high-cadders?
08:46Two of them, first of all, did you know how to work with Naksali,
08:49or did you know how to work with Naksali, or did you know how to work with Naksali?
08:51No, no, no.
08:52I mean, if you have to know how to work with Naksali,
08:54you know how to work with Naksali, you know how to work with Naksali?
08:56Probably, probably, it could be a problem.
08:58But this is also a good opportunity, since I am from Buster,
09:02when I am from the audience, I am from the audience,
09:11and I am from the audience with me,
09:14that I am from the audience, with a positive message.
09:16has created. So we have to keep local people in the first place.
09:19First of all, we have to tell you about it.
09:20We have to tell you about it.
09:22I am telling you about it.
09:23There is a story of the story, but we have to work with it.
09:26That is what happened to us.
09:29Because you are also in the media.
09:31And many times, when we have our young people,
09:35we have also gone to the next camp.
09:37So when we have to make the next camp,
09:39and when we have to call our local workers,
09:42when we have to look at the camp,
09:45we have to go to the next camp.
09:48I asked if I didn't want to do shooting.
09:50But the phone came to me,
09:52that if we don't work in the picture,
09:55then it will get worse.
09:56My father had so much.
09:57My father had so much.
09:58Four years old, four years old.
10:00My father had so much.
10:01My father had so much.
10:02We will come to the picture.
10:04Because the name of the name of the Makhpir,
10:07is the Makhpir or is the name of the Makhpir.
10:09They were reading the news.
10:11They felt that if we make the next camp,
10:13we will make the next camp,
10:13then we will make the next camp.
10:14So they made it back and forth.
10:16You made it back and forth.
10:17You made it back and forth.
10:18Because the shooting was going long.
10:20Then we also had two or four days
10:21when our team had 40 or more people,
10:24who surrendered the next camp.
10:25After that, when I.G.
10:27talked about it,
10:28we told you that we are making a picture.
10:30It's like a piece of paper.
10:31So if we have a surrender,
10:33I told you to the director.
10:34I told you to do it.
10:35So I think, sir,
10:36that you can see,
10:37how many people say.
10:39What do you want to make it?
10:41They will become.
10:42I mean,
10:42what do you want to make it?
10:43I mean,
10:45I don't want to make it.
10:47I don't want to make it.
10:49You don't want to make it.
10:52It's gonna be like what you think.
10:55I mean,
10:56it's not too bad.
10:56I don't want to make it.
10:57But let's see.
10:57I don't want to make it.
10:58I don't want to make it.
11:02in that shooting in that shooting, when we were in the jungle, some of the young people
11:11came out of the domination, we had requested that, sir, we have to do the shooting in the
11:16jungle of the jungle, which are in the Dornapal, and do the shooting with the people of there.
11:22So, when our Naxli leader said that, and when they said LAL Salaam, they didn't give us
11:29training, they didn't give us a lot, in the repeat, it was very much LAL Salaam.
11:34You said that already, but when we came to our Nita, we said that we were saying that
11:40we didn't say that, we just said that, but we didn't say that, maybe they didn't say that,
11:44because our role was saying that a lot of people said that, we said that we are saying that
11:50we are talking about the people, but because they said that, they say that, they say that
11:56I am the director of the world.
11:59But on the way, our director had to say that
12:02when we say the name of the world,
12:06we all say good.
12:08We must talk about some of the films.
12:11We have worked with you.
12:13Did you know that you didn't know that you used to work with?
12:16Yes, first of all, you all say good.
12:20Even though this was the script that we had to work on, you will know about the name of Bhima because my name is Bhima in the 36th film and I am in Bhima, I am in Bhima.
12:34and we have seen some movies after this time
12:41after that I thought that the film in front of us
12:44has had to bring people into the place
12:46and we have seen the character in the face of it
12:50The best thing was that the feeling of the film is the feeling of the truth
12:53And that feeling of the truth is that we can not win against any fight or death
12:57but with love and the same thing is that we can win against any fight
13:00and that is the same thing that I have made
13:02and I started working in this film.
13:05Now we have talked about Nirmata, Nirdesak, Hero, Heroing.
13:09Now this is how a artist is, the film is very popular,
13:12and it is still working on it.
13:14Milen Kehlo, or others.
13:16They are also doing that role.
13:18In that role, Mahila is Naksali.
13:20Do you know how your role is in this film?
13:25In my role, it was a very powerful role.
13:29In this film, the role of Naksali was powerful.
13:33In that role, you were also very powerful.
13:35Yes.
13:37You should say that,
13:39when I get this role, I am not ready.
13:42I am able to do the role of Naksali.
13:45From the start of Kaba, I am doing a soft role.
13:49I am not ready for school.
13:52I am not ready for the role of Naksali.
13:55But I am not ready for the role of Naksali.
13:58Once was reflected in this film,
14:00Once you were with Naksali?
14:02I could not have ever seen.
14:04When I got in the spot,
14:06I was sitting here in a position.
14:08I put a dress up Naksali,
14:11and I put everything in their face.
14:12The name of Naksali is on the page.
14:14When I am standing at the spot,
14:16I am everywhere all the time behind you,
14:18All are real Naksali.
14:20Did you know before?
14:21No.
14:22I don't know exactly what I'm saying, but when I went there, I was talking about the dialogue,
14:31and then after that, I said that you are the leader.
14:35You are not the leader.
14:37You are the leader.
14:39Then I said that when Eman Atik is strong, I have to do a double-strong role.
14:44I am the leader.
14:46I am the leader.
14:48Let me see my mind.
14:50You would like to know the singer or the singer.
14:53There are some scenes, pictures.
14:57There is a mind-move scene.
15:00Yes.
15:01The subject of the movie is called Naksalabad and the love.
15:07The first of all, the people thought that you could love Naksalabad.
15:11So, this is a mind-move scene.
15:14There is a love where you can be.
15:16The human is.
15:17Whether it is related to Naksalabad or any other.
15:20Love is a dream.
15:22We have to tell you that our director has to write our songs.
15:25We have to write our songs.
15:26We have to write our songs.
15:27We have to write our songs.
15:28We have to write our songs in this movie.
15:30In the normal films, we write songs from Naksalabad and Naksalabad,
15:34we have to write songs from Naksalabad.
15:36It is different from you.
15:38We have to write our songs from Naksalabad ,
15:41We have to write the letters because we don't care about them.
15:43We have to write them.
15:44And we can write our letters because it happens.
15:46We can write them all above.
15:47We have to write this as well.
15:48We can do it like our songs from Naksalabad.
15:49directory.
15:50We will write this.
15:51You do it better.
15:52You do it all well.
15:53We want to write it well.
15:54but afterwards,
15:55we can write that articles,
15:57we didn't forget.
15:58We want to write it all for such false cards.
16:00in our own channel, we will make a movie with seven songs.
16:05We all want to say that one of your films is a song that you will like,
16:12that you have done, and with this, we will also give you a song.
16:18And I am Praveen Kumar Singh, E.T. Bharat, Camerawend Mitle Sao,
16:22and in front of you, this song is the song of Mati Film.
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