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NewsTranscript
00:00:00Now, first time, Raj Moody on a stage, he said something of the one Ramakal man come
00:00:10once in a blue moon or something and I think Sandeep Vanga.
00:00:14I have no idea of that comparison.
00:00:17And second time, when he saw animal, he called me Raj Moody and said,
00:00:24I said, you know, Ramakal man is a myth of Polish, Sandeep, but now I take back my word, he is Ramakal man.
00:00:35In terms of the attitude and the thumbing against, thumbing his nose against conventional cinema,
00:00:43the characters around you, screenplay, scenes, conception and everything.
00:00:48That was something I wanted to ask you is, you said you were nine when you saw Shiva.
00:00:53Yes, sir, yeah.
00:00:54Now, I have a fundamental point.
00:00:56What will you feel about Shiva?
00:01:00And he sounded like he was talking about it.
00:01:04Do you think you can imagine a nine-year-old guy's vision of Shiva?
00:01:08See, maybe no.
00:01:10I have watched certain films, Hollywood films.
00:01:15When I was nine, ten, something you get inspired, you take away.
00:01:20For example, McKenna's Gold.
00:01:22Yeah.
00:01:23I was very young.
00:01:2412 years old.
00:01:25Ah, that gold and that wall.
00:01:28Yeah.
00:01:29And Yekdaun.
00:01:31Yeah, all these things I remember.
00:01:33There are some takeaways.
00:01:34So, what is your, what is your?
00:01:36For me, there are a few scenes which remain in me.
00:01:38I was shocked actually.
00:01:39As I said, sir, a nine-year-old.
00:01:41I was a young in the group.
00:01:42Nine-year to 32-year-old.
00:01:43All age group went to watch the film.
00:01:45Yeah.
00:01:46Because after that, there is so much recall value saying,
00:01:50October 5th, October 5th, Gemini Theatre.
00:01:52So, it stayed with me when all my brothers and cousins were talking.
00:01:56Strikingly, what I remember was a punch on the Ganesh.
00:01:59Hmm.
00:02:00That is a knuckle-duster.
00:02:01Yeah.
00:02:02That is a knuckle-duster.
00:02:03Yeah.
00:02:04A knuckle-duster is the first time I have heard.
00:02:05I have screamed.
00:02:06Yeah.
00:02:07And the people who have never seen the same thing.
00:02:08They have never seen the same thing.
00:02:09They have never seen the same thing.
00:02:10But there is a cut.
00:02:12That serious cut with, you know, the teeth enters into the lower lip.
00:02:16Yeah.
00:02:17A cut was, I think, I think, jolting.
00:02:20Yeah.
00:02:21Is the warning, huh?
00:02:23Hey!
00:02:24Oh!
00:02:25See, I always believe, Sangha, if the impact of a hit or a punch or something,
00:02:44will be in the reaction rather than the hit.
00:02:47And you take the time.
00:02:49Yeah.
00:02:50Yeah.
00:02:51Before you can say the line and all that.
00:02:52Yeah.
00:02:53And the pauses are what?
00:02:54Which the audience are giving the time.
00:02:56Yeah.
00:02:57Fuck!
00:02:58Yeah.
00:02:59Yeah.
00:03:00Yeah.
00:03:01Yeah.
00:03:02Yeah.
00:03:03Yeah.
00:03:04Yeah.
00:03:05Yeah.
00:03:06Yeah.
00:03:07Yeah.
00:03:08Yeah.
00:03:09Yeah.
00:03:10Yeah.
00:03:11Yeah.
00:03:12Yeah.
00:03:13Yeah.
00:03:14Yeah.
00:03:15Yeah.
00:03:16Yeah.
00:03:17Yeah.
00:03:18Yeah.
00:03:19Yeah.
00:03:20Yeah.
00:03:21Yeah.
00:03:22Yeah.
00:03:23Yeah.
00:03:24Yeah.
00:03:25Yeah.
00:03:26Yeah.
00:03:27Yeah.
00:03:28Yeah.
00:03:29Yeah.
00:03:30Yeah.
00:03:31Yeah.
00:03:32Yeah.
00:03:33Yeah.
00:03:34Yeah.
00:03:35Yeah.
00:03:36Yeah.
00:03:37Yeah.
00:03:38Yeah.
00:03:39Yeah.
00:03:40Yeah.
00:03:41Yeah.
00:03:42Yeah.
00:03:43Yeah.
00:03:44Yeah.
00:03:4599% choose from the theatre audience.
00:03:49But it looks like it is understandable.
00:03:52Knuckle duster is basically to protect your knuckles more.
00:04:01In real time, if you hit someone on the jaw with bare fist,
00:04:05your knuckle will be lesser stronger than the jaw.
00:04:08The most possible thing is the knuckle will break.
00:04:11The jaw may not go to the jaw.
00:04:13The strongest part of the body is the mandible.
00:04:15And at the same time, it is going to hurt him much more than the bare fist.
00:04:19But like he said, these are all visions or visuals that stayed in mind.
00:04:26Different people and different visuals.
00:04:29Close up.
00:04:31But after we revisited the film, after a while,
00:04:34when I was in 10th and 12th, there is a logic.
00:04:37He will say that I know that you didn't come here for a fight.
00:04:41He will say that I know that you are the same.
00:04:43You are the same.
00:04:44You are the same.
00:04:45You are the same.
00:04:47You are the same.
00:04:49That logical discussion we never see in a mainstream cinema.
00:04:53See, the power of Shiva is like, you also can guess.
00:04:57How much is it?
00:04:58How much is it?
00:04:59How much is it?
00:05:00How much is it?
00:05:01How much is it?
00:05:02How much is it?
00:05:03How much is it?
00:05:04How much is it?
00:05:05I feel it is such a new writing.
00:05:06Every time you see Shiva, every time you find new things.
00:05:09Like this happens to Godfather, this happens to Satya also.
00:05:12Satya would not be.
00:05:13So Shiva, like even that one, sir.
00:05:14The camera goes and you see this.
00:05:18He will go, the camera goes and you see this.
00:05:35Yeah, he goes out and then he comes back.
00:05:37Chinnadhan told him no.
00:05:39When he hits the pole.
00:05:41Oh!
00:05:45Yeah.
00:05:46That was the film of the Munderam Pirayari Kamalassan.
00:05:49Valu Mantra, Vasanthi Kotla.
00:05:51So, Sedevi is on the train.
00:05:53And as she is going, he is coming, calling her name.
00:05:56So, our eyes are looking to the right.
00:05:59Just in case Sedevi will actually jump out of the train to meet him.
00:06:02And we missed the entry of the pole to the left.
00:06:06And TUCK and Kamalassan got under.
00:06:08You know, that I copied.
00:06:10So, what I did was.
00:06:12Left frame is empty.
00:06:13Chinna is running to the right.
00:06:15So, any moment the ghouls will enter the frame,
00:06:18they will divert you.
00:06:19The pole will be missing.
00:06:21Yeah.
00:06:22Sir, any year of the revist,
00:06:24Shiva, the Chinna scene,
00:06:26the pole scene,
00:06:27he is also tall, he is also strong,
00:06:30he could have easily handled eight people, nine people.
00:06:32The pole is weak ahead.
00:06:35Psychologically also,
00:06:38because you gave so much time with the shadows running,
00:06:40all that effect.
00:06:41Yeah.
00:06:42So, we are thinking also while we are watching.
00:06:43After that, in the rest of the sequence,
00:06:45he constantly replayed.
00:06:47Yes.
00:06:48The confidence on over.
00:06:49Yeah.
00:06:50Even for that letter, he comes to the Kiranastore.
00:06:52He was also with that.
00:06:53That gave a thought.
00:06:55That's what I am saying.
00:06:56Like everything.
00:06:57Yeah.
00:06:58Even that Subalek Sudha Gargar,
00:06:59that Kazipeta chase,
00:07:01that fight,
00:07:02Metador van.
00:07:03And him going behind,
00:07:04and then we hear a sound.
00:07:05Yeah.
00:07:06And he comes back with the axe and this thing.
00:07:08Yeah.
00:07:09That he took from a film called Five-Man Army.
00:07:11Five-Man Army,
00:07:13Yeah.
00:07:14But it's effective.
00:07:15Yeah.
00:07:16Even whatever you said,
00:07:17wherever you got this inspiration or idea,
00:07:19this is more effective.
00:07:20Yeah.
00:07:21It's not so effective.
00:07:22Yeah.
00:07:23It's not so effective.
00:07:24Yeah.
00:07:25It's just that you need to have that blunder.
00:07:26Everything evolves, sir.
00:07:27Everything evolves from somewhere.
00:07:28Yeah.
00:07:29In the evolution,
00:07:30when you realize something happened,
00:07:31obviously you have the liberty to better it.
00:07:33For that age,
00:07:34only hard hitting things were remained.
00:07:35Yeah.
00:07:36Yeah.
00:07:37Yeah.
00:07:38I think I saw that film, sir.
00:07:39Yeah.
00:07:40Yeah.
00:07:41Yeah.
00:07:42Yeah.
00:07:43Yeah.
00:07:44Yeah.
00:07:45Yeah.
00:07:46Yeah.
00:07:47Yeah.
00:07:48Yeah.
00:07:49Yeah.
00:07:50Yeah.
00:07:51Yeah.
00:07:52Yeah.
00:07:53Yeah.
00:07:54After a while, then the songs,
00:07:55then the story,
00:07:56then the screenplays,
00:07:57then the entire totality of effect of Shiva.
00:07:58Yeah.
00:07:59Me and Nago were just talking.
00:08:00Shiva is the only film which doesn't have a story.
00:08:03Actually,
00:08:04if we do a story,
00:08:05you know.
00:08:06If it's a film,
00:08:07you don't have to get into it.
00:08:08You don't have to get into it.
00:08:09You don't have to get into it.
00:08:10You don't have to get into it.
00:08:11At some point,
00:08:12he went out.
00:08:13And he had to finish it.
00:08:15It doesn't have a story.
00:08:17It's a man standing up for his rights.
00:08:19Yeah,
00:08:20That is the character.
00:08:21That is the thing.
00:08:22That is the character that caught.
00:08:23So what happens, I feel, the lesser the story, you have more time to build a scene.
00:08:29You see, many of the Shiva's actions is,
00:08:32I have to go 4-0, I have to go 4-0, I have to go 4-0, I have to go 4-0, I have to go 4-0.
00:08:36All this is only one sequence.
00:08:38And it is coming from here to maybe around 10 minutes, then it is related, a scene is related.
00:08:44Because of that, you have the time to release and feel the impact of it.
00:08:49But the one moment that too much of the story is there,
00:08:51See, one of my favourite cuts in that day,
00:08:54if you don't know the narration, close up, at point of view,
00:08:59and a little bit of a door open.
00:09:07And Nagajuna comes, he sees them, and cut to bite at the scene,
00:09:11and it is a glass breaking.
00:09:19So you go out a bit, you get out a bit of what you say about it.
00:09:23He would have hit at the scene, he would have hit at the scene,
00:09:25and he would have to kick out at the scene,
00:09:26and then he would have to learn the skills in each of the rooms.
00:09:27So now, you can point out to the scene or the scene of this scene,
00:09:29and then you can point out,
00:09:30and call me for this scene because we have to take off the scene,
00:09:32a little bit of some kind of a bit.
00:09:34Or tell me, what should that happen?
00:09:35And then they will have to get the scene.
00:09:35So you just ask me for this.
00:09:37And I would just tell my heart that I am going home to a hospital,
00:09:39so that we'll talk about it.
00:09:40But having taken a liberty of
00:09:42Tuck-tuck-tuck to me, I am saying that.
00:09:44Yeah, yeah, that's very effective.
00:09:47I basically understood that from a Charlie Chapman film.
00:09:51I saw a 1921 film.
00:09:54Beginning shot of a jail-bite camera.
00:10:03Poster and a student.
00:10:04And a poster of Charlie Chapman's jail closed.
00:10:08Cut to the scene, he was shot of a lake.
00:10:12A fat guy.
00:10:14He suddenly sees and the camera tilts down.
00:10:16Jail closed.
00:10:17Cut to the station, Charlie Chapman oversize clothes.
00:10:20He is getting onto a train.
00:10:21And in the wood shot, he was shot of a bottle.
00:10:27So, and I felt, but the one thing if you notice,
00:10:32the stay on the face,
00:10:34even if it comes as a jerk.
00:10:41But when they see, they have the time to see the emotion on Nagarjuna's face.
00:10:46Yeah.
00:10:46That is why it works.
00:10:48I don't think it will be the same film, though it is the same story.
00:10:57Because eventually, the film is an emotional impact.
00:10:59It is not about telling the story.
00:11:01Yeah.
00:11:02And also, on top of that, like character,
00:11:06if he is not melodramatic,
00:11:09if he is like Sudhakar, he is his closest friend.
00:11:12And, man, thakkan, he has got a feeling.
00:11:14He is just looking sad.
00:11:15That's it.
00:11:27That's it.
00:11:28That's it.
00:11:33Yeah.
00:11:33Yeah.
00:11:34Yeah.
00:11:34You know?
00:11:35You, anybody at that time, or even now,
00:11:38expect Nagarjuna to go running to wherever Raghuvera needs to kill him.
00:11:42Yeah.
00:11:43But that logic,
00:11:44Dhan Molaniyem avwadho,
00:11:45aneya logic tootte aage duhani,
00:11:47baiet toot aage duhani,
00:11:49you don't need to explain that.
00:11:50People will feel it.
00:11:51Yeah.
00:11:52The number of shots used to tell a scene in Shiva
00:12:13are very less compared to a regular cinema.
00:12:16Even compared to a blockbuster film also,
00:12:18you convert so many things in.
00:12:21And a conventional scene low cut,
00:12:23if you use 25 shots,
00:12:24you are using only 7 or 6.
00:12:26Yeah, but what we noticed at that time,
00:12:28and we were also talking about it,
00:12:30that though the shots were less in that scene,
00:12:34the number of scenes were high.
00:12:36Yeah.
00:12:37Every 30 seconds, 45 seconds, it cuts.
00:12:39Yeah.
00:12:40Yeah.
00:12:40It goes off to Charlie Chaplin,
00:12:42they explain it.
00:12:43Yeah, yeah.
00:12:43It moves.
00:12:44Yeah.
00:12:45And also, you see,
00:12:46that made,
00:12:47that gave the pace to the film, I believe.
00:12:49The pace of the Shiva came from the number of shots,
00:12:53locations, moving, moving, moving.
00:12:55And sir, one more thing I want to tell you,
00:12:56because after seeing it so many times,
00:12:58so many new things are there in Shiva.
00:13:00One thing is very,
00:13:02dialogue is so simple.
00:13:04Yeah.
00:13:05What do you mean Shiva every day?
00:13:06Shiva's dating.
00:13:08Rods tira.
00:13:09China Rods tira.
00:13:11China Rods tira.
00:13:12China Rods tira.
00:13:13Yeah.
00:13:14Yeah.
00:13:15Bawani gadi chepa,
00:13:16Bachcha vesele,
00:13:17something.
00:13:18Yeah, yeah.
00:13:19Very all simple lines.
00:13:20If you go to the Bawani gadi,
00:13:21you can't say anything,
00:13:22you can't say anything.
00:13:23You can't say anything.
00:13:24You can't say anything.
00:13:25You can't say anything.
00:13:26Now, I don't know the dialogue paper.
00:13:27I don't know the dialogue paper.
00:13:28Yeah.
00:13:29Because of the effect of the sound,
00:13:31cut, presentation is so high,
00:13:33so on the top of the game that,
00:13:34those days,
00:13:35even now I feel that.
00:13:37Dialogue was simple,
00:13:38which worked.
00:13:39Yeah.
00:13:40I feel for that end of presentation,
00:13:42any rhyming dialogue or any dialogue,
00:13:44lanty dialogue,
00:13:45will not work, I think.
00:13:46Yeah.
00:13:47It was,
00:13:48throughout it is simple.
00:13:49Even Amalagar said,
00:13:51you know,
00:13:52why don't you shift to the hostel?
00:13:53Why don't you do your part-time job?
00:13:54Then you will say like,
00:13:56you know,
00:13:57don't tell me,
00:13:58I'll feel bad.
00:13:59Yeah.
00:14:00Yeah.
00:14:01Spoken lines.
00:14:14Yeah.
00:14:15Yeah.
00:14:16That is the only thing I did.
00:14:18But,
00:14:19and that is where the relatability and connectivity comes.
00:14:22Yeah.
00:14:23For example,
00:14:25an interesting thing,
00:14:27this Irani cafe set-up related.
00:14:30Well,
00:14:31someone told me,
00:14:32Shiva is the first film ever,
00:14:33where we saw Irani cafe.
00:14:35Everybody knows Irani cafe,
00:14:37you know.
00:14:38Yeah.
00:14:39But after college,
00:14:40I remember going to Irani cafe.
00:14:42Correct.
00:14:43Yeah.
00:14:44All the time.
00:14:45Sir,
00:14:46even that Kirosil's tough effect was superb.
00:14:47Yes.
00:14:48Yeah.
00:14:49Because,
00:14:50manan onnan laa andti,
00:14:51manan choosin laa andti,
00:14:52chawte jarugutana,
00:14:53believability factor and it becomes,
00:14:54yeah.
00:14:55Yeah.
00:14:56And Shiva is the first film,
00:14:57when the ambassador cars became,
00:14:58popular,
00:14:59you know.
00:15:00Yeah.
00:15:01And they look like characters.
00:15:02Yeah.
00:15:03And the sound was starting,
00:15:04opening sound,
00:15:05you know.
00:15:06Yeah.
00:15:07Because all these,
00:15:08Vijaywada batteries.
00:15:09First time the convoys started.
00:15:10Yeah.
00:15:11Yeah.
00:15:12No,
00:15:13Vijaywada Raudi,
00:15:14you know.
00:15:15Even for a villain to throw a challenge also,
00:15:17with a big deal with the dialogues,
00:15:18you know.
00:15:19Yeah.
00:15:20Because all these Vijaywada batteries.
00:15:21First time the convoys started.
00:15:22Yeah.
00:15:23No,
00:15:24Vijaywada Raudi,
00:15:25you know.
00:15:26Even for a villain to throw a challenge also,
00:15:27with the dialogues,
00:15:28you know.
00:15:29with the dialogues,
00:15:30you know.
00:15:31Just,
00:15:32Nanaji,
00:15:33you know.
00:15:34Just one track up from the back,
00:15:35that's it.
00:15:36Yeah.
00:15:37There's not even straight faces.
00:15:38No,
00:15:39Ah,
00:15:40Ah,
00:15:41short loo,
00:15:42I know,
00:15:43the a stender a draudu,
00:15:44Ah,
00:15:45Ah,
00:15:46ah,
00:15:47Short loo,
00:15:48the a stender a draudu,
00:15:49a kuncho,
00:15:50chinnma light switcher,
00:15:51and the cement patch on,
00:15:52I think they did some repair or something.
00:15:53Ah,
00:15:55ah,
00:15:56ah,
00:15:57ah,
00:15:58ah,
00:15:59a kuncho,
00:16:00a kawar jaadu,
00:16:01ragu garan phae stho.
00:16:02And then,
00:16:03any,
00:16:04that is indicative of the character of Bhavani,
00:16:06after production design,
00:16:07designed here.
00:16:23So subconsciously it also tells you the kind of a man.
00:16:31For example, you are on the road.
00:16:34And the lorry is bigger than the car, but you have fear under the way.
00:16:39Fear is the same. If the lorry is a loose bumper,
00:16:44that scares you more than a neat looking lorry.
00:16:49Both of them, probably the neat looking lorry could be more powerful.
00:16:52But subconsciously, without you consciously thinking,
00:16:56you get scared of the man behind that wheel.
00:16:58So, the villain has a neat house.
00:17:01It's just one table. It's a dark room.
00:17:13But that is the whole point.
00:17:15A dirty looking house, he might be more dangerous compared to a guy living in a clean house.
00:17:21True.
00:17:22But those days when you heard his narration, sir, you trusted him.
00:17:26You didn't try to judge him, right? You thought like this is all new.
00:17:29No, the sensibility is matched.
00:17:32But compared to those days when you heard my vene kadal.
00:17:35I was having a miserable time.
00:17:38A kadal, chestha, hinta houtu nai, but not my sensibilities.
00:17:43Okay.
00:17:44I don't want to pick out films.
00:17:46There are films that, these things, whatever I have done,
00:17:50It wasn't, I felt I was not enjoying it.
00:17:55Okay.
00:17:56It was not my sensibility.
00:17:57When I spoke to Ramu when we had a lot of conversations.
00:18:01First of all, I like the sensibilities.
00:18:03I was able to talk and he gave the story.
00:18:06It was nice.
00:18:07I didn't know he was going to shoot it like that.
00:18:09I had a lot of doubts.
00:18:11I had a lot of doubts.
00:18:12I had a lot of doubts.
00:18:13We were all in the cinema.
00:18:15We had no introduction.
00:18:17We didn't see anything like that.
00:18:19I just gave, gave in, surrendered.
00:18:29See, everyone will have different memories.
00:18:33Especially something which happened 34 years back.
00:18:36I didn't have a lot of gurus.
00:18:38I was shooting Agimputul.
00:18:40Climax of Ajasran.
00:18:42I narrated Naresh's death scene.
00:18:46So I could see the impact what he felt.
00:18:48I said, that will be far more effective than what you are shooting here.
00:18:52I mean.
00:18:53And I could communicate that.
00:18:55You know, my narration is very short detail.
00:18:58The sound of the music.
00:19:00So I think he trusted.
00:19:02He started trusting my clarity.
00:19:05Apart from the sensibility.
00:19:07That I can visually narrate instead of seeing just the content of the scene.
00:19:18Sensibility and clarity.
00:19:30They both.
00:19:31Yeah.
00:19:32Simple.
00:19:33Sensibility where you are able to talk to your director.
00:19:36And your director is able to convince you.
00:19:38And you are on the same wavelength.
00:19:40Half the battle is won.
00:19:41So.
00:19:42And where I, at that point, what I was doing, I was not happy.
00:19:46Yeah.
00:19:47I was not at all happy what they were giving me.
00:19:49So, Sandeep, I am sure you would have gone through your own experiences.
00:19:52But here, Nagarjuna, Lahanti, Ramakupala, Baler, Thistate, one day,
00:19:58Thien, Thien, Eyal, Gata.
00:20:00Yeah, yeah, true.
00:20:01See, because a film has got so many people involved.
00:20:04Probably, the Prudhant, Nagarjuna, the sensibility of the audience.
00:20:09He also has to be convinced.
00:20:11He is catering to an audience.
00:20:12True.
00:20:13True.
00:20:14Already, in the film, he is a hit.
00:20:16All the audience, he says,
00:20:18All the audience, he says,
00:20:19That's the point.
00:20:20That's the point.
00:20:21That's the point.
00:20:22You don't have any film.
00:20:23That's the point.
00:20:24That's the point.
00:20:25That's the point.
00:20:26Yeah.
00:20:27Correct.
00:20:28That becomes the parameters.
00:20:29That's the parameters.
00:20:30What's the point.
00:20:31Yeah.
00:20:32So, when you have some such different scenes in Arjun Brady and Animary,
00:20:36the actors, did they have a doubt?
00:20:40Did they have a kind of...
00:20:41Ranbir never had a doubt, sir.
00:20:43Ranbir said something.
00:20:44Everything is so new.
00:20:45There's no reference.
00:20:46Already, you are highly successful because of Kabir and Arjun Brady.
00:20:49I don't want to help you.
00:20:50Right?
00:20:51I understand.
00:20:52At that time, I was doing Brahmastra.
00:20:54He was only talking about the animal he was going to start.
00:20:59Okay.
00:21:00He hadn't started animal.
00:21:01Okay.
00:21:02Yeah.
00:21:03He was going to start.
00:21:04He was pulling out Arjun Reddy.
00:21:06He wasn't pulling out the Hindi version.
00:21:09Hmm.
00:21:10He was pulling out the Telugu version.
00:21:12Okay.
00:21:13Yeah.
00:21:14And showing these scenes, some scenes.
00:21:16Okay.
00:21:17And there was...
00:21:18I remember one sequence where I think in Arjun Reddy where Vijay is kissing a girl.
00:21:24Yeah.
00:21:25Yeah.
00:21:26Yeah.
00:21:27He was showing.
00:21:28Look how real it is.
00:21:29Yeah.
00:21:30Yeah.
00:21:31Okay.
00:21:32Okay.
00:21:33He was...
00:21:34I remember these.
00:21:35Yeah.
00:21:36Yeah.
00:21:37He was very very excited to start that film.
00:21:38Yeah.
00:21:39Yeah.
00:21:40He was very excited about that.
00:21:41Yeah.
00:21:42Yeah.
00:21:43Yeah.
00:21:44Yeah.
00:21:45Yeah.
00:21:46Yeah.
00:21:47Yeah.
00:21:48Yeah.
00:21:49Yeah.
00:21:50Yeah.
00:21:51Yeah.
00:21:52I think you would think that will this turn off one section of the audience.
00:21:57Maybe the so-called family audience or you never thought about it like that?
00:22:02Yeah.
00:22:03I thought it was a youngster's film .
00:22:05So it's TG, a targeted audience person.
00:22:08Yeah.
00:22:09Yeah.
00:22:10Yeah.
00:22:11Yeah.
00:22:12Yeah.
00:22:13Yeah.
00:22:14Yeah.
00:22:15Yeah.
00:22:16Yeah.
00:22:17Yeah, just to tell you as a joke,
00:22:19I was addressing a couple of women,
00:22:23there was some problem with a man and a girl and a boy.
00:22:27So, the girl was saying,
00:22:28what's the problem with Arjun Redler's behavior?
00:22:34She was taking it as a negative.
00:22:36So, Sandeep, in the context,
00:22:42if you have to pick out three main things
00:22:46why you think Shiva was so impactful?
00:22:48What would you say?
00:22:49Sir, J.D. Panch Taravata, chain pulling shot.
00:22:53That is, I think.
00:23:05Recently Nagarjuna, he recently told me
00:23:08that he never believed in that shot.
00:23:10Sir, that impact, Arjun was six-track,
00:23:12four-track sound and all.
00:23:14There's no DTS.
00:23:15But Shiva came in Mono.
00:23:17Mono, Mono.
00:23:18Okay.
00:23:19Because in the theatre,
00:23:20that pedal thing was superb.
00:23:23It's not believing in the shot.
00:23:25The shot itself is believing the cycle change.
00:23:27But then I explained.
00:23:29The whole build-up to it.
00:23:31Completely build-up, build-up, build-up, build-up.
00:23:34You see, and the thing is, when Amla tries to stop him, he moves forward, he doesn't hurry.
00:23:42He takes his own time.
00:23:44And you can't see in his face what he's going to do.
00:23:59Yeah.
00:24:00And the first punch comes like a shocker.
00:24:01Yeah.
00:24:02I think that comes around 20th minute.
00:24:03Maybe around.
00:24:04Yeah.
00:24:05Yeah.
00:24:06But I think...
00:24:07He did a build-up of 20 minutes for that shot.
00:24:08Yeah.
00:24:09Yeah, yeah.
00:24:10Yeah.
00:24:12Yeah.
00:24:13Yeah, yeah, yeah.
00:24:14He's asking, he's asking very mildly.
00:24:17Not as if...
00:24:18What's this nonsense?
00:24:19How do you record this?
00:24:20He's like a curious bystander, he's actually asking.
00:24:23And he's surprised that why people are taking things.
00:24:25And you'll come in the middle of this one.
00:24:26It was very mildly, not as if
00:24:30What's this nonsense?
00:24:33It's like a curious bystander is actually asking.
00:24:36And he's surprised why people are taking things lying down.
00:24:39And you will come in the middle of the semester.
00:24:42That also actually gives this feeling that, you know,
00:24:46we also as an audience entered in the middle of the classroom.
00:24:48It gives that feeling.
00:24:50That was very heavily influenced by all of Bruce Lee's films.
00:24:54He comes from somewhere to a new place.
00:24:56And you see the entire ambience through his eyes.
00:24:59And there is awe factor for everybody in the surrounding people.
00:25:02Shiva, Shiva.
00:25:03Even in the surrounding friends, Buddha, friends.
00:25:07Everybody likes him.
00:25:08That all becomes the audience's point of your reaction.
00:25:10We were also feeling like that.
00:25:12So, this one's striking.
00:25:14Shiva, I think it comes seven, eight times in the film.
00:25:17From various characters.
00:25:18Shiva, I don't know.
00:25:20And also after, when Barani tells, Nanaji tells, Shiva Ndede.
00:25:28The reaction on, Andrei, that reaction tells you how much he heard about him.
00:25:33Yeah.
00:25:34How much he already knows about him.
00:25:36He's reflecting in Raghuram's expression without saying a dialogue.
00:25:39But as you said, you know, for people to talk what is Shiva's story outside for audience.
00:25:44Scenes like chain.
00:25:46Train gate.
00:25:47These were talked about scenes.
00:25:49All those are all.
00:25:50These were high on talked about scenes.
00:25:52Even Chinna Chase.
00:25:54Last Sapna Lok complex.
00:25:56The one day knife fight.
00:25:58Even they talked.
00:26:00And I remember people saying,
00:26:02Are a villain comes after one hour of the film.
00:26:04You know?
00:26:05Yeah.
00:26:06Those are all new.
00:26:07Yeah.
00:26:08And he just walks inside the college.
00:26:10And there were no other issues.
00:26:11Just walking against sunlight.
00:26:12So, when you were doing the railway gate scene,
00:26:15My assistant, Shiva Ndede.
00:26:17You know?
00:26:18He said,
00:26:19I'm like,
00:26:20You're a hero, villain.
00:26:21Where are you going?
00:26:22I don't know.
00:26:23I don't know.
00:26:24You're not going to be there.
00:26:25I don't know.
00:26:26No.
00:26:27He said,
00:26:28You're not going to be a van.
00:26:31I'm lucky.
00:26:32I said,
00:26:33You're not going to be a train.
00:26:34You're going to be a train.
00:26:35You're going to be a train.
00:26:36You're going to be a train.
00:26:37You're going to be a train.
00:26:39You're not go ahead.
00:26:41You're not going to be a train.
00:26:42You're not going to be a train.
00:26:43If you are running out of the city,
00:26:44shooting is level high.
00:26:47You're going to take energy after the fire.
00:26:49Myself,
00:26:50I know you have to rely on the front,
00:26:51devil's show,
00:26:51dialogue.
00:26:53I'm feeling back,
00:26:54I know my wife is standing up next.
00:26:58It wasn't a Laughs The longest time ago,
00:26:59See,
00:27:00He never has flown these lines.
00:27:02You said,
00:27:03Check-box,
00:27:04You're going to have to meet diferent.
00:27:05He said, see, I said,
00:27:08I'm going to tell you the location.
00:27:10Alfred Hitchcock said,
00:27:12where drama begins, logic ends, out of sight, out of mind.
00:27:15He said, what is it?
00:27:17He said, what is it?
00:27:18He said, I'm not going to tell you the location.
00:27:22I'm going to tell you the location, but I doubt it.
00:27:24You're off Bhavani after seeing how he...
00:27:26See, see, but that is my way of putting in animation.
00:27:28Why is Shiva special?
00:27:30Yeah.
00:27:31He's taking his own time.
00:27:32He's doing everything on his own terms and conditions.
00:27:35Because he's not speeding up, he's not...
00:27:37Yeah, and that warning works in La Rojlalo.
00:27:40Not hitting, not hitting.
00:27:41See, I'll promise you, I'll not do anything.
00:27:42Not doing anything.
00:27:43That was...
00:27:44It's very logical.
00:27:45Yeah.
00:27:45Absolute logical.
00:27:46I'm talking about 89, sir, that is...
00:27:48Yeah.
00:27:49You have to get a solution.
00:27:51You have to get a solution.
00:27:54You have to do what you want to do.
00:27:55You have to do what you want to do.
00:27:56I don't know, sir.
00:27:57Any films that I've watched,
00:27:58what Shiva shock is, that thick shock,
00:28:02even Avatar didn't give.
00:28:03Yeah.
00:28:04You know, that's my parametro, I think.
00:28:06Because for Telugu, at least Indian cinema,
00:28:08sound cut, everything changed.
00:28:10That's why everyone says,
00:28:11Tish, Tish, Tish, Tish.
00:28:12Yeah.
00:28:13Yeah.
00:28:14With a gun shot.
00:28:15Yeah.
00:28:16Shot, punch shot, everything changed.
00:28:17Everything changed.
00:28:18Yeah.
00:28:18Dishum.
00:28:19Dishum.
00:28:19Yeah.
00:28:20Dishum.
00:28:20Dishum.
00:28:21Dishum.
00:28:21Yeah.
00:28:22Dishum.
00:28:22Dishum.
00:28:23Dishum.
00:28:23Dishum.
00:28:24Dishum.
00:28:25Dishum.
00:28:26Dishum.
00:28:27I wish I did not have any questions.
00:28:28Yeah, he did not have any questions.
00:28:33All kinds of things started to add.
00:28:35Every film used to have that.
00:28:36Yeah, I think it would have to sing the character.
00:28:39Yeah!
00:28:40That sound effects.
00:28:41Yeah!
00:28:42For example, Raju Master, Iain Gokar,
00:28:46he doesn't see the composition.
00:28:49If the end is in the play, he doesn't understand.
00:28:53He will listen to the sound.
00:28:54The sound, he knows whether it is going as per what he can say.
00:28:58You know, first thing he can say, I don't want the sound from the mouth.
00:29:06And he got completely disoriented. He doesn't know how to judge it anymore.
00:29:09And Raju Master is the top guy at that time.
00:29:11Chiranjeeva Simala, Nagaarjuna, Vikrama, you know.
00:29:15So, when I was in the studio, in the past, I was a master.
00:29:20Okay, sure. And that's the narrative.
00:29:22So, this is what I wanted to do.
00:29:25That's what I wanted to do.
00:29:27Location, next day, night shooting,
00:29:30there was a lorry tire,
00:29:33lorry tire, bike,
00:29:35this is what I wanted to do.
00:29:37And Raju Master is the picture of a fighter.
00:29:39Five?
00:29:40Eight?
00:29:41Eight?
00:29:42Eight?
00:29:43Eight?
00:29:44Eight?
00:29:45Eight?
00:29:46Eight?
00:29:47Eight?
00:29:48Eight?
00:29:49Eight?
00:29:50Eight?
00:29:51Eight?
00:29:52Eight?
00:29:53Eight?
00:29:54Eight?
00:29:55Eight?
00:29:56Eight?
00:29:57Eight?
00:29:58Eight?
00:29:59Eight?
00:30:00Eight?
00:30:01Eight?
00:30:02Eight?
00:30:03Eight?
00:30:04Eight?
00:30:05Eight?
00:30:06Eight?
00:30:07Eight?
00:30:08Eight?
00:30:09Eight?
00:30:10Eight?
00:30:11Eight?
00:30:12Eight?
00:30:13Eight?
00:30:14set out. Just cancel everything. And he got upset.
00:30:18He said, you know, you have a film. And he tried to call Venkat.
00:30:23And you know, I almost was rude.
00:30:25Master, I am the director, I am the director.
00:30:28If you don't like me, I will go with him.
00:30:30You said that? Yeah.
00:30:32I said it and got it done.
00:30:34Come on, everyone is a punch.
00:30:36I am the cast at Raudu.
00:30:40There are no fighters in that scene.
00:30:42All of them are castred people.
00:30:44Remember that shot, the film is second shot.
00:30:46You are all walking.
00:30:47In the back, I remember that.
00:30:49And there is one smack on the head.
00:30:51And that fellow, the way he hits also, it is so real.
00:30:55Naresh is holding his head, he will just go and dance.
00:30:58Only one, two shots, something.
00:31:00You should know.
00:31:02You just saw it in the atmosphere.
00:31:06Even finishing now, you are just getting ready.
00:31:09The back shot, the camera moving towards the head.
00:31:13And after that, only one shot, he will just lift it and leave it.
00:31:15Yeah.
00:31:16That's it.
00:31:26Two things happenings.
00:31:27One, this guy has no expression, Ganesh.
00:31:30Yeah.
00:31:31And even the guys who are hitting also have no expression.
00:31:33Yeah.
00:31:34Because they are professionals.
00:31:34Yeah.
00:31:35They are not having a personal grudge against him.
00:31:37Yeah, I am content.
00:31:38Yeah.
00:31:39Yeah.
00:31:39Yeah.
00:31:40Yeah.
00:31:40Yeah.
00:31:41Yeah.
00:31:41Yeah.
00:31:42Yeah.
00:31:42Yeah.
00:31:43That juxtapose with the extreme pain of Naresh in his face, creates that.
00:31:46Yeah.
00:31:47Yeah.
00:31:47Also, when he is looking at the stone, Mohamdi pointed.
00:31:50Yeah, yeah, yeah.
00:31:51Correct, correct, correct.
00:31:52Yeah, yeah, yeah.
00:31:54He starts looking sideways.
00:31:55Okay.
00:31:56He knows what's going on.
00:31:57Yeah, yeah, yeah.
00:31:58Nothing.
00:31:59Oh, his eyes shift off sideways.
00:32:02You want to whack him onto the stone.
00:32:05And then, when he comes into the hospital, after opening the door, I use his double dissolve.
00:32:10Narajana's face too, only Narajana's face dissolves.
00:32:14That I took for a mad mass.
00:32:16Doubles dissolves.
00:32:17Yeah.
00:32:18If he is dissolving, I can't do it.
00:32:20No, no, no.
00:32:20His face is dissolved.
00:32:24Oh.
00:32:24When you are watching Narajana's face on the hospital bed.
00:32:27Oh, I didn't know about that.
00:32:28Yeah, yeah.
00:32:29Sir, one more thing I want to ask you.
00:32:32Raghuvaran was the first choice?
00:32:33Yeah.
00:32:34You never thought of anything?
00:32:35Because I needed a very intense actor.
00:32:37Ah, who's will know?
00:32:38Khanna da prabhaa karu no?
00:32:40Bilan sandhari or Hongar ju to?
00:32:42I couldn't imagine, you know.
00:32:44But obviously, there was a certain influence of Amar Sharif and Makana school.
00:32:50Yeah.
00:32:50You know?
00:32:52And Raghuvaran, I saw him in a Telugu film of Dasan Narayan Rao.
00:32:56Who's played the brother of some heroine.
00:32:59You know?
00:33:00Akkad you see the worst film.
00:33:01Yeah.
00:33:01That's the only film I saw before Shiva actually went.
00:33:03Ah, come on.
00:33:13Shiva Shiva Shiva Shiva Shiva Shiva Shiva Shiva Shiva Shiva
00:33:17Sir, you know, Bhavani character is probably a senior in the college.
00:33:21You know,
00:33:22He must have passed from the same college, because he also looks young in the film.
00:33:34He looks young and he also looks as classy, he doesn't look class.
00:33:41He was a very good looking guy, a classy guy.
00:33:47Generally, Raghuram.
00:33:49Yes, correct.
00:33:50And Ganesh's character, he was an actor, casting as well.
00:33:55Ganesh's character.
00:33:56He was accompanying him and I cast him.
00:34:00Okay.
00:34:01Sir, I never saw him again in any of the films.
00:34:03No.
00:34:04It was strange.
00:34:07After all that name he got, he never did a single film in his career after Shiva.
00:34:12Maybe he was not interested.
00:34:13Maybe, could be that.
00:34:14And since, because the dialogues were all very simple.
00:34:16Yes, sir.
00:34:17Yes, sir.
00:34:18Yes.
00:34:19Ganesh, first time when he comes to warn Nagarjuna.
00:34:22He said,
00:34:24He said,
00:34:27He told me,
00:34:28He said,
00:34:31He said,
00:34:33He said,
00:34:35That has nothing to do with Mohanbaba.
00:34:38I know, I understand.
00:34:39The star is directing all that.
00:34:40Yeah.
00:34:41He won't fit in this acting ambience.
00:34:42Yeah.
00:34:43He said,
00:34:45He said,
00:34:46But his confidence of who is backing him is giving him that power.
00:34:50He said,
00:34:51He said,
00:34:52He almost talks as if he really means it.
00:34:57Yeah.
00:34:58Yeah.
00:34:59He talks like he is talking to a school kid.
00:35:01Yeah, yeah.
00:35:02Correct.
00:35:03He said,
00:35:04He said,
00:35:05He said,
00:35:06Yes, yes.
00:35:07We are college.
00:35:08He said,
00:35:09He said,
00:35:10He said,
00:35:11He said,
00:35:12He said,
00:35:13He said,
00:35:14He said,
00:35:15He said,
00:35:16He said,
00:35:17He said,
00:35:18He said,
00:35:19He said,
00:35:20He said,
00:35:21I used to hang around with a lot of dadas.
00:35:25I know how they behave.
00:35:27He said,
00:35:28So, obviously,
00:35:29Otherwise,
00:35:30I am sure it is also influence of some films also.
00:35:33But in real life,
00:35:34I have seen these people.
00:35:35Which is the reason I have,
00:35:37I mean,
00:35:38I have to settle.
00:35:40I mean,
00:35:41He said,
00:35:42He said,
00:35:43He said,
00:35:44He said,
00:35:45He said,
00:35:46He said,
00:35:47He said,
00:35:48He said,
00:35:49He said,
00:35:50He said,
00:35:51He said,
00:35:52He said,
00:35:53He said,
00:35:54It is a valid point.
00:35:55Yeah.
00:35:56But I felt,
00:35:58He said,
00:35:59He said,
00:36:00Yes,
00:36:01Yes,
00:36:02There were examples.
00:36:05It's not that we,
00:36:06Godfather would make.
00:36:07I don't know,
00:36:08they talk very in conversation.
00:36:09They talk,
00:36:10The impact which is not,
00:36:11That's what I want to do.
00:36:12The first time you saw was,
00:36:13When you were 9 years old.
00:36:14On screen.
00:36:15On screen sir.
00:36:16And we went,
00:36:17Everybody planned such a way,
00:36:18That we will go on release day.
00:36:19I saw it in the Gemini Theatre in Varangal.
00:36:21So what pulled you to,
00:36:22To go on the release day?
00:36:23So all my,
00:36:24Cousins,
00:36:25My brothers were talking about this film sir.
00:36:26I don't know how it caught that attention before the release.
00:36:28Already,
00:36:29Before,
00:36:30Probably the posters.
00:36:30Of the posters,
00:36:31Maybe the songs,
00:36:32I don't know.
00:36:33Posters,
00:36:34Songs,
00:36:35Songs,
00:36:36But the trailer is still?
00:36:37No,
00:36:38No,
00:36:39So,
00:36:40Only posters.
00:36:41So,
00:36:42Only posters.
00:36:436.30 show,
00:36:44Evening,
00:36:456.30 show.
00:36:46And also,
00:36:47The first time,
00:36:48Nagarjuna was not used much.
00:36:49It was like,
00:36:50Just a silhouette to,
00:36:51Yeah.
00:36:52Velvicate silhouette to,
00:36:53Lapathes,
00:36:54Cycle chain,
00:36:55Fisto.
00:36:56And Nagarjuna's face is in the logo.
00:36:57Yeah.
00:36:58You know?
00:36:59I think it just attracted everyone.
00:37:00It's attention.
00:37:01Even the JD fight sir,
00:37:02The entire college chase,
00:37:04When he was falling on the crowd,
00:37:06That was so new.
00:37:19What did you feel,
00:37:21As you were watching?
00:37:22I mean,
00:37:23I'm trying to get,
00:37:24Not your nine-year-old memory,
00:37:25Or any,
00:37:26This thing.
00:37:27Your friends who were older.
00:37:28Yeah.
00:37:29Was it shocked?
00:37:30Yeah.
00:37:31I think they were all in shock sir.
00:37:32Because,
00:37:33They spoke a lot.
00:37:34I mean,
00:37:35Shiva released,
00:37:36And a lot of people,
00:37:37They went for immediately the next show.
00:37:39Yeah.
00:37:40Yeah.
00:37:41Yeah.
00:37:42Yeah.
00:37:43Yeah.
00:37:44Yeah.
00:37:45Yeah.
00:37:46Yeah.
00:37:47Yeah.
00:37:48That iconic jacket shot,
00:37:51With a little collar,
00:37:52That silhouette was.
00:37:54Yeah.
00:37:55See,
00:37:56What Nagarjuna said,
00:37:57It reminds me,
00:37:58Like,
00:37:59In the morning show.
00:38:01After the morning show,
00:38:02Venkat called some distributor,
00:38:04In somewhere.
00:38:05Yeah.
00:38:06Yeah.
00:38:07It was silent.
00:38:08It was a reaction,
00:38:09Like,
00:38:10Nobody understood what,
00:38:11Because,
00:38:12There was a shock.
00:38:13There was nothing.
00:38:15So,
00:38:16Then,
00:38:18He only called in the evening,
00:38:19And said,
00:38:20Silent content,
00:38:21Because,
00:38:22It was a shock.
00:38:23They were stunned,
00:38:24They were stunned with the film.
00:38:25And,
00:38:26That film,
00:38:27The truth was revealed.
00:38:32Yeah.
00:38:33So many,
00:38:34So many,
00:38:35Shorts in between,
00:38:36As you said,
00:38:37Like,
00:38:38Cut to cut.
00:38:39So,
00:38:40Basically,
00:38:41My bad and good,
00:38:42I am very impulsive,
00:38:43And,
00:38:44I am very impatient.
00:38:45I want things to move fast.
00:38:46So,
00:38:47Which is also the good and bad part of me.
00:38:48So,
00:38:49The cuts came,
00:38:50The moment is,
00:38:51I remember one scene,
00:38:52Brother and wife,
00:38:54They are talking,
00:38:55And,
00:38:56She is complaining about,
00:38:57He becomes a burden,
00:38:58He got all one.
00:38:59Yeah.
00:39:00If I will,
00:39:01You will say,
00:39:02My,
00:39:03Your,
00:39:04Your,
00:39:05My,
00:39:06My,
00:39:07Your,
00:39:08My,
00:39:09Your,
00:39:10Your,
00:39:11You're in the same,
00:39:12And,
00:39:14My,
00:39:15Your,
00:39:16Your,
00:39:17My,
00:39:18The other,
00:39:19Surendra,
00:39:20In the same,
00:39:21How can he sit and talk?
00:39:22And,
00:39:23That was a major thing of a brothers,
00:39:26Party,
00:39:27That is,
00:39:28That is emotional of the scene.
00:39:29But I said, see, this is not a brother's story, this is between Shiva and Bhavani.
00:39:34So, I need to give the information that he came out.
00:39:37So, I need to give the information that he came out.
00:39:41That's why I had a conversation with him.
00:39:43That's why I didn't do the information.
00:39:47So, that whole thing, I didn't do the lines.
00:39:50And, sir, as a character also, you are very reluctant, sir.
00:39:53He doesn't want to fight. You are dragged into it.
00:39:55That was very clearly established with your body language.
00:39:58With those minimum dialogues.
00:40:00He said this conversation with the brother.
00:40:02This shows this character that he doesn't want that.
00:40:04He wants to study and do something in life.
00:40:06Like Michael Corleone.
00:40:08He was interested in marine.
00:40:09Correct, correct.
00:40:10He was dragged into the business laga.
00:40:12In Kandula, a little deliberate nature tells us because his father is there.
00:40:16Here, it's just a normal society in college.
00:40:18But he stands up for his rights. He can't be put down.
00:40:20He will mind his own business, but that's the character of Shiva.
00:40:23Do you see this fact, Taratakura, the reason what you give to the principal also?
00:40:27You don't have the guts to stand up to people who are disturbing everyone.
00:40:29And when I am taking that into my hands, you are questioning me.
00:40:31And he says it with emotionally hurt voice.
00:40:33That scene also stays in a very simple way.
00:40:35Even the professor walks out when JD throws a paper.
00:40:37He's like,
00:40:39He's like,
00:40:43I don't have the guts to stand up to people who are disturbing everyone.
00:40:45And when I am taking that into my hands, you are questioning me.
00:40:47And he says it with an emotionally hurt voice.
00:40:49That scene also stays in a very simple way.
00:40:51Even the professor walks out when JD throws a paper.
00:40:55He's like,
00:40:57How many people do this film?
00:40:59I don't have the guts to stand up to people.
00:41:01And he says it with an emotionally hurt voice.
00:41:03He's like,
00:41:04I don't have the guts to stand up to people.
00:41:05I don't have the guts to stand up to people.
00:41:06I don't have the guts to stand up to people.
00:41:07I don't have the guts to stand up to people.
00:41:08The professor quietly walks out.
00:41:09Yeah.
00:41:10He doesn't say anything.
00:41:12Yeah.
00:41:13Because that is his own sense of dignity.
00:41:14Yeah.
00:41:15He doesn't have the guts to stand up to people.
00:41:16Yeah.
00:41:17Then we will have the guts to stand up to people.
00:41:18Yeah.
00:41:19But, I mean, I wouldn't say.
00:41:20I don't know if it is surprising or how to describe.
00:41:21For 35 years after a film that he is,
00:41:23he was still remembering small souls like New Orleans.
00:41:25He is remembering the lecturer how he walks away.
00:41:26And it is not even an important scene.
00:41:27Yeah.
00:41:28But that's what I am saying.
00:41:29Everything impacted actually.
00:41:30Everything was so new.
00:41:31Yeah.
00:41:32I watched now after they read it.
00:41:33Of course, the last time I watched it was on the big screen.
00:41:35And I never watched it again.
00:41:36I never watched it again.
00:41:37Yeah.
00:41:38Yeah.
00:41:39Yeah.
00:41:40Yeah.
00:41:41Yeah.
00:41:42Yeah.
00:41:43Yeah.
00:41:44Yeah.
00:41:45Yeah.
00:41:46Yeah.
00:41:47Yeah.
00:41:48Yeah.
00:41:49Yeah.
00:41:50Yeah.
00:41:51Yeah.
00:41:52Yeah.
00:41:53Yeah.
00:41:54Yeah.
00:41:55Yeah.
00:41:56Yeah.
00:41:58I watched it.
00:41:59Ok.
00:42:00That was about 10, 5 years ago.
00:42:02Yeah, 10 years.
00:42:0410 years.
00:42:05Ten years ago 4K digitalized.
00:42:06You did not 25th anniversary.
00:42:07Yeah.
00:42:08Yeah.
00:42:09The sound was not matching to the visual.
00:42:11Something was going.
00:42:12Now what they have done it really shocked me.
00:42:16In two and half hours I was there.
00:42:18I was stunned.
00:42:19And I was thinking why aren't we doing sound design like this now?
00:42:24Yeah.
00:42:25Why are we not doing it? Our films are sounding like cacophony.
00:42:32You go to the theatre, you come out with deaf ears and ringing ears.
00:42:38Too much sound here. It was the way they use this now.
00:42:43Because Ramo has been sitting on it for six months with the engineer and all of that.
00:42:48And how they pulled out all the separate tracks.
00:42:52It is quite a stunning effort and the experience is going to be as stunning.
00:43:00Because I didn't think they will pull it off.
00:43:04When we see rerun films, we have gotten used to the sweet sound and whatever clarity of sound and everything.
00:43:16And there is a mono track playing.
00:43:18Though you converted to the cinema, the music will sound terrible, Ramo.
00:43:25Yeah, of course.
00:43:26Terrible.
00:43:27So you did an entire rework.
00:43:28Yeah.
00:43:29It is a true Dolby Atmos.
00:43:31Yeah, see basically the music used AI apps to completely segregate them into different tracks and remix in Atmos.
00:43:39So it is going to be a stunning experience.
00:43:44Yeah.
00:43:45The sound I first experienced in Mechanus Gold.
00:43:49The soundtrack and the importance of the horses, hoops, the echo of a gunshot in the firing in the desert kind of an area.
00:43:58To hear the echo, that kind of a stunning design.
00:44:01First time I noticed as a viewer is Mechanus Gold.
00:44:04Which is what I was trying to recreate.
00:44:07Atmos.
00:44:08Atmos.
00:44:09Today, the echo of the surround speaker, a distant dog is howling or something in terms of the chirping sounds.
00:44:20All that will completely immerse you as if you are there in the scene.
00:44:25Distance dog and a nourish scene.
00:44:27Yeah.
00:44:28Correct, correct.
00:44:29Yeah.
00:44:41You know the footsteps thing, everything, that fire burning, what you are talking about, the stuff.
00:44:46Yeah, the stuff, yeah.
00:44:47The speakers are talking about.
00:44:55No, no, no, everything was stunning, I am sure.
00:44:57You have also used an animal sound very well.
00:45:00Yeah, sir.
00:45:00Unlike the rest of the films that come around, around during.
00:45:04Yeah.
00:45:04I mean, you use sound, animal.
00:45:06Natural sound actually gets, because if Ganesh is crossing the road, you hear the sound of a crow.
00:45:16And the sound of the melodramatic scenes, this is what I was like.
00:45:20You can't even put that.
00:45:21So, the moment you are recreating as you really happen, every small sound makes a.
00:45:26No, but what I am saying is, Ramu, yes, this made so much of an impact then.
00:45:31Hmm.
00:45:32What you are talking about.
00:45:33Yeah.
00:45:34But right now, people are going to get another shock.
00:45:37Hmm.
00:45:38The sound, yeah.
00:45:39Because I am not talking about 36 years back.
00:45:42I am not talking about this thing.
00:45:45I am comparing it to the latest movies.
00:45:48Superb, yeah.
00:45:50I am comparing it to the latest movies which are released.
00:45:53Why aren't they mixing tracks like this?
00:45:56This is something new, very interesting.
00:45:57This is what I am going to tell you.
00:45:58Yeah.
00:45:59It is not what that Kaka or whatever.
00:46:01Yeah, yeah, yeah.
00:46:02You did.
00:46:03It is going to give the same.
00:46:07Yeah.
00:46:08Impact.
00:46:09Sound is going to blow them away.
00:46:11I would mean, some of the college students, which I know.
00:46:14I have shown it to some few people who have watched.
00:46:19Yeah, yeah.
00:46:20They are all there.
00:46:21And most of the college students, of course, have seen it on TV.
00:46:25Yeah, yeah.
00:46:27Yeah, yeah.
00:46:27A prime video, you know.
00:46:29Yeah, yeah.
00:46:30What are they shocked?
00:46:32Yeah.
00:46:33They are shocked at the climax.
00:46:36Yeah.
00:46:37The end fight between Raghu and Raghu.
00:46:39Yeah.
00:46:39They are talking about the wind whistling all around.
00:46:42Yeah.
00:46:43It is going in around the theatre.
00:46:45Yeah.
00:46:46And the slash of the knife.
00:46:49Hmm.
00:46:50And the bottle.
00:46:52Yeah.
00:46:53That fight, sir.
00:47:17That very interesting thing about the fight was, we had a lot of fights.
00:47:22It was a lot of fights.
00:47:25Yeah, yeah.
00:47:26When they were in a fight, it was the first time.
00:47:30It was a serious thing.
00:47:31I mean, like, if we can talk about the fight, we can leave it.
00:47:35Yeah, yeah.
00:47:36If it was like, in the past, we are just going to go to the hospital.
00:47:38Yeah, yeah.
00:47:39It was a lot of fights.
00:47:40So even that was very...
00:47:41Yeah.
00:47:42And in the short period, Raghu Arang had been getting a lot of fights.
00:47:46Yeah.
00:47:47Yeah.
00:47:47Yeah.
00:47:48Because they were turning, right?
00:47:49Yeah.
00:47:50So it was...
00:47:51Yeah.
00:47:51and what the body is mentioning about the fight and you can almost there is one particular shot
00:47:58I can't get over that. He just hits him from a low angle uppercut. The sink of Raghuram falling
00:48:06back and with his own thing him just lifting little Nagarjuna. I don't remember seeing anything
00:48:12like that. That's a fantastic shot. And then he is also exerting. He came running, he ran
00:48:24up the staircase and all that. That shows the human aspect of it. He is vulnerable and because
00:48:30of that the courage and the impact is much more because of it. That atmosphere, air effect,
00:48:36you know, that open air in the centre of the city on the top floor. That itself gave an
00:48:41impact, sir. Other than people fighting, the atmosphere also gave an impact.
00:48:44But somewhere I remember there was a lot of love. I don't know how Ramu transcended that
00:48:50onto the unit. The unit when I mean the lightmen, the electricians and the set work people, all
00:49:01of that. I don't know how we convinced them and there was a lot of love. For example, you
00:49:07were talking about the sequence. Yeah. You know those huge propellers we used. Yeah. Yeah.
00:49:12That had to be lifted. Yeah. Eight floors up. Yeah. And you see, I, the Humain Nani is an
00:49:18anapolist who used to work as chief electrician. I asked him, you know, you have to do this. I mean,
00:49:24and on the day of the shooter is not getting ready. So, they had to dismantle it and carry it across
00:49:31and then to reassemble. And it's a heavy motors and you can't, this is about nine.
00:49:36It's a diesel engine. Yeah. It's a huge diesel engine.
00:49:39It's a nine stories. This is a new thing, sir. Nine or ten stories. No. I thought it's a real
00:49:43effect. So, on, on the day. Yeah. See, on the day of the shoot, it was getting delayed because
00:49:51it was not getting ready. Machine. Yeah. And Surindra was getting edgy because time
00:49:56wastes. I was able to do it. I didn't affect him. He's a producer. I have to somewhat respect that.
00:50:04And then I called Humain. I said, Humain, just tell me honestly, will it happen or not?
00:50:09Can, can it be 100%? Just give me 45 minutes, he said. Wow. Yeah. Then he said, okay, we'll wait for it.
00:50:17You can't now imagine Shiva fight without that close fluttering. No. I can't, I can't imagine.
00:50:23So, that was like almost 15th floor, 16th floor? I don't remember the exact,
00:50:27but I'm sure it is 12th floor. Yeah, 7th floor, 8th, 9th. So, the problem was on the same floor?
00:50:32Yeah, on the ceiling, on the roof. Yeah, of course, otherwise, yeah. And that was one,
00:50:38Sandeep, and the other one was Borra Caves. Yeah. Yeah. Borra Caves. Yeah.
00:50:43It's a dark inside. Yeah. To, there is no path, there is a pathway,
00:50:49but you can't take the generators inside. Laying those lines, I think they laid lines up to two,
00:50:56three kilometers. Yes, yes. Wire. Yeah, wire, for the lights. Two, three kilometers inside.
00:51:01Yeah. Into Borra Caves. The first time ever anything shot there. Yeah. But again, the, the, it,
00:51:09and it's all slush inside. And it's horrible, the, all the bad shit floor, you know,
00:51:13you know, and everything. Yeah. But. And there also is one shot, you should remember, and the,
00:51:18and the, ah, oh shit, it's done. You know, and then there, the dancing starts. It's crazy.
00:51:23You know, that's a, that's a track she put, and Humayana remembered,
00:51:28it was so difficult to put the track there. Hundred percent to,
00:51:33Yeah. No. I remember.
00:51:54No, no, there, so somewhere this, I'm, I'm, to see, I believe in this, this all this impacted the movie.
00:52:01Yes, yes, of course.
00:52:02All this, it just flew into the movie.
00:52:04Yeah.
00:52:05Yeah.
00:52:05It just came, lifted the movie up.
00:52:08It's so beautiful, everybody, sound people, art people, actors, everybody loved it.
00:52:14This is new, sir, what you're saying.
00:52:16Nobody, everybody in Delhi is like, a purple light, blue light, caves low.
00:52:20Yeah, yeah.
00:52:21That incidentally, Mani Datnam hated it, right?
00:52:24That lighting.
00:52:24Yeah, because he told me, what's the point of looking, going to a natural location
00:52:29and showing it like a set.
00:52:32And you go, red light to green light, which is the set, that's what, I said,
00:52:38you're talking about the wall.
00:52:39I'm saying, other shots, how can you put a set like Burak is?
00:52:43You can't.
00:52:43Yeah.
00:52:43So, I think, there's the, like, you know, my memory is, of course, Nagarjuna is obvious.
00:52:50The people, more than the main technicians, were having doubts on the film,
00:52:56what's happening, you know?
00:52:57All the people below them, really believed.
00:53:00They realized that there is something very special happening.
00:53:03They all believed.
00:53:03Okay.
00:53:04They believed that it is something very special is happening.
00:53:06Yeah.
00:53:07Everything, that was very clear.
00:53:09But those days, sir, like, you never worked and straight directing a film.
00:53:14Hmm.
00:53:14That never happened, I think, no?
00:53:16No.
00:53:17Eighties long?
00:53:18Not to my knowledge.
00:53:19Yeah.
00:53:19And you see, there are films like, you know, for example, Mani Datnam also, to my knowledge,
00:53:24but he was, they were making dramas, like, love stories and things like that.
00:53:29Here, this is a hero, villain, I mean, mainstream commercial film with lots of action and all that,
00:53:35you know?
00:53:35Hmm.
00:53:36And to do the action completely, my style and Nagarjuna allowing me to do that.
00:53:40But that, I do not believe, it ever happened.
00:53:41Yeah.
00:53:42Sir, but when you got the first report, that blockbuster report, sir, what was your feeling?
00:53:47You know, this, this trust and everything paid off, what, what have you felt?
00:53:51Because the reports were...
00:53:53I, I, I have very little memory of when Nagarjuna thought it was a super, because, see, we were
00:53:59being told by people, you know, ladies, children, family, audience, repeat, audience.
00:54:04They don't let you enjoy the success.
00:54:06Yeah, yeah.
00:54:08So, actually, if she said...
00:54:09She said, she said, she said, she said, she said, she said, she said, she said, she said,
00:54:12Darsam Raju is a very big distributor at that time.
00:54:15So, he, he bought the film for Raihalsim, I think.
00:54:17So, he said, you know, whatever he paid, 50% bought the film, family showed, repeat, repeat.
00:54:26That was the first report.
00:54:27Comedy, comedy, comedy, comedy, comedy, comedy, comedy.
00:54:30I remember some directors were, like, Suresh Krishna, you called me, you spoiled a wonderful opportunity given to you.
00:54:39I, I, my mother should, you know, Suresh Krishna.
00:54:43Yeah, Suresh Krishna.
00:54:44You have a letter, you have sent it there.
00:54:45Yeah.
00:54:45Yeah.
00:54:47Phonis, you paid.
00:54:48And then, but of some directors, like, you know, I, I really don't know the big commercial directors, what they felt at that time.
00:54:55I, I never spoke to them.
00:54:57Pinnisati Ravgiraja, I remember him telling Nagarjuna that,
00:55:00that, that's the director.
00:55:02He's a great guest.
00:55:03He's a fantastic guest.
00:55:05Something like that.
00:55:06It was kind of a mixed thing.
00:55:08Maybe it took around two, three days for everyone to register.
00:55:11It's become a big hit.
00:55:12Actually, it registered the question.
00:55:15I was driving from Panjagutta to a graveyard.
00:55:22Yeah.
00:55:23Yeah.
00:55:24Yeah.
00:55:25Yeah.
00:55:26Yeah.
00:55:27Yeah.
00:55:28Yeah.
00:55:29Yeah.
00:55:30Yeah.
00:55:31Yeah.
00:55:32That was the time when he told me.
00:55:33Okay.
00:55:34Yeah.
00:55:35That's after four, five days.
00:55:36That's when it told me.
00:55:37He told me.
00:55:38It registered.
00:55:39I believe.
00:55:40Yeah.
00:55:41Yeah.
00:55:42Yeah.
00:55:43Yeah.
00:55:44That's when it registered.
00:55:45Yeah.
00:55:46Yeah.
00:55:47Because we're all surrounded by people who actually didn't believe in the film.
00:55:52It's automatic.
00:55:53And we won't know what people.
00:55:55Yeah.
00:55:56That is when I realized, okay.
00:56:16that is when i realized okay something happened that's what happens actually yeah
00:56:25when you see when you are exposed to new hollywood cinema yeah for example
00:56:31the dual yeah yeah i think that was effect for the normal audience
00:56:36general audience correct back in 18 and 19. see always film industry because when anything breaks
00:56:42the pattern they become very reluctant which obviously i'm sure you understand that a lot of
00:56:46film industry people don't like sandeep's films because it broke the pattern it convention break
00:56:52chase they almost feel it is it is rebelling i mean against but the general audience will never be
00:57:00that they will take anything the way it comes and form their opinion but film industry all
00:57:07the first their first thought will be that audience won't like it so over a period of time
00:57:14what we realized was what we have done with the interviews
00:57:19me shiva thara to go to diskaya zone yeah possible yeah because because i i remember people are
00:57:28talking about there will be a change in the sound from now also yeah because i mean
00:57:32in the point of group you need a youngest so a londra model name winna chal chalailu model
00:57:36and all that shiva land effect is very good actually because it has to be in sync yeah yeah
00:57:55everything everything everything yeah just not one fight yeah true even the music my memory of the
00:58:02music is my first time ever you will watch it in silence yeah double positive and because i
00:58:16had the sound effects track ready so first thing it told me bai di raga
00:58:20is
00:58:25and that is what worked now i dread to think if at all the sound effects track was not ready
00:58:45if you would have filled it up yeah you never know what would have happened because at that time i
00:58:51was also not leveraged to be a man for me to uh tell him do this do that and all that you know
00:58:58so that was what the saving factor for the extraordinary score which uh till today i think
00:59:03is one of the very few scores people remember every note theme of bhavani to shiva to love theme everything
00:59:10oh yeah yeah and that also and that is again thanks to nagajuna but in our time log uh uh musicians
00:59:18strike you can channel so one of the producers suggested uh one of track music case are done and
00:59:25track music is existing tracks on the other where is similarly i mean scene marchi
00:59:30going to get to work there they used to do that a lot at that time the least importance yeah yeah
00:59:34yeah yeah then nagajuna said and obviously bombay there will be money there will be more expensive
00:59:43and you know and then i said call and remember though but i want the music to exactly done how
00:59:50runs and what illera is doing you know and you can see i can only be to an extent i can say what i
00:59:57want but i don't have the means to do that no yeah yeah it's a great amalgamation sir yeah that's what
01:00:06everything fell together i mean everything fell together yeah that's why i keep calling
01:00:1325 years of pranagada shiva fell from the stars yeah yeah stardust yeah yeah i saw that entire thing
01:00:20it fell from the start see i think you like uh they say there's the line of the great films happen
01:00:26you can't make them yeah you know you can intend to make a film but whether it becomes great i don't
01:00:32think is anything to do with yeah the people involved you know yeah
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