KARTHI X SUNDEEP KISHAN Fun Interview About Annagaru Vostaru Movie

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Transcript

00:00Hello everybody! So basically, in this interview,

00:02I will be able to interview you in the interview,

00:04of course, you know,

00:06but you have to get a title title title.

00:08But for this, I want to give you a special introduction.

00:12I want to say that,

00:14if we were to do college,

00:16we were doing a first year,

00:18we were a favorite senior in the first year.

00:20We were good, we were accessible,

00:22we were inspired by the film,

00:24we were able to do that.

00:26Michael is the character of Michael in the U.S. cinema.

00:28However, when I was in the industry,

00:30I would like to see that,

00:32and I would like to inspire you.

00:34I would like to say that,

00:36if you have any heroes in the history of the film,

00:38you would like to do the film in life,

00:40and you would like to show the film,

00:42and you would like to show the film.

00:44So, one of my favorites is Karthi.

00:46Hello.

00:48What a lovely introduction.

00:50I didn't know you could speak like this.

00:52My personal heart felt.

00:58Before I was in the film.

01:00You know,

01:02the effects of the film is like this.

01:04I think,

01:06I think,

01:07I was very inspiring to you.

01:08Okay.

01:09So,

01:10I'm an album on the film.

01:12I'm so sorry,

01:13I've had a lot of interesting conversation in the film.

01:16You should be really nice about a film as a film.

01:18I'm so famous from the film,

01:20I'm so famous at that.

01:21If you want to take a look at this, I'm going to talk to you now in Tamil.

01:25So personally, I see a lot of relatability to you and it's very conscious.

01:30I'm very excited to be having this interview with you.

01:34Thank you, Sandeep. Looking forward.

01:36But if you want to talk to me, you don't want to talk to me in Tamil.

01:42But I'm so happy that, you know, there are many times we've had conversations about films.

01:50Both of us are passionate about films.

01:52We love to talk about intricacies of filmmaking.

01:54So I think it will be an interesting conversation for both of us to know each other, I think.

01:59It's not just about the film. It will be an interesting conversation.

02:02As I mentioned earlier, we all talk about any social setting.

02:06Correct.

02:07If you talk properly, you can talk properly.

02:10Yes.

02:11If you talk about Telugu, it's very exciting.

02:13Because the first time we talk about that was the time you were learning Telugu.

02:17I'll talk about Telugu, but you can talk perfectly.

02:19I'll talk about Telugu.

02:20You're talking about Telugu and you can talk about it.

02:22I'll talk about it.

02:23I'll talk about it.

02:24I'll talk about it.

02:25I'll talk about it.

02:28So, about Annagaru.

02:29Are you excited? Are you anxious?

02:32Anxious?

02:33Anxious, I would say.

02:35I was expecting that.

02:36But this is a very interesting film because of Nalan Kumaraswamy.

02:44You know that Nalan Kumaraswamy has one big brand behind it.

02:49One of the black humor and any of these.

02:53And when he made Soothu Kavum, I think it was a big cult.

02:58Still today it has a big cult following.

03:01The way he constructs the scene, dialogue rhythms, the way he extracts music, the way he uses music, music choices, edit choices.

03:17Though he follows proper bookish kind of writing structure, but within that nothing is within the book.

03:26And I would just call him our own Quentin Tarantino maybe.

03:29You know, if he would accept it.

03:31So I was very keen to work with him.

03:33And almost 7-8 years, he would do this film.

03:37And when he met me during Covid, I think we met during Covid.

03:40The first time he narrated the whole script, the first reaction was,

03:46I don't want to say anything.

03:48Because it was so complicated.

03:50You know, Fathom, how to imagine this on screen.

03:52Then he took some more time.

03:54He said, I will come back to you.

03:55And he had a huge voice file.

04:00A voice file.

04:01First half, second half, he narrated the whole film.

04:04And I was like, it was so moving.

04:06It was very emotional.

04:08It was very moving and I was surprised how the same story, which I could not understand,

04:17has now become a very interesting tale.

04:20It's a tale of the relationship a fan has with his idol.

04:26We have stars, sports stars, or even like superheroes.

04:31We have a relationship with them.

04:33A very personal relationship.

04:35And we have a relationship with our heroes.

04:39It's an emotional relationship.

04:43Sometimes it goes into devotion also.

04:45So this film explores that.

04:47And he wanted to say that, sir, this is a tribute to our 80s, 90s masala films in Japan.

04:53So he said, a fan relationship is the core of the idea.

05:01But on the presentation, it will be a very stylish presentation of our 80s.

05:05So then, the moment I understood the film, I was like, very interesting.

05:10Because I was very keen to work with Nolan.

05:12And he said, let's go ahead.

05:14But what I have to do inside it is very challenging for an actor.

05:19So I was very, very scared.

05:21But I always felt something which is challenging, which is very risky.

05:25This is where you can grow.

05:27Only when you take up a challenge.

05:29A challenge is something which really scares you.

05:32So only when you do that, you break your barrier and you go higher.

05:36You grow, you learn something.

05:38Not necessarily you grow bigger, but you grow internally also.

05:41Maybe if it works out well, it will grow externally also.

05:44So that's how I accepted the film.

05:46So, you explained it, sir.

05:48But if you know someone who comes to the Telugu audience,

05:52this is a Karti cinema.

05:53Okay.

05:54And that is a brand, that is a brand.

05:56Okay.

05:57That is, Karti is a hero.

05:59If you have any expertise in Tamil,

06:01this is a Telugu person.

06:02Maybe a level of 10% extra.

06:03I am very grateful for that.

06:05So, in my opinion,

06:06your effort is also very careful.

06:07Like in that one, you can tell.

06:08There is a genre, a film maker.

06:10I am very grateful for that.

06:11You did my own film,

06:12Mayayan Cinemates, he was the dialogue writer.

06:13Oh, interesting.

06:14Literally,

06:151st and all that role,

06:16he was shooting a CV on 360 degrees.

06:18Okay.

06:19He said,

06:20every CV or 10 minutes,

06:22at that angle.

06:23I said,

06:24Dally, what's wrong?

06:25He is a B2,

06:26he is a B2,

06:27so Nalanta is the guy.

06:28Then, when he said the lines,

06:30He's a very unique filmmaker.

06:34And if you choose filmography, you first have three films.

06:38I am the first to Parthiviran, then after Yugaanik, then after Avara.

06:42After that, you only work with one film, two film all filmmakers.

06:46It will be very original film language.

06:48If you have a regular hero or a mega blockbuster, it will be a combo film.

06:55It will be a production film.

06:57If you do it, it will be a production film.

06:59But it will be very difficult.

07:01I think as an identity, Karthi is the same identity.

07:04Let it be, and there are also wild jumps.

07:07There is a director of Madrasthi.

07:10There is a director of the first film.

07:15There is a relationship between two films.

07:17In the location, there is a little balance, but it is a bigger scale.

07:20So, that I think somewhere is what brand Karthi is and what everybody enjoys and respects.

07:28So, that is,

07:29If you want to make a beat,

07:31if you want to make a performance,

07:32if you want to make a unique, older-time homage film,

07:36then you will approach the performance.

07:38I am going to talk about it.

07:40There is a conversation between one businessman and a CM.

07:44If you want to make a scene,

07:46I think it will be a very formal scene.

07:48They both will be across a table.

07:50If you want to make a meet, they will be seated away.

07:54In this conversation, there is a car.

07:56If you want to make a difference,

07:58then you say,

07:59Yes, yes.

08:00There is a lot of reactions.

08:01I think what you saw in the trailer,

08:03I was like,

08:04how can he write a scene for two dynamic people?

08:07Like, you know,

08:08like small,

08:10twenty-year-olds,

08:11he writes it like that,

08:13which we cannot imagine.

08:15You can't make sense.

08:17Only when he comes and explains.

08:19And he is very clear about beat.

08:21In Japan, too,

08:22there is a,

08:23he says,

08:24I mean,

08:25the dialogue has a rhythm, sir.

08:26I don't have to talk about it, sir.

08:27I don't have to talk about it, sir.

08:28I don't have to talk about it.

08:29If you want to talk about it,

08:31it will be nice to hear it.

08:32But he is very subconscious.

08:34It is not open out there.

08:36But when you see the scene,

08:37it will be smooth.

08:38Because he measures the dialogues.

08:40Yes, sir.

08:41Yes, sir.

08:42Yes, sir.

08:43Yes, sir.

08:44Yes, sir.

08:45No, sir.

08:46I want only yes, sir.

08:47Because I have never seen anybody

08:49so particular about

08:50how it has to be executed.

08:52I really admire him for his craftsmen.

08:55Really!

08:56That's it!

08:58That means,

08:59that the audience is a great being.

09:02But the actor is a very difficult being.

09:04I know the kind of thing like me

09:06for the filmmakers.

09:08And to my own brand of filmmakers,

09:10I want to be a small filmmaker.

09:11I can do it too.

09:12I want to do it too.

09:13They are doing any cinema.

09:14You can do it too.

09:15They are doing it too.

09:16They are the mood.

09:17You get the mood!

09:18Maybe I had an mood!

09:20I have to work hard at one level, I have to work hard, but I have to work hard, but I have to work hard at one level.

09:25I have to work hard at one level.

09:27I have to work hard at one level.

09:29I have to work hard at one level.

09:34So it's tough being in therapy.

09:36But somewhere I think it comes from, you know, I wanted to be a director.

09:40And I always respect people who have a vision.

09:43Because I feel most directors are storytellers.

09:46They talk in dialogue.

09:49And there are another one kind of filmmakers who would take fineness in visual.

09:54Not just visual, using sound, using lenses, using camera movement, using blocking.

10:00Use everything for storytelling, you know.

10:02Otherwise you are mostly predominantly dialogue oriented.

10:05True.

10:06Most filmmakers are dialogue oriented.

10:08But there are very few filmmakers who understand music well.

10:12You know, this scene need not have dialogues at all.

10:15It could be said in a song.

10:16So, I really like when those kind of people have vision.

10:19And I want to support them also.

10:20Like even mehya.

10:21You know, generally, if you want to make a script level of mehya,

10:25You can visualize it.

10:26It's not just a dialogue.

10:27There was a lot of filmmaking involved.

10:29There was a lot of sound design, moment holding.

10:32You know, if you're a voiceover in a cycle, you feel like you're doing it.

10:35Correct.

10:36But that's why we're going to land on this film maker.

10:39That's why we're going to land on this film.

10:41But that's why we're going to land on this film.

10:42No, but see.

10:43Like you said, I have not worked with first timers.

10:45When I work with directors, at least they have done one film.

10:48So, when I see one film, that's why I am crafty.

10:51And I really want to work with people whose work I have liked.

10:54So, I want to work with people whose work I have liked.

10:56But I want to work with people whose work I have done,

10:57But I want to work with people whose work I have done.

10:58So, when you see the film, you see a filmmaker.

11:00There is a language for the filmmaker.

11:02True.

11:03Then you want to collaborate with them.

11:04You want to work with them.

11:05That's how I think it happens.

11:06Randomly, it happens.

11:07So, I'm so happy.

11:08I was very happy.

11:09I was first.

11:10I was told.

11:11I was told.

11:12I was told.

11:13I was told.

11:14I was told.

11:15I was told.

11:16I was told.

11:17And I was told.

11:19I was told.

11:20What to do you?

11:21Like,

11:22You're told.

11:23Like,

11:24You're told.

11:26You're told.

11:27You're told.

11:28You're told.

11:29I didn't know.

11:30I didn't know.

11:31You're told.

11:32You're told.

11:33I was told.

11:34I was told.

11:35I was told.

11:36I didn't know that.

11:37I was told.

11:38In my head,

11:39I was like,

11:40This man knows and understands things in a very different way.

11:43So,

11:44I get that.

11:45I see where.

11:46Let's do a case study.

11:48You're told.

11:49That's not too much research now.

11:50No, no.

11:51I genuinely admire wanting to stand by what you like in cinema

11:56By the way, honestly, most least PR on an actor is you

12:01Okay, for the kind of filmography or the kind of person you are

12:05You are very, you know, an extra guy like SR Prabhugaru is a very dear friend of mine

12:11You know, a little bit of discussion

12:13Okay

12:14And also, I feel the best set of friends are for Karthia

12:19Okay, they are always like Jnana Velarajana

12:22Like Tangaprabha Khargaar Ghani

12:23And I think there is no script or bound

12:25I am the only one in the camera

12:26Yes, the only one in the camera

12:28The only one in the camera is the only one in the camera

12:31And somewhere in a cinema, it is the only one in the camera

12:35That's why I think it's important

12:37See, there is no definition for filmmaking

12:39It's about what we are excited about

12:43And you know, what is something that you want to share with people

12:46And you have to be excited about people

12:48So, that's very personal

12:49Yeah

12:50You can't teach it to somebody

12:53It's completely about taste

12:57You know, you might like one blue colour

12:58I may not like that blue colour

12:59But that doesn't mean this is right, that is wrong

13:01That's true

13:01So, I think that way when we sit and talk about

13:04It is about films that we have grown up with

13:07You know, that's very, very important

13:08That's what Steven Spielberg keeps saying

13:10You know, watch classics, watch classics

13:11Because when you have a proper structure

13:13Then whatever judgement you make, whatever rules you break

13:15It will still fall into one classic structure

13:17That will always, you know, fall well with the audience

13:21True, yeah

13:22Even personally, I am talking about the way these people love you

13:24Says a lot about the person you are

13:26Right

13:27Look at your friends who know you are, right?

13:28And the way they love you just shows a lot about the person you are

13:30And this is

13:31You are extremely active?

13:32Huh?

13:33You know, if you think my friends are very active?

13:35And then you will listen to them

13:37You know, internal rules

13:38So internal?

13:40Internal rules

13:41Internal rules

13:42Yes and in this interview I have wanted people

13:44I am also wanting people who would like a business

13:45They were original Kartyan

13:46Right

13:47I was also writing some stories

13:49And, genuinely, great group of friends

13:51If you said so, it is really me

13:53Everyone is so far

13:55They say, these girls are

13:57Who is so harsh on the verge

13:59I don't know how to do it.

14:01I don't know how to do it.

14:03I don't know how to do it.

14:05We are back to Anakarastanaru.

14:07But how do you do the action for this film?

14:09How do you do the action treatment for this film?

14:11I think the action is done.

14:13I think we have to come to the character.

14:15Yeah, the character.

14:17So, like I said,

14:19this film on the core is about

14:21a fan and the emotional connection

14:23he has with his idol.

14:25And I think only here

14:27we have the subculture

14:31where our heroes almost have a demigod status.

14:33So, what Nalan has done interestingly is

14:37he was searching for a hero

14:39to make an 80's kind of film.

14:41And he said, why can't that hero itself be a superhero?

14:45And superhero

14:47it will be a fantasy.

14:49He wanted to bring it from our own culture.

14:53We have, we have, they have a

14:59huge following which is like a demigod status.

15:01You know, we accept whatever they do.

15:05They are almost like superheroes for us.

15:07In one whole generation.

15:09We, we haven't watched their films in theatres.

15:11But we know their aura.

15:13Because they are in their subconscious level

15:15they are always existing for us.

15:17So, why if they come into the film, what will it be?

15:19You know, this is what the spin that he has brought into the film.

15:21So, when you have to do stunts for them,

15:23then, you know, silambam

15:25and sword fighting, you have to go and brush up.

15:27And for me,

15:29career starting, I will not be able to do it.

15:31I will not be able to do it.

15:33Completely I forgot.

15:35And for this film, the moment they started

15:37fight, they said, sir, silambam fight.

15:39I said, silambam fight.

15:41Stick fight. So, I think everyday

15:43in the morning one hour, shooting

15:45one hour, I think continuously for one or two months

15:47I kept practicing to, you know,

15:49brush up on that screen. And then,

15:51Analarisa Master did the stunts.

15:53And typically, one of the

15:55Bruce Lee's films, there will be like

15:57one 50 men fight, 100 men fight.

15:59You would have seen in Matrix,

16:01So, he wanted that same 90's vibe

16:03or 80's vibe with the fight. So, he had that kind of

16:05structured scale fight he did.

16:07And that was very, very interesting.

16:09And that was very, very interesting.

16:11I mean, you know, Analarisa Master, right?

16:13Correct.

16:14Correct. So, Analarisa Master,

16:16I think he became more famous.

16:18Famous. I remember, Shankargarh is a clipper.

16:20I saw that film character.

16:22He was a neighbor for a long time, Shankargarh.

16:24They looked like small boys,

16:26but in the climax, when they tried to kill you,

16:28I got scared.

16:30And by the theatre,

16:32they were afraid of every 18-year-old, 20-year-old.

16:35After watching that film.

16:36That's the effect of that action sequence.

16:39That's the film, man.

16:40This film is a wild rage film.

16:42Completely.

16:43Yeah, Parishiva.

16:44And when you see the director's first film,

16:46after that,

16:47the two films are connected.

16:48Correct.

16:49It's a great film.

16:50It's a great film.

16:52So, I think, inherently,

16:53you have to pick up filmmakers like this,

16:56where something unique is coming out.

16:58You're talking about Siggo.

17:00You're talking about Siggo.

17:01I'm not very good at taking compliments.

17:03So, I'm finding it very difficult.

17:04But I somewhere feel like,

17:06I'm telling you,

17:08you're one of the least,

17:09many people who are doing self PR.

17:11Yes, sir.

17:12I'm telling you,

17:13I'm telling you,

17:14I don't know if I'm telling you,

17:15I'm telling you,

17:16I'm telling you.

17:17Filmography,

17:18I'm saying,

17:19just for the sense of it.

17:21So,

17:22I'm telling you,

17:23it's like a mini fanboy interview

17:24from a brother to brother.

17:25Because,

17:26general culture,

17:27it's a great film.

17:28Yes.

17:29I'm telling you,

17:30it's important.

17:32Thank you for the love.

17:33So,

17:34this is like a long association.

17:36Yes.

17:37I think,

17:38Madras,

17:39I was so impressed.

17:42I really wanted to work with that music director.

17:47And Madras,

17:48I think,

17:49writing itself,

17:50said music a lot.

17:51There are some,

17:52like I said,

17:53there are some directors,

17:54want to use music within the film.

17:55Within the film.

17:56Not just as songs.

17:57But,

17:58there are some themes,

17:59there are some themes,

18:00they write it and script itself.

18:01So, when I watched that film,

18:02international film,

18:03I was telling you,

18:04one of the film is slow.

18:05Small,

18:06small,

18:07you know,

18:08these housing,

18:09housing board,

18:10flats,

18:11and the music after it was done,

18:13it felt like a Spanish,

18:14you know,

18:15international film.

18:16So,

18:17after that,

18:18I think we did Kashmora together.

18:19And after many years,

18:20I think for this film,

18:21Santosh,

18:22Nalan,

18:23I think they started together.

18:24Nalan and Santosh.

18:25You know,

18:26it's famous,

18:27like,

18:28the first ringtone,

18:29it's famous.

18:30What ringtone?

18:31Tan,

18:32tan,

18:33tan,

18:34tan,

18:35tan,

18:36tan,

18:37tan,

18:38that's all across,

18:39South India.

18:40It's crazy,

18:41crazy.

18:42It's crazy.

18:43It's good.

18:44It's good.

18:45It's good.

18:46Sir,

18:47what's the lyrics?

18:48It's good.

18:49It's good.

18:50What guts to do something like that.

18:52In the cinema,

18:53it's good.

18:54Sir,

18:55lyrics is done by Nalan.

18:56You know,

18:57lyrics is done by Nalan.

18:58You know,

18:59lyrics is done by Nalan.

19:00It's crazy.

19:02Nalan is one of those.

19:04And I think Santosh for this film,

19:06he's done one old song,

19:08rehash kind of thing.

19:10And then,

19:11there's one love song which is very interesting.

19:13And then,

19:14I think,

19:15themes.

19:16I think he's given that huge,

19:18big studio film kind of music for this film.

19:20So,

19:21the whole experience will be new.

19:22I think,

19:23I think he's given that huge,

19:24big studio film kind of a music for this film.

19:25So,

19:26the whole experience will be new.

19:27I think,

19:28I think the cinematographer is a lot.

19:29George C. Williams is a cinematographer,

19:30technical team.

19:31So,

19:32George,

19:33first to Raja Rani cinema.

19:34Uh-huh.

19:35But,

19:36I think,

19:37I think,

19:38George C. Williams,

19:39you know,

19:40you know,

19:41you know,

19:42you know,

19:43you know,

19:44you know,

19:45and we are trying for three or four films.

19:46And then,

19:47we are busy,

19:48busy,

19:49busy,

19:50busy.

19:51And,

19:52George C. Williams,

19:53I want to meet him.

19:54And,

19:55I think,

19:56George C. Williams

19:57means,

19:58George,

19:59you know,

20:00George,

20:01you know,

20:02you know,

20:03you know,

20:04you know,

20:05you know,

20:06you know,

20:07you know,

20:08you know,

20:09you know,

20:10you know,

20:11you know,

20:12you know,

20:13but,

20:14his work is fantastic.

20:15I really like him.

20:16Especially,

20:17in this film,

20:18I think,

20:19I always call him Green George,

20:20because,

20:21in the cinema,

20:22you know,

20:23you see,

20:24he uses a lot of green and blues.

20:26But,

20:27in the cinema,

20:28he is given that,

20:29typical,

20:30superman-landy films,

20:32like,

20:33fantasy element.

20:34Because,

20:35this film also,

20:36interestingly,

20:37he said,

20:38this film is set in a parallel world.

20:40That is,

20:41Hyderabad,

20:42like,

20:43you know,

20:44like,

20:45how in,

20:46Batman,

20:47you have this,

20:48Gotham city.

20:49He has got a separate name for this whole city.

20:51The culture is same,

20:52but,

20:53it is not the same geography.

20:55I don't know,

20:56how he comes up with these ideas.

20:57So,

20:58like,

20:59how a comic book writer writes,

21:00so,

21:01that is how he has come up with it.

21:02So,

21:03the visual treatment is also like that.

21:04If you see a hospital in the film,

21:05it won't look like a hospital.

21:06He has got one very,

21:11like,

21:12how in matrix,

21:13the hospitals will be very,

21:14the walls and streets will be different.

21:15So,

21:16he has given that kind of flip to everything.

21:18So,

21:19deliberately

21:20pushed everything

21:21to make it believe that

21:22you are living,

21:23you are watching,

21:24or living in a fantasy world.

21:25That is really,

21:26reality is not.

21:27So,

21:28they have planned all that.

21:29So,

21:30art department is a tougher case.

21:31In the frame.

21:32In the frame.

21:33In the frame.

21:34In the frame.

21:35In the frame.

21:36In the frame.

21:37In the frame.

21:38He has to be there.

21:39He has to fix everything.

21:40In the frame.

21:41In the frame.

21:43What atrocity.

21:44What do you think?

21:45I am asking.

21:46Why are you not?

21:47He is better.

21:48Better than.

21:49I will be like.

21:50So,

21:51Nalan touches of doing things.

21:52Absolutely.

21:53A madness.

21:54And randomly.

21:55In the conversation.

21:56In America.

21:57You work there.

22:01And then you came here.

22:02Worked as an ADN.

22:03Then you became an actor.

22:04No.

22:05I went to study.

22:06Three years.

22:07Last year,

22:08I was working.

22:09I got an internship.

22:10They wanted to hire also.

22:12But I said.

22:13I am going to make films.

22:14And you won't believe the reaction.

22:15He said.

22:16He said.

22:17He said.

22:18He said.

22:19He said.

22:20He said.

22:21He said.

22:22Same reaction.

22:23I got from all my white bosses there.

22:25You are a good student.

22:27What's wrong with you?

22:28You will get spoiled.

22:29Don't go to films.

22:30Sir.

22:31I love cinema sir.

22:32I am going and saying.

22:33I came back.

22:34So, three years.

22:35I was there.

22:36So, two years.

22:37I studied.

22:38One year.

22:39I worked for some time.

22:40And then I came back.

22:41I didn't want to ask.

22:42I always wanted to ask.

22:43Basically, college is in Chennai.

22:45Okay.

22:46First, I got a seat in Hindustan.

22:48I got a seat in Hindustan.

22:49Okay.

22:50And then I got a semester.

22:51Right student.

22:52Right student.

22:53Okay. Not bad.

22:54Right student.

22:55Right student.

22:56Not bad.

22:57Free student.

22:58I didn't feel comfortable.

22:59I didn't feel comfortable.

23:00Oh.

23:01That's okay.

23:02It worked out.

23:03And then I went through three years.

23:04It didn't matter.

23:05It didn't matter.

23:06It didn't matter.

23:07Then I did Loyola and South Bank University.

23:10For four years.

23:11M.Sc. Business Administration.

23:12Hmm.

23:13Exchange program.

23:14Exchange program.

23:15I did it.

23:16Did it complete?

23:17I did it.

23:18I did it.

23:19I worked in Aston Dieter.

23:20Full qualified to be.

23:21Aston Dieter.

23:22Aston Dieter.

23:23Hmm.

23:24So, when I was a kid,

23:25I was a kid.

23:26Oh, okay.

23:27So, if I was a kid,

23:28I was a teacher.

23:29Fantastic.

23:30Fantastic.

23:31Fantastic.

23:32Deadly commission.

23:33So, I'm not a good student.

23:34I'm not a good student.

23:35I'm a surviving student.

23:36I'm a kid.

23:37I'm a kid.

23:38I'm a kid.

23:39That's okay.

23:40That's okay.

23:41That's okay.

23:42Now, next about the shoot of the film.

23:43How do you do it?

23:44Like I said, it's a fantasy.

23:46So, everything had to be created.

23:48Created.

23:49Locations had to be a street.

23:51You know, even a house.

23:53That's my house.

23:54There is a street.

23:55You have to create everything.

23:56So, I think all was on sets.

23:58Entire film was on sets.

24:00And he wanted art decor for everything.

24:04Set slow.

24:05I think that very,

24:06that 60s low and art decor style.

24:08So, they deliberately brought out that art decor

24:10throughout the film.

24:11So, everything was sets.

24:12Because like any fantasy film,

24:13you can't place it.

24:15You have to specifically.

24:16Yeah.

24:17You have to create everything.

24:18So, you have to create art.

24:20Very difficult.

24:21So, I think that's the truth of the film.

24:23Little bit different.

24:24You're dead.

24:25No, this is weird.

24:26You don't have to worry.

24:27You're dead either.

24:28Therefore, I think that's no different.

24:29So, the feeling is inside.

24:30I think that it's a miracle.

24:31I think that one of my favourite teasers of yours is Kakki Danna.

24:34Do not want it to make anything.

24:35You can't do anything.

24:37I just feel the truth.

24:38I can feel like a father from God to God for the principles.

24:41That was Rajasthan.

24:43Rajasthan.

24:44He was not a good weather.

24:46I was able to go to Tamil,

24:47I would call it a little bit tougher though.

24:51I would call it a little bit tougher.

24:52And I would call it a lot better.

24:55And I would call it a lot more.

24:57I would call it a lot more.

24:58He would call it to be like,

24:59if I'm thinking about that cinema,

25:01it would be a good reason for the reason.

25:02Then I would call it a good example.

25:03I would call it a bad choice.

25:05I would call it a good choice.

25:07So, I can sense that.

25:09I would call it a nice idea.

25:10Sir, I can't even make him feel comfortable. He wants to suffer more and suffer more.

25:26See, for us, it's getting it right. I think you just have to get it right.

25:30So, I think you have to put that effort finally to entertain the audience.

25:34You have to get it right at least to your perfection.

25:37There will be mistakes, but at least to your senses, you have to do the best.

25:41Studio Green Guru, I want to say, some of the most unique and best films of yours have come through this banner.

25:46And in Telugu, it's almost a branding. Studio Green was the Karthi and Lando, the teaser.

25:51We started together, I think. For us, first, I'll tell you about the cinema dream.

25:59And he used to tell me, you are cheating yourself. You like cinema.

26:02So, he said, you have to make a choice.

26:09And then, when I made a choice and I came back, he was the one who was first happy.

26:13And he said, I'm going to direct. He said, no, no, no. You're an actor. You can't direct in Japan.

26:17I said, no, I don't like acting. I want to direct in Japan.

26:19He said, no. Then, I started working as an assistant director.

26:22And then, he only brought this Parthi Viran opportunity and said, no, no. You try this.

26:27Then, Nanagar woulda convinced Jaisar.

26:28Because so, Nanavil is very instrumental in bringing me into acting.

26:33I think, main credit goes to him only to bring me into acting and put me into these shoes.

26:39And we both enjoyed films.

26:41We love looking at poster being stuck.

26:44You know, we love when the screen is going up before the film gets played.

26:47You know, we love to go and listen to conversations.

26:49In the intro, you know, the audience is like this.

26:52Yes, it is like this.

26:53And the faces are all in the cinema.

26:55The eye point is that the face is happy.

26:58Are they with the film? Are they not with the film?

27:00So, we were very passionate about this whole experience of films.

27:04That's why we were able to do different films also.

27:07You know, it's not easy to produce a film like this.

27:10To understand a film like this.

27:11Understand a film like this.

27:12I actually announced this one for the film.

27:15I've already known the film about specific films.

27:17Okay.

27:18I've already known all of the film about the film.

27:20That's why I said there is a story.

27:22Do you have a report?

27:23I can't see that.

27:25What's the report?

27:26That's why I can't see that.

27:27Do you know that?

27:28I don't know.

27:29In fact, a film as a film.

27:32I'm close to Nganuvel.

27:33I'm going to be someone who is willing to be a friend.

27:35He's willing to be an expert.

27:36I'm willing to be someone who's willing to be a friend.

27:37I'm willing to be willing to be a friend.

27:38But, that's why I was worried about it.

27:41It's one of my favourite stories, I've said many of them.

27:43Me too is a cinema. I think Aavara and my name is Shiva.

27:47First, I would like to tell you in the theatre.

27:51I would like to tell you in the theatre.

27:53I would like to tell you in the best theatre.

27:55I would like to tell you in the best theatre.

27:57I would like to tell you.

27:59So, I am saying you need to have a villain vision.

28:03I never know this story.

28:05So, I am saying this man has done stuff like this.

28:07A villain vision, I really admire him and respect him for.

28:11But in the cinema, there is a very interesting set of actors.

28:15Krithi. Krithi, of course, is on television.

28:17I think she is the second film in Tamil.

28:19First film.

28:20Introducing in Tamil.

28:21Introducing in Tamil.

28:23Introducing in Tamil.

28:24That's why Sathirajgaru, Rajkiranggaru.

28:26I am very interested in Rajkiranggaru.

28:28It's a beautiful actor.

28:29I know.

28:30When actors are screened, you know they are our people.

28:34We are one of the people who are in the world.

28:37Before they say even one word, they are so close to us.

28:40That's beautiful quality.

28:42I am very interested in the film.

28:44I am very interested in this film.

28:45I am very interested in this film.

28:47I am not sure.

28:48He is a very interesting story.

28:50He was just one rep in theatre.

28:52A distribution rep.

28:53So, he was very interested in the cinema.

28:56He was very interested in the film.

28:58He was very interested in the film.

28:59He was very interested in the film.

29:01But he used to watch films.

29:02He developed interest.

29:03Then he started distribution.

29:05Then he came into production.

29:07Then he started directing, acting.

29:09It was a mind-blowing career.

29:12I think.

29:13I can't expect somebody from that small beginnings to gross phobia.

29:16I think he was the first actor to get one crore salary also.

29:18Correct.

29:19And his judgement on the script.

29:21So, there are beats on the scene.

29:23It's fantastic.

29:24Right?

29:25The Gen Z real memes have an advantage.

29:27If you want to get one crore salary,

29:29I will give you one crore salary.

29:31So, I think a lot of good is happening because of these things also.

29:34Correct.

29:35They promote all these trivias.

29:36Trivias.

29:37Sathiraaj Karu is a superb actor.

29:40One of my favourite actors.

29:41What kind of character are you?

29:42I think after a long time, he is doing villain.

29:45He is a villain.

29:46He is a motor boss villain.

29:47If you see these Bond films they love.

29:49These 80's films they love.

29:50This full gundu villain.

29:54So, he is doing villain after a long time.

29:56He says,

29:57Hero is a villain.

29:58He is a villain.

29:59He is a villain.

30:00He is a villain.

30:01He is a villain.

30:02He is a villain.

30:04I think he is bringing one unique quality to that character and what he is doing there.

30:08And because, you know, they all bring one certain believability to every character that they do.

30:14And Krithi is doing the interesting.

30:16And Krithi is a superb dancer.

30:18Fantastic dancer.

30:19I keep saying,

30:21Krithi is a dancer.

30:23But thankfully, she became nervous after I came.

30:27So, I felt very happy.

30:29Okay.

30:30Not a bad dancer.

30:31Not a bad dancer.

30:32Not a bad dancer.

30:33Not a bad dancer.

30:34I said,

30:35I managed with her.

30:36Otherwise, she is very good.

30:37And what surprised me was,

30:39first day shoot,

30:40she is in character already.

30:42Her character name itself was very interesting.

30:45So,

30:46and she is like this energy reader,

30:47the spirit reader,

30:48the character.

30:49He is a hero.

30:51They would design a character like that.

30:53But you can expect something weird inside.

30:55And the way she carried,

30:57she did the research for the character and she came.

30:59I was very impressed.

31:00I think she is very serious about what she wants to do.

31:03She is not worried about her hair and make-up all the time.

31:06She is worried about what she is going to deliver.

31:08I think it is very good about her.

31:09I think it is one of those films where she got to perform a lot.

31:11She is very good about her.

31:12Yeah.

31:13Meeku,

31:14even in the trailer,

31:15I really liked that shot.

31:16She is very smart.

31:17Yeah.

31:18Very smart.

31:19I thought,

31:20in the trailer,

31:21there is a lot of dialogue in the trailer.

31:22I thought,

31:23I was like,

31:24you are not criticizing.

31:25Yeah.

31:26I can understand.

31:28I can understand.

31:30I can understand.

31:31I can understand.

31:32And then,

31:33it was damn nice.

31:34I was like,

31:35overall,

31:36it was a good fun vibe.

31:37That's why the trailer,

31:38we all wanted to say,

31:39that apart from whatever quirkiness the film has,

31:42basically,

31:43it is a nice,

31:44template,

31:45enjoyable,

31:46commercial film only.

31:47Beyond all of it,

31:48it is a Karthina film.

31:49If you are in Tamil,

31:50if you are in Tamil,

31:51if you are in Tamil,

31:52if you are in Tamil,

31:53if you are in Tamil,

31:54if you are in Tamil,

31:55if you are in Tamil,

31:56there is not a single film of yours,

31:57I have not seen it.

31:58My God. Thank you.

31:59Which is the genuine truth.

32:00Every cinema of yours,

32:01I see within the first three days.

32:02I will enjoy this film in my first three days.

32:04I will enjoy this film.

32:05Okay.

32:06But I think,

32:07one of the few actors,

32:08who I consistently follow,

32:09within the first three days,

32:10I have to rush and watch his

32:12Ekarthi film.

32:13No, I have to do the same thing.

32:14I have to watch Sandeep's film on the very first.

32:15You have always observed that,

32:16you put in that extra effort for every film.

32:21You want to bring in something new to the film.

32:23And you keep working with these maverick filmmakers.

32:24You are also searching for these filmmakers.

32:25And you keep delivering something different.

32:27I really saw that.

32:28You know Managaram also,

32:29the energy that you bring into the frame.

32:30There are a lot of characters.

32:31And you have a lot of characters.

32:32It is written.

32:33But the way you carry it also,

32:34was very interesting.

32:35And when I see,

32:36I see that it's there already in you.

32:37And that's what you bring inside that each character.

32:38And when I see,

32:39I see that it's there already in you.

32:40And that's what you bring inside that each character.

32:41And when I see Managaram,

32:4220-30% reference of the way I played the character,

32:44came from Pardhiviran.

32:45Okay.

32:46So,

32:47So,

32:48I see that it's there already in you.

32:50And that's what you bring inside that each character.

32:51And when I see,

32:52I see that it's there already in you.

32:54And that's what you bring inside that each character.

32:56And when I see Managaram,

32:5720-30% reference of the way I played the character,

32:58came from Pardhiviran.

32:59Okay.

33:00So,

33:01So,

33:02That's not Pardhiviran,

33:03Amir sir.

33:04Amir sir.

33:05But,

33:06I have to carry on the screen.

33:07Yeah.

33:08I understand.

33:09So,

33:10I have to carry on the screen.

33:11So,

33:12I have to carry on the screen.

33:13So,

33:14I have to carry on the screen.

33:15I have to carry on the screen.

33:16Okay.

33:17So, I pick up these interesting things.

33:18I think second kids have that problem.

33:19See.

33:20And,

33:21I have to carry on the screen.

33:22I have to carry on the screen.

33:23Okay.

33:24These are all things as an actor,

33:25I have noticed very interestingly.

33:27Thank you for noticing.

33:28I feel very flattered Sandeep,

33:29I should say.

33:30It's a genuine truth.

33:35But,

33:36I have been very inspired by you.

33:40So,

33:41I am very happy.

33:42I am glad to hear that there is something good that is being put out.

33:44I am glad.

33:45No, no.

33:46Genuinely, no.

33:47And,

33:48thank you for noticing these things.

33:49I am going to list my favorite cinema.

33:50That is a great thing.

33:51I will tell you,

33:52I will tell you.

33:53You are so humble.

33:54But,

33:55you know,

33:56you are not going to be the most humble.

33:57You are going to be the most humble.

33:58I am going to be the most humble.

33:59I am going to be the most humble.

34:00You are going to be the most humble managaram jagad.

34:02In a way that,

34:03SR Prabhu.

34:04I think,

34:05that's the most humble instruments.

34:06I feel like the most humble that the pump has to be the most humble.

34:08Okay.

34:09I was not a director.

34:12It will work.

34:13This is a action film.

34:15He was a director.

34:17He was a director.

34:19I tried to arrange my friends.

34:21At this time, we had a cult.

34:23At a wedding, I met him with you.

34:24We became very good friends.

34:25I told him.

34:27He told him,

34:28I was going to do something.

34:29He said,

34:30Brother,

34:31he's like.

34:32See, when you search something,

34:34it comes to you.

34:35This is not a fun fact.

34:37He said,

34:39I'm not doing anything wrong.

34:41He said,

34:42I'm going to talk to you,

34:43I'm going to talk to you.

34:44I'm thinking,

34:45I'm going to talk to you.

34:46Okay.

34:47So, at this time,

34:48we will talk to you for a financial situation.

34:50Okay?

34:51I will talk to you in the conference.

34:53I will talk to you with friends.

34:55And we will maintain a very close bond.

34:57Nice.

34:58When you talk to friends,

35:00I will talk to you.

35:01How do you talk about your amount?

35:02How do you talk about your amount?

35:03You have to prepare for me.

35:05He said, I should be prepared for this.

35:07This is OK.

35:08almighty, I've heard the marketmen.

35:10He said, I need to do this before I was leaving.

35:13I can't answer this or not.

35:14If he is leaving, I can't, he'll be fine.

35:16It is so, he'll study.

35:18The manager said, wait.

35:20His money is still set.

35:22I want to ask you.

35:25Goodbye, my brother, my brother.

35:27Sir, let me tell him that you're angry,

35:29I want to ask you.

35:31I said to him,

35:33I want to give him this.

35:34respect I give my actors. I am an actor's brother. So, I think somewhere that's when a script

35:42Abden just couldn't say no, it comes from your influence on somebody.

35:44So, yeah.

35:45That's very good, isn't it? Like, they also want to encourage writers.

35:48Writers, they pay more for the writers and make sure they are happy.

35:52You know, they should encourage writers, improve writers and we keep discussing that, you know.

35:56Also, young talent, you know, when they come, they should work happily and improve.

35:59He always consciously does that.

36:02So, pleasure, Anna. Looking forward to, I don't want to take too much time off you. I am sure you have more interviews to go to.

36:07Such a pleasure to speak with you, Anna.

36:09But I had a blast chatting with you, Anna.

36:10We need more jamming sessions.

36:11We should, Anna.

36:12We should, Anna.

36:13After you send me that list of six, seven films and then watch Chasit, then I will become one fanboy for you.

36:20I am hoping I will grow to the day where you someday say those nice things about me. It will be a pleasure, Anna.

36:24You want something, you know, it will happen.

36:26Thank you, Anna. Love you.

36:27And then, as it is the first three days, you will be happy and happy.

36:30Please.

36:31And I will call you and speak to you, Anna.

36:33All the best.

36:34And all the best, Yandaku.

36:35Congrats, a little earlier.

36:36I know it's going to be a great film.

36:37Theatrical law.

36:38Let's hope that everybody loves it.

36:39Thank you, Sanjay.

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