SS Rajamouli Special Chat with James Cameron: జేమ్స్ కామెరాన్ తో రాజమౌళి చిట్ చాట్| Asianet Telugu

Name: SS Rajamouli Special Chat with James Cameron: జేమ్స్ కామెరాన్ తో రాజమౌళి చిట్ చాట్| Asianet Telugu
Uploaded: 2025-12-17T18:39:45+00:00
Duration: 32 min 5 s
Channel: Asianet News Telugu

Asianet News Telugu

హాలీవుడ్ బ్లాక్‌బస్టర్ మూవీ అవతార్ రిలీజ్ ప్రమోషన్స్‌లో భాగంగా ప్రముఖ దర్శకుడు జేమ్స్ కామెరాన్‌తో టాలీవుడ్ స్టార్ డైరెక్టర్ ఎస్.ఎస్. రాజమౌళి వీడియో కాన్ఫిరెన్స్ ద్వారా ప్రత్యేకంగా చిట్ చాట్ నిర్వహించారు. ఈ సందర్భంగా సినిమాలు, విజువల్ టెక్నాలజీ, కథనంపై ఆసక్తికర అంశాలు చర్చించారు.

#SSRajamouli #JamesCameron #AvatarMovie #AvatarPromotions #HollywoodTollywood #MovieNews #GlobalCinema #AsianetNewsTelugu #entertainment

Stay tuned for the latest Telugu News updates, Celebrity news, and political happenings from Andhra Pradesh, Telangana, and across India.
Stay updated with the latest news at 🌐 https://telugu.asianetnews.com🗞️

Download the Asianet News App now! Available on Android & iOS

👉 Android:
https://play.google.com/store/apps/details?id=com.vserv.asianet&hl=en_IN

👉 iOS:
https://apps.apple.com/in/app/asianet-news-official/id1093450032

Like and Subscribe:

WhatsApp ► https://whatsapp.com/channel/0029Va5bM8l2v1IpqGwjv30T
Website ► https://telugu.asianetnews.com/
YouTube ► https://www.youtube.com/@AsianetNewsTelugu
Facebook ► https://www.facebook.com/AsianetNewsTelugu/
Twitter ► https://x.com/asianetnewstl
Instagram ► https://www.instagram.com/asianetnews.telugu/

Category

🗞

News

Transcript

Display full video transcript

00:00Hello, I'm Mr. Rajamuli. How are you?

00:04I'm very good. Thank you very much.

00:06Thank you for doing this. I'm fine, I'm fine.

00:10I'm a little tired. We've been bopping all over the world.

00:15We went to Los Angeles, Paris, China, and Tokyo, Japan.

00:23So, and now I'm back home in New Zealand for two days for our New Zealand premiere.

00:30You know, you've been on these.

00:32I think, sir, it is, at least for me, I get so tensed up before the release of the film.

00:39At least this keeps my mind occupied, the promotionals keeps me occupied.

00:45Yeah, exactly. Because otherwise, before the film comes out, I don't know about you,

00:50but I'm always very nervous, and if I don't have something to focus on,

00:54I'd just be pacing back and forth all day.

00:57Absolutely the same thing here, sir.

00:59Well, I look forward to our dialogue, and once again, thank you for doing this.

01:03I know you must be very busy with Varanasi now.

01:06Yes, sir, but it's an absolute pleasure.

01:09All right. Well, if I can reciprocate, when your new film is coming to market,

01:14please keep me in mind.

01:15I love to have a dialogue with other filmmakers.

01:19I think we need more of that.

01:22Thank you, sir. We'll definitely do that.

01:24Thank you. Thanks for the offer.

01:26First of all, I would like to thank, because you made me the first person,

01:33or probably the only person amongst 1.45 billion people, Indians, to watch Avatar, Fire and Ash.

01:43That feels very, very special.

01:45Thank you very much for that.

01:47It's our pleasure, and thank you, once again, thank you so much for doing this.

01:51I think it's important for filmmakers to talk and compare similarities in their mental creative process

02:00and in their technique and so on.

02:03I'd love to come to your set.

02:04May I come to your set sometime and watch you create your magic?

02:08Oh, that would be an absolute pleasure, sir.

02:10You are most welcome, and I mean, not just me, not just my unit.

02:16My entire film industry will be thrilled.

02:19Well, I can't think of anything I'd rather do.

02:22So, I think you're shooting for a while, right, on the new film on Varanasi?

02:27Yes, sir. It's almost a year now, and another seven, eight months to go.

02:32Yes, we are in the middle of the shoot.

02:34Okay, plenty of time.

02:35Well, tell me when you're doing something fun.

02:38I don't know, something with tigers.

02:39Yeah, definitely, sir. Thank you very much.

02:44Okay.

02:44Sir, watching Fire and Ash was an absolute pleasure.

02:54I mean, hats off to you for creating those complex sequences, those visuals, those characters.

03:03I mean, I can go on and on, but for me, I mean, I was like a child in the theater watching them, the wind traders, Ash people, the new characters.

03:18Varanasi was absolutely stunning.

03:20But I thought, for me, after I come back from the theater, as it wouldn't leave my mind, your film wouldn't leave my mind, what really got me hooked was Jake's moral dilemma.

03:37I thought Avatar, the first Avatar had it, it was so strong, Jake's moral dilemma between the Na'vi and his own people.

03:49I thought, can he ever beat it in the coming films, can he ever beat it?

03:54But I think, in this, it is much more stronger.

03:59I mean, if I talk a little bit more about it, probably I'll be a spoiler.

04:02I don't want to be that.

04:04We'll dance around the spoilers.

04:08Call them teasers.

04:10So my question, my actual question is that Avatar has like innumerable sub-worlds in it.

04:19There are so many characters, strong characters, fun characters, complex characters, and I'm sure you have many more characters in your mind than in the film.

04:31Correct.

04:32So when you have so much of information, so much of playthings around you, which one do you give precedence?

04:43The emotional crux or the characters or can't you separate them?

04:48I want you to know, at the writing table, what drives you forward?

04:53I think, look, for me, a really critical part of working with the actors to create these interesting and rounded and quirky and unique characters is the writing process.

05:05So on these films, I worked with other screenwriters to shape the story.

05:11But then I took it and I ran with it myself, and I wanted to individuate each character.

05:16Now, some of the characters were new, and some of them were for actors I'd worked with before, like Sam Worthington and Zoe Saldana, because they were in the first film, and Stephen Lang.

05:26And I wanted to hear it in the sound of the dialogue that I knew it would sound like coming from them.

05:33So, you know, and there's a lot of me in each one of the characters, the stern father, the misunderstood son, you know, even the strong women.

05:43I don't know, maybe I was female in a number of past lives or something.

05:47Like, for some reason, I can relate to that.

05:49But I think, you know, the more likely explanation is that I've always been attracted to strong women.

05:54My mother was a very strong figure in our family, as is the case with a lot of people.

06:01And, you know, so the writing gives me something useful to help the actors.

06:07I always believe it's the director's job.

06:09Yes, you're supposed to be the visionary and the architect and all that.

06:13But really, in the actual moment of creation, it's really, I feel I'm just there to be helpful.

06:20You know, what do you need?

06:21What helps you?

06:22What prompting or what discussion or, you know, what creative dialogue helps the actor in that moment?

06:31And every actor, as you know, is different, so you have to key in to their different creative processes.

06:37But it gives me a way to be useful to them, having written the characters and thought through all of these conflicts.

06:47And, you know, I think of them as collisions.

06:50The characters are colliding with each other.

06:52Every scene, there's some tension.

06:55You know, maybe they're attracted, but something's keeping them apart.

06:58Maybe they hate each other like Jake and Korich, but maybe there's something that's pulling them together that has to be resolved, you know.

07:07And it's those little discoveries when you go along in the writing process.

07:11One of my big discoveries, I love that you focus on Jake's moral dilemma because that was a critical part for me.

07:20And to me, there are even dimensions within that.

07:22His dilemma is, I'm a warrior.

07:25I'm supposed to defend my people.

07:27But if I take them to battle on a big scale, as he knows he can do, he's done it in the past.

07:34If he gathers the clans together and if he takes the battle to the enemy, he knows they're technologically superior.

07:42They have vast numbers and many of his people will die.

07:45And that's the great dilemma of leadership, right?

07:48And Jake has to resolve that for himself.

07:50But he also has the dilemma of being a father.

07:54He now can't be that young, reckless guy that just jumps onto a creature and tames it, you know.

08:00And he's got a family.

08:02He's got a responsibility.

08:03And he knows if he brings them into battle, his own sons, his own children could die.

08:10But yet, and it kills him, it tortures him to not fight.

08:17And of course, as an audience, we want to see the gunslinger go out and dig up the guns and go back into town and shoot the bad guy.

08:24We know it's a myth that goes back thousands of years, the reluctant warrior, right?

08:30So I'm not creating new ground with that.

08:32But I thought that somehow juxtaposing him as the reluctant warrior and the father confronting a generational issue with respect to, you know, being this legendary figure, I thought that that might be an interesting problem.

08:47And Sam Worthington, from the first film to the second film, he became a father.

08:52He has three sons.

08:53So it was much more available to him to play the heartbreak of the loss of a child, which they're, you know, coming out of movie two into movie three.

09:04They're under this cloud or this shadow of loss.

09:09Anyway, thank you.

09:10Thank you for that.

09:11Because it is, it's one of the things that was my focus as the screenwriter on this.

09:17As you are mentioning, two of the beautiful conflicts in the, in the film was between Miles and Jake.

09:27And also, of course, between Neytiri and Warang.

09:31It'll come, come, come to the first one.

09:35In the first film, we were very clear.

09:37I clearly hate Miles.

09:39But as you slowly started going forward and especially in Fire and Ash,

09:45I want to hate him, but I can't.

09:49I want to side with him.

09:52I want to love him, but I can't.

09:55So I think you took a special affinity towards Miles.

09:58It feels like that.

10:00The conversations between Jake and Miles were like, like it happens a couple of times in the films.

10:07They were like beautifully written.

10:09There was fun.

10:10There was a lot of angst going through them.

10:13But the conversations were fun.

10:15They were beautiful.

10:16But I think you have a special affinity towards Miles.

10:20Did you start falling in love with him as you started developing the character?

10:24I think I always loved him, but I, I kept him very simple in the first film.

10:28And then I threw some obstacles in his path in the second film because he's sort of essentially

10:35reincarnated in a new, a new avatar, if you will.

10:40He's taken flesh again.

10:41Same personality, same mind.

10:43And, but now he's questioning, he has this big identity crisis.

10:48Am I still that guy who was human and hated this world and was at war with it?

10:53And now I'm in the body of my enemy.

10:56And how does he reconcile that?

10:58How does he reconcile having died with the memories of having been a father of this boy?

11:05And the way I played it, as you can see, and it plays out in the new film, is that he clings to that fatherhood as a way of, of cementing his identity, essentially saying to himself, yes, I am that guy.

11:19I am a legitimate extension of that guy.

11:22I am this boy's father.

11:23He chooses that, even though in movie two, he kind of rejects it.

11:27He crushes his own skull to sort of try to tell himself, I'm a new, I'm a new person.

11:34I can be whatever I want to be.

11:35But he goes back, he's drawn back to that, that role and that, that character that he used to be.

11:42So I had a lot of fun with Stephen Lang around, you know, creating Miles.

11:47And then obviously there's a new layer here, which is that Jake and Quarch have to ally with each other briefly to try to protect Spider.

11:55So I kept sort of thinking, well, what is Spider?

11:58What is he in all of this?

12:00And I realized he's actually the intersection point of all the different character pathways.

12:06He's the one that glues together Quarch and Jake in a way that becomes complex.

12:12Because otherwise they're just two guys trying to kill each other for three hours, and that's boring, right?

12:16So that became more interesting.

12:18He's the one that gets caught in the middle of Neytiri's hatred of all humans.

12:24She becomes essentially a racist.

12:27For her, it's if you're blue, you're good.

12:29If you're pink, you're bad.

12:31You know, and I just chose pink because, you know, it could be pink, it could be brown, it could be some shade, some warm tone versus their beautiful Navi blue, you know.

12:41You know, and so Neytiri, Spider gets caught in the middle of all of her hatred.

12:49Spider has a relationship with Kiri, and Kiri becomes a very important character as well.

12:55So I suddenly realized that he was the glue that glues everybody together in this story, which puts a lot of pressure on our young actor, Jack Champion, you know, to be very nuanced and to have all these different relationships.

13:11Yes, Neytiri, I mean, when we first saw her in the first avatar, the first visual of her was like, so beautiful.

13:23You fall in love with her at the first sight.

13:26And here in Fire and Ash, the moment you see her, you know that she is, her heart is full of hatred, pain of losing her son, feels bad, feels bad for her.

13:44That is not how you want to see her.

13:46Yes, exactly.

13:47Yeah, and within a few minutes, within 15, 20 minutes, we get to see Varang, and you immediately know these two women are going to come together.

14:01And from that moment, I am just waiting for the face-off, waiting for the face-off, how are these women going to come together?

14:10But the end that you gave, again, I can't give the spoiler, was like, wow, that really hit me hard.

14:20Well, you know, let me share an interesting story with you.

14:23So I don't think I'm the best screenwriter in the world, and sometimes it takes me going through the telling of the story with my cast over a period of time to find things that other people would consider obvious in retrospect.

14:36So it seems pretty obvious that Neytiri and Varang should meet in battle in the first attack of the Ash people.

14:45It wasn't in the script.

14:48But one day I was sitting there, and I said, you know, Varang really needs an interesting creature that's different from everyone else.

14:55And that wasn't in the script either.

14:57So the designers ran off, and they came up with this amazing kind of four-winged animal.

15:02And then I said, hey, wouldn't it be great if Neytiri and Varang fought in the middle?

15:07And everybody was like, oh, it's not in the budget.

15:09It's not in the script.

15:10I'm like, no, but it's going to be great, guys.

15:12They can just, Neytiri can just fly at her, and they can fight like two eagles, you know?

15:17And, of course, it's one of the best action moments in the film.

15:20But, you know, to me, what's wonderful about the process is because performance capture is relatively inexpensive compared to live action.

15:29Most of our cost is in all the finished work, trying to get the CG up to a level of some degree of photoreality.

15:37So the performance capture is relatively inexpensive.

15:40We just go on for months, you know, finding our way through the story.

15:45And so we just made that up, and we just captured it, and we had a lot of fun with that, you know?

15:49So, anyway, for me, it's a constant process of discovery.

15:54I almost feel by the time I get in, and I don't know if you feel this as well, by the time I'm in post-production or very late in the process, I feel like the film is just telling me what it is.

16:07That I didn't, I may have gone in with strong ideas, but as I get through it, it's like, all right, now the film is telling me what it must be.

16:14And I just need to accept it and go with it and try to reinforce that.

16:20I almost feel like the way an actor must feel working with a director, which is, okay, you come in with a lot of ideas, a lot of energy, a lot of passion.

16:28But at a certain point, you're going to get guided and shaped toward an end goal.

16:33I feel like that's happening to me.

16:35It's almost like the actor's energy is now coming back to me and telling me what the film is supposed to be.

16:41And I think we all grew up with the kind of the Hitchcock myth, right, that everything is perfectly architected, everything is perfectly storyboarded.

16:50And, man, I would hate to live in that world for years on end.

16:54All the work's done up front.

16:55That's boring.

16:56Yes, absolutely, sir.

16:59As we start capturing the sequences, as we start putting them together in the editing table towards the post-production, the initial ideas, many times where we started, seems they are not working.

17:12A new shape is coming through.

17:14And it is very difficult for me to either bring the original idea to the form or just give in to the new idea.

17:23It's a constant struggle for me.

17:25I can't make the choices so easily.

17:27Yeah.

17:28Well, this is where your filter, your very refined filter of sensibility that you've curated within yourself and with your team around you, that's where that comes into play, right?

17:40Does this fit or does it not fit?

17:42Does it push us further in the direction we're trying to go or not?

17:48And, you know, I would say that's instinct.

17:51As you were talking about VFX, I want to ask this question.

17:57Don't get me wrong.

17:58I have utmost respect towards the artists.

18:02I think they should be paid their worth, their time, their artistry, no doubt about it.

18:09But the VFX cost has been like shooting through the roof.

18:15I mean, VFX costed X dollars just a couple of years back, the same shot, the same complexity is suddenly going through like 4X, 5X.

18:25Yes.

18:26I mean, you have a big budget.

18:27Probably you can absorb the cost.

18:28But for filmmakers, I mean, we do have a big budget, but it's still it's going up.

18:36It's becoming unsustainable.

18:37And also on the other side, we are seeing the big studios, Rhythm and Hues and MPC, the big studios are folding because they are not able to take the financial strain.

18:52So how do you propose, how do you think or suggest that, is there a solution to this problem?

18:59How do we go forward with this?

19:02I think you're talking about the big existential risk of the current marketplace.

19:09You and I make films for theaters.

19:11Theater revenues have come down significantly globally due to initially COVID.

19:18But that really was just the opening of the door for streaming to start to reprogram people and habituate them to the convenience of, you know, taking in all their media in the home.

19:31And so we see about a 30 to 35 percent drop globally in revenues.

19:35At the same time, as you say, VFX, all production costs are going up, but VFX are going up on almost a log curve.

19:44And a lot of the big vendors are going out of business.

19:47They're not able to have a positive margin.

19:50So I see this as a huge risk to the kind of fantastic, whether it's science fiction or fantasy or epic or historical films.

20:00I'm even thinking like a Titanic, you know, these are the kind of films that it won't be possible for studios to green light anymore.

20:08And that really worries me.

20:11And I don't have any, I don't think there are easy answers.

20:14I think we just have to continue to fight to put, to defend that amazing experience in the cinema.

20:20Because I think the cinema experience is sacred.

20:24Streaming's fine.

20:26And to the extent that it can provide budgets for writers and actors and all that sort of thing and keep the work going, that's great.

20:32We need that.

20:33As long as the audience remembers that there's something that happens in a theater that isn't like in the home.

20:39And people always talk about the communal experience.

20:42I think that's part of it.

20:44But I think it's a question of the balance of control.

20:47When you're in the home, you have a, you know, you can pause it.

20:51You can stop.

20:52You've got a remote.

20:53Or if you're looking, if you're consuming it on a smaller device, you can pause it.

20:56So you don't have that unbroken chain of experience coming in through your senses, right?

21:03And I think it's that thing of if you want to have that sense of transport, that sense of wonder, going to another place, inhabiting other people.

21:12Because that's really what we do in the theater.

21:13We inhabit other people through these wonderful actors, you know, through these performances.

21:19Because our minds are programmed with, you know, some kind of mirror neuron neurobiology that says, I'm going to feel what you feel.

21:28If I see you emoting, I'm going to feel what you feel.

21:32So the depth of that feeling, I believe, is much greater in a cinema than it is in the home.

21:38And we have to defend that.

21:40And we could get into the details of the business and maybe generative AI may play a role in bringing costs down and so on.

21:46But the important thing, I think, is for us as a civilization is to keep that flame of cinema, of this incredible art form, keep it alive.

21:58Yeah, I see a common connection in Pandora.

22:05When once we enter into the cinema, I think all of us get interconnected.

22:10All the audience get interconnected with each other.

22:12Not physically, but all of us are in the same emotional plane or something.

22:19Like we get connected.

22:21Coming to that point, I don't know whether if you remember, Avatar had the single most biggest collection from my city, Hyderabad, IMAX, Prasad's IMAX.

22:34The Avatar ran for one year.

22:39Wow, that's great.

22:40At the IMAX in Hyderabad?

22:45Yes, IMAX in Hyderabad.

22:47It's no longer IMAX.

22:49That's a different issue.

22:50But at that time, it was.

22:51So, you were talking about the cinematic experience.

22:55I'm coming to that problem.

22:57So, the big ticket films like Avatar or all the big entertainers are still finding the footfalls for the audience into the theaters.

23:07Yes.

23:07In the big screens, but the big screens form a very small percentage of the overall theaters.

23:14And you self-mentioned the footfalls are coming down.

23:18So, what do you think that should be done to increase the audience interest in coming to the theaters and watch the films?

23:28Is it the sole responsibility of the content makers to create such a content?

23:34Or is there something that can be done in the exhibition sector itself?

23:38Can be something radically be done with the theaters that the audience find it interesting to come to the theater to watch the films?

23:47I think, and I'm going to propose a small partial solution.

23:52I think, in terms of the quote-unquote content creators, you and I, I mean, we pour our heart and soul into these massive films and we employ thousands of people.

24:02I don't know what we could do more than what we already do, you know, frankly.

24:08I think we should look at maybe reducing the barrier to entry to young people coming in as filmmakers with VFX.

24:16Maybe generative AI can help with that.

24:18Maybe some other solutions.

24:19Democratize the tools and let more people be doing the type of fantastic filmmaking that we, that you and I do.

24:29I think that's part of it.

24:30But the partial solution that I would offer is, in the home, or on any device anywhere, streaming is a 2D medium.

24:38Whereas theaters can be a stereoscopic 3D medium.

24:43And everybody sort of feels like, well, that had its day and then it faded down.

24:47And there are a few exceptions that come along from time to time.

24:51But it really, it really wasn't done properly when it was at its apex.

24:56And it was held back by two things.

24:58One, the studios made a conscious decision to assert control by doing conversion in post-production versus shooting natively.

25:08And that limited the quality of the 3D itself on the screen.

25:11And secondly, the exhibitors have never properly stepped up in putting in the new projection technologies that allow the image to be bright enough in the theater.

25:23If you solve those two problems, then everything could look like Avatar.

25:27I mean, maybe not in terms of the world building, but in terms of the image clarity and quality.

25:34And that's something that you can't have in the home.

25:35So, to me, that's part of that premium experience that separates the movie theater from the home experience.

25:43We could revisit that as a solution.

25:48And, by the way, you and I should talk about shooting in 3D.

25:52I want to see those slow motion tigers coming at me in 3D.

26:00And everything else that you do so beautifully and so wonderfully.

26:05But I have one final question.

26:08Before I ask the question, one thing is like I'm really, really looking forward to go and watch Avatar again, Fire and Ash again,

26:19with lots and lots of people all around me, getting connected with them emotionally,

26:24but watching your masterpiece on screen.

26:26Just can't wait to see it.

26:28My last question is like one terrifying thought that's been there on my mind and lots of filmmakers around the world like me

26:42about this generative AI disrupting the process of filmmaking.

26:47So, do you think, are we in the near future or far future or whatever future, are we at a place where the visuals can be created the exactly way that you envisioned on paper

27:02by using the text prompts or image prompts?

27:05And if it happens, what happens to the creative artists?

27:08What happens to the content creators like us?

27:12So, I want your thoughts on that.

27:15I want to be, I need to be very clear in my wording around generative AI.

27:21We've never used it on the Avatar films.

27:24Our process is a very linear process.

27:26It starts with writing.

27:27It goes through acting, it goes through acting, and then we take those captured performances, and then we build on them.

27:34We don't change the performance at all, but we just build the world around it, and we do all the lighting and the cinematography as a kind of a downstream process.

27:41So, it's a bit of a strange process, but it's effective in creating these characters and these stories.

27:48I believe that generative AI is very dangerous if it eliminates that sacred process of working with and through the actors to tell stories,

28:02because I find that to be a feedback process that's very, very positive for me and for the film.

28:09And I would say to young filmmakers that are drawn to these inexpensive tools that allow them to get their thoughts, their imagination, into an image very quickly,

28:20I would say stop, spend time with actors.

28:24Some of them don't even think about acting.

28:26I mean, there are young filmmakers coming up that they don't even know any actors.

28:31They think they can bypass that step.

28:33This is very dangerous, and I don't want to see those movies.

28:37And the reason I say that is because generative AI is trained on everything that's ever been done, but it can't be trained on that which hasn't been done, right?

28:46So, you could go and give a text prompt to a Gen AI model and say, show me something that looks like Avatar.

28:53It can do that.

28:54It couldn't do that before 2009, you know, had it existed then.

28:59So, what else is coming out of people's imaginations, out of their dreams, out of their, you know, their imaginative process that it will not have been trained on, you know?

29:11So, that's one thing.

29:12And the other thing is, if you take everything that's ever been done, and you put it into a blender, and you turn it into a sludge, then you're always only going to get the average.

29:22You're not going to get the individual lived experience of an individual actor or an individual screenwriter or director, right?

29:30So, you'll never get the unique, the strange, the quirky, you know, the dysfunctional, whatever it is, that particular tiny lens that, you know, creates something totally unique.

29:44So, it's limiting.

29:46So, what you're going to get is the equivalent of network procedural cop shows and medical shows and all that sort of thing.

29:52And we've learned to accept mediocrity in a lot of our entertainment, but that's not what we go to the movie theater for.

30:01So, I don't think it can ever actually just create that what you see.

30:05But I do think there are tools that can be created within that, that we can plug into our existing VFX workflow to deal with the problem that you've mentioned, which is, because it's about human labor, right?

30:17I mean, the reason the costs are going up is because the cost of living has gone up and everybody, all of these artists that are working with these tools, I think 90% of the cost of a VFX shot is labor, right?

30:30So, I'm not saying we lose people.

30:31I'm saying we speed them up, make them more efficient, get the result of their labor more quickly, and then move on to the next thing.

30:40Because I don't see the, I see it being an endless need to create these imaginative worlds, an endless need for VFX.

30:48So, if we can just do it quicker, we can bring the cost of these films down.

30:53And by the way, I would love to make an Avatar movie in two years instead of four years, because I'm running out of four-year chunks at the age of 71, right?

31:03Yeah. Thank you, sir.

31:04That's, those words are very comforting, to say the least, and all the best with Fire and Ash.

31:11I know it's going to erupt in the theaters across the world.

31:16All the best to you, and like I said, can't wait to watch it in the theaters.

31:21Okay. Thank you. This has been fantastic. Thank you. Thank you so much.

31:25I really, really have enjoyed our dialogue.

31:27Thank you, sir. Thank you very much.

31:29And I'm going to hold you, sir. I'm going to come to your set.

31:31Yes.

31:34You can give me a camera. I like to operate. I can get some, I can get some shots for you. Some second unit, maybe.

31:42You're, yeah, you're just putting me on the moon.

31:45But I'll take that and somehow I'll use, I'll hold you on to that and I'll, I'll bring you to Hyderabad.