00:00Welcome to Shivakarthi, Adarva, Ravimogan, C.Lila and all of them are here.
00:10How are you going to tell us about this question?
00:13This question is Sudha Kongara. This is Jeeva Prakaswa.
00:16This is a great musical.
00:18Then we are here with SK.
00:20The question is,
00:21there are a lot of people in India.
00:24There are a lot of people in India.
00:26There are a lot of people in India.
00:29There are a lot of people in India.
00:31There are a lot of people in India.
00:33There are a lot of people in India.
00:35There are a lot of people in India.
00:37In India, Shivakarthi, Jeeva Prakaswa.
00:39This is the question.
00:41That's why you know Jeeva Prakaswa.
00:43Why are you talking about Jeeva Prakaswa?
00:47If we talk about the positive,
00:49we will talk about the costume and art.
00:53This is the first question.
00:55In the 1960s time period,
00:57we are doing all the art work, set work, costume, etc.
01:03We are doing all the same.
01:05It's not any distraction.
01:07We are doing all the same.
01:09We are doing all the same.
01:11We are doing all the same.
01:13We are doing all the same.
01:15The second point is cinematography.
01:17And I think the most important thing is cinematography.
01:19And if you think about it,
01:21we are doing all the same.
01:23The music is the number of background score.
01:25In the background score,
01:27we are doing all the same.
01:29In the background score,
01:31we are doing all the same.
01:33We are doing all the same.
01:35You are using this thing and video.
01:37All those people are focused on working in Tamil.
01:43We spent as much time, during the train sequence,
01:47We were looking for these characters.
01:51So we are putting these characters together.
01:53That is the dialogue is really interesting.
01:56You can write a dialogue with this.
02:00He did a lot of fight scenes and some action scenes were interesting, but the actors were very passive, but he did a lot of Ravim Offan.
02:11He did a lot of suit in the villain role.
02:16What did you say about Sivakarthi?
02:18Sivakarthi, what did you say about Sivakarthi?
02:22He did a lot of performance, he did a lot of role.
02:28He was a hero.
02:31If he was 25 or 25, he did a lot of performance.
02:36He did a lot of demand.
02:38He was a negative one.
02:42First of all, we said that if we expect this to be a Hindi theme, we will be able to experience it.
02:48This is a lot of acuity.
02:50That's why we can't see it.
02:52This is a typical hero-villain.
02:54The hero, the villain, the villain, the villain is going to be extreme.
03:00That's why we can't see it.
03:02If we can't see anything, we can't see it.
03:04Maybe it's a sensor.
03:06That's why we can't see it.
03:08Because in the first of all, we won't be able to see it.
03:14We can't see it in the title card.
03:16We will get it in the title card.
03:18We can't see it in the text.
03:19We can have a special video card.
03:21We can have a voice over.
03:23He's like, he's dead in the scenes, he's dead in the left side.
03:26So that's the only thing.
03:28This is only the only thing.
03:30We have a mind that we can talk about the character of Shivakarthi.
03:34We can talk about the train on the train and we can talk about it.
03:39That's why we can't talk about it.
03:40That's why we mentioned it, we can't talk about it.
03:44So this is only the only thing.
03:46This is true and true incident.
03:48Why are they saying this?
03:52Why are they doing this?
03:54Why are they doing this?
03:57The last thing is that this is a train accident.
04:03If you look at the checkpani,
04:05they don't have to add some things.
04:10But it's not a good thing.
04:13That's why Shivakathika Kadeshi,
04:15and that brain blasts and that's why I'm not going to be.
04:19But I'm not going to go.
04:21That's why I'm not going to be.
04:23But when I went to Delhi and said to India,
04:25I can't say that.
04:28Because I'm not going to die.
04:32But there were two main scenes in this book.
04:36It was a very painful scene.
04:39I was going to die.
04:41He was going to die.
04:43This is a recent life of Pollachi and it is a real incident.
04:47There are some of you who killed it.
04:50Some people know you.
04:51They have a letter from post office and they are sent to the post office.
04:54That is a real incident.
04:55They have a small incident, a small incident, or a small incident.
05:01That is a real incident.
05:02Now we have to leave here.
05:04We are able to find out the story from this point.
05:06He has a good story.
05:07We are able to find out the story from this point.
05:09How did he do it?
05:11The weight is on the weight of the weight and then I feel emotionally emotionally connected to them.
05:21I think I can have a lot of weight.
05:24I can have a lot of weight in my brain.
05:30But it has a lot of weight in my brain.
05:33I can have a lot of weight in my brain like TV or SK.
05:40So, you have to sit down the rest of the game.
05:42So, we are going to have a movie in the second half.
05:45You have to write a movie in the second half.
05:48Suddenly, a character is dying.
05:50A character is dying.
05:54So, if we are dying, we would have to go to the character.
05:59That's why they are dying.
06:01So, if you want to roll up a track, you just want to roll out.
06:03But, you have to stay inside a track.
06:07Maybe that's a bit of a...
06:09We convinced that this is a bit of a feeling of a feeling.
06:12We know that this is a full uncut version.
06:16That's not a sense of emotion.
06:21This is a full uncut version.
06:23Now we can say that this is a part version.
06:26That's why we can't say that.
06:28You've been thinking about how well you are.
06:31That's why I'm not saying that.
06:34I don't know.
06:35I'm not sure if I'm going to be a good guy.
06:38That's why I'm going to be a pair of two pairs.
06:43That's why I'm going to be a pair of two pairs.
06:46If you're a pair of two pairs, I can't get a vision to see them.
06:54That's correct.
06:56I'm going to be super.
06:59But, why are you talking about a brother or sister, a friend, and a friend?
07:10Okay, we're talking about a friendship, but we're talking about a relationship.
07:14How are you talking about love?
07:15There's a lot of characters and a lot of issues.
07:19I'm talking about a town town.
07:22I'm talking about a hero.
07:27Okay, I picked up a picture of a hero.
07:31In a few days, I got a strong dialogue.
07:35That's why I didn't have a picture.
07:37You said that you came from Tamil to Edhuran,
07:41and you came from Nariya Kuppal.
07:43You said that you came from Tamil to Edhuran,
07:44and you said that you came from Nariya Kuppal.
07:47I don't know if I was Tamil to Edhuri.
07:50I don't know if I was Tamil.
07:51I don't know if I was Tamil to go to Nariya.
07:55But the duration of the time is the same.
07:59It's emotional.
08:03We have to avoid the low scenes.
08:07We have to deal with the various issues.
08:10There is a theme.
08:12It's starting, ending, and ending.
08:16There is no reason for it.
08:18There is no reason for it.
08:19You can do something like this.
08:23Unmai is an important thing to know about it.
08:26If you say that the unmai is not a good thing, it doesn't impact us.
08:31That unmai is not a good thing to know about it.
08:33We can do it.
08:35If we can do it, we can do it.
08:38We can do it.
08:40We can do it.
08:41We can do it.
08:42We can do it.
08:43We can do it.
08:45We can do it.
08:46First of all, we can do it.
08:48We can do it.
08:49We can do it.
08:50It's a surprise.
08:51We can do it.
08:52We can do it.
08:53We can do it.
08:54It's a cut.
08:55It's not.
08:56It's a commercial.
08:59We can do it.
09:01It's a scene.
09:04So, we can do it.
09:06So, if we can do it, we can do it.
09:08We can do it.
09:09We can do it.
09:10Now, we can do another movie review.
09:13We will be here.
09:14We are Vijay Vishwa and Arthi.
09:18Now.
09:21Over elagraph.
09:23Now, my friends have played
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