00:00Baby girl, actually Garudan is the first time I wrote a script for Sanjot.
00:08Garudan is the first time I wrote a script for Sanjot.
00:11Sanjot is the first time I wrote a rap for Sanjot.
00:15In the discussion of a project, Bobby Sanjeev and Sanjot,
00:27the first time I wrote an idea and the first time I wrote an idea.
00:36There were two real life versions of Sanjot's idea and concepts,
00:45But it was almost like a real-to-life based title that we usually play as a screenplay.
00:53This was also based on one and two incidents which are clubbed together, yes.
01:00As a writer, first of all, it was not a Devanagra writer,
01:04because my second film was written at a very early stage of my career.
01:11Also, my first film was written by one big writer.
01:14So, I am fortunate and lucky or blessed that I am able to work with some good writers, with good content.
01:22Above and over and above that,
01:25when I started working, initially, I would like to pay attention to how we will gel in the workplace,
01:32and I would like to say a lot of senior writers at school,
01:36and I would like to say a lot of cinema.
01:38At that time, Sanjot made it very comfortable with me.
01:42Now, he is like a very close brother to me, very close friend to me.
01:46I don't think there are...
01:48I don't think there are...
01:50that I am able to help with my friends,
01:52and I would like to say a lot of things,
01:53and I would like to say a lot of things,
01:54and I don't think there are a lot of close bonds,
01:56actually, in the cinema.
02:00That is because I was going to say a lot of generous work.
02:02And they were completely open with ideas that we were placing.
02:08So, it was a collaborative effort.
02:12He had given me the space to voice out whatever I wanted to bring through his screenplay.
02:20So, and that space was given by him.
02:22So, I think that's what makes people, writers like them great.
02:26Yeah.
02:40When I was writing,
02:42I had written the initial screenplay of Garudan.
02:46So, screenplay is part of my process towards direction.
02:50So, when I was writing three or three screenplays,
02:52and I was writing a screenplay,
02:54and I was writing a screenplay,
02:56and I was writing a screenplay.
02:58So, screenplay process,
03:00I am not new to the whole process.
03:02But, in this situation,
03:04I think it was collaborative.
03:06So, I think it was collaborative.
03:08So, I think the current trend of audience,
03:11or the current crop of audience,
03:13is a situation in my mind.
03:16So, in this situation,
03:18when I was writing a whole process,
03:20when I was writing a tonality,
03:22when I was working with the current audience,
03:24and when I was in previous generation audience,
03:26and when I was working with all audiences,
03:28I was working with the space.
03:30So, in this situation,
03:32when I was writing a screenplay,
03:34I had written specific sequences.
03:38I had written completely collaboratively,
03:40and I had written the discussion-based title in this scene.
03:44So I think it was definitely learning experience.
03:46Because there is a chance to give and take.
04:16There is a chance to get a pre-production.
04:20What is the case of Nivin?
04:22Nivin is very late.
04:25We had planned a project.
04:28We had planned a date.
04:32We had to communicate with Nivin.
04:38It was a very last minute thing.
04:42There is a place to be available.
04:46It was a completely divine intervention.
04:50But whatever happened, it happened for good.
04:52When we came to the tree,
04:54we had a lot of changes.
04:56We had a lot of changes.
04:58We had a lot of changes.
05:00We had a lot of changes.
05:02We had a lot of changes.
05:04We had a lot of changes.
05:06One more thing that I should say.
05:10Is Nivin is a star.
05:12Whatever be his career condition.
05:14At all times, he has got his fan base.
05:16And he has got people who love him.
05:18For the charm that he has.
05:20So, it's not an independent single hero cinema.
05:26It's not an independent single hero cinema.
05:28We had a lot of concepts.
05:30The story and the concept is the hero of Arsalan.
05:36So, it's not a one man game.
05:38In the same situation, he doesn't have to necessarily take up the project.
05:42So, he was magnanimous enough to give us the opportunity to tell the story.
05:46And he was willing to do it.
05:48Seeing the cinema,
05:50that he was able to do it.
05:52It shows the kind of confidence that he has in himself.
05:56In himself.
05:58That's correct.
06:00As well, I think Sureshko Sarno is a part of his cinema.
06:02If you saw any of his films,
06:03I can't tell him that you saw any of his films of the film.
06:05But, in the beginning of the film,
06:07There are some of the films,
06:09Some of the films,
06:10Some of the films,
06:11Some of the films,
06:12Some of the films,
06:13Some of the films in the film.
06:14But it has a sense of youth.
06:18Obviously, there are two hands in cinema, and there are two styles.
06:23There are two artists, and there are two artists.
06:30That's the feel.
06:34When shooting and shooting, it's a difference.
06:41See, I have to say it all separately because Sureshatan is involved in the cinema.
06:50Actually, all three actors are not actors who are in the role of Jolie.
06:57We have to stop the work, we have to stop the work, we have to stop the work, we have to stop the work.
07:07All three of them are directors actors.
07:10When I was a first-timer, I didn't have to stop the work.
07:14That's why I didn't have to stop the work.
07:18Even Sureshatan and Bijootan, they were willing to listen and understand.
07:23They gave me beyond what I had expected.
07:26Sureshatan, though we initially talked about the work, he made me very comfortable.
07:32He was very comfortable.
07:35He is more than a father figure to me.
07:38And I consult with him for everything that I do.
07:41So that is Sureshatan to me.
07:43Very personal, very close to me.
07:45As an actor, he is extremely talented.
07:51He is extremely talented in the sport.
07:53He is very talented, and how much the character is better on me.
07:57He is very talented and he is very clear and evident.
07:58However, it is clear and evident that the child is supported by the child's life.
08:07The child is an expert in subtle acting.
08:13He is also an expert in the major video.
08:17The child's expression is always perfect.
08:27He is perfect.
08:28He doesn't have to do extra stuff.
08:31He is similar to that actually.
08:34When he is on spot, we feel he is not performing at all.
08:38He is a measured item, calculated item.
08:42And I think that is his expertise.
08:45And work-wise, he is very comfortable working.
08:49It was not very difficult.
08:51All established actors know where they stand,
08:55and know what they have to give in a space, in a spot.
08:58And that is why they have established themselves.
09:00That is why they have established themselves.
09:03We are a baby girl.
09:06We are all in social media.
09:10We have done a lot of work in our movie films.
09:17We have done some difficulties.
09:19Where there is a lot of work in our movies.
09:29In a technical situation, they are all emotional and emotional.
09:34The concept of baby girls is that we have to shoot a 3 or 4 days old and we don't have to do it mentally.
09:48If we want to make no-coms, it is very simple.
09:53It is not easy to get a baby.
09:58We never thought that it would be very simple.
10:02We hire a junior artist or a baby.
10:05But I don't think anybody is willing to give a newborn shooting.
10:10We need to check that shooting for at least 1-2 months.
10:15That's why we have a wife who is pregnant.
10:21He is the correct delivery.
10:24It is rude sometimes to ask someone without missing.
10:30So, if we have an offer in a situation, we have to offer anything.
10:40Then I asked him, do you talk to your family?
10:44We have to ask someone with a wife.
10:46We have to ask someone with a wife.
10:47We have to ask someone with a baby.
10:48We have to ask someone with a baby.
10:49We have to ask someone with a baby.
10:51Will they be willing to do that?
10:52Because they have immunity.
10:53There are many issues.
10:54There are many issues.
10:55There are many issues.
10:56It is a baby and we have to be very careful.
10:58Extra careful.
10:59We have to ask someone with a baby.
11:03Finally, the family were willing to give the baby for the shoot.
11:07But we took a lot of extra care.
11:10It is not like handling a regular artist.
11:12So, we have to shoot in a very rugged, raw space.
11:18So, we had to set up so that it is a clean space, but it looks dirty.
11:24But if it is not dirty, it is a very clean space.
11:25So, when it is a very clean space, we can shoot in a very healthy place.
11:31Then we have to do that look.
11:33One is a nice finish, if they are sanitized, if you have to sort of one hand and the hand
11:37And the other things you can put in space and you can place in that space.
11:42So, when you can make a lot of hands in the place.
11:45And there is a lot of time in spot.
11:48So, for a short time, you may have a dummy.
11:52Then we will leave the baby in order to set the sequence and do a close-up.
11:57We mostly use the baby as well.
12:00So we can handle the baby as well.
12:04It's more than the action cut of the screen.
12:09But the actors are struggling with that.
12:14Nivin, Abhimanyo, Lijomola, Sangeet,
12:19they are largely young and they have not done this much.
12:28So they are training and practice.
12:34But our mother was always close to us.
12:38If we were short or short, we would have a safe space.
12:42So we will shoot.
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