- 2 days ago
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Category
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Short filmTranscript
00:00Hello, hello.
00:20Sir, you are working?
00:27Sir, you are working?
00:33I am looking for the audience.
00:38I am not sure.
00:40I am not sure if you are looking for the sensor,
00:44under sensor wall cinema juicy it actually a wall challenge a fool mother
00:55partner certificate to a wall any untied the youth jodali parents the
01:02opponent's order but cover my chala hard-hitting a chapter in a lot chapter
01:08also and the data pundi for our discussion area sensor officer
01:15or under or under or again a cut saving chap ledo Kavala certification made a
01:23wallow you is there pillo parents kalissi
01:32They are not a hard-hitting sunbatte.
01:37But, they are not a child,
01:41but the parents are not a child.
01:44So, while they are not a child,
01:47they are not a problem.
01:49So, they are not a hard-hitting sunbatte.
01:54They are not a hard-hitting sunbatte.
01:58But, sir, that's the same thing, so you can get the A Certificate, sir.
02:05Then, you can get the A Certificate, sir.
02:09You can get the A Certificate, but you can get the A Certificate.
02:13You can get the A Certificate, sir.
02:19You have a question in the cinema promotions.
02:24The next gentleman is the director.
02:27What is it?
02:29The industry has already been given to the director.
02:33But, what is the feeling of the pro-ling generation?
02:38What is the pro-ling?
02:40What is the pro-ling?
02:42What is the pro-ling?
02:44What is the pro-ling?
02:46What is the pro-ling?
02:49What is the pro-ling?
02:50What is the pro-ling?
02:55Because, what is the pro-ling?
02:58You have the pro-ling?
03:00You don't limit the pro-ling, but your pro-ling is about it.
03:02If you are pro-ling, it's not too pro-ling.
03:06So, in 1992, I have no pro-ling.
03:11Now, when I joined the pastor's house in the work of the family, we will never talk.
03:20Thank you, and particularly the fact that we are in a couple of days, but we are so hungry.
03:34In particular, this film is a real film in Hyderabad.
03:44Yes, I said.
03:46I tried to drive a few times.
03:48I tried to drive a few times.
03:52I tried to drive a few times.
03:54I tried to drive a few times in India.
03:59As it was released in Jubilies or Setaam Petal.
04:04It's all connected.
04:07I said that it's all.
04:09But I asked him a few times.
04:12For example, I would like to see a budget.
04:15I was asked for the budget for a few times.
04:18I was asked for the budget for a few times.
04:20It's a real film.
04:23We are the most interested in this film.
04:26There's no objection for your budget, your wife, your spouse.
04:31It's dangerous for them.
04:33I'm afraid of being in control.
04:38We have to go to the director's office.
04:44It's not that bad.
04:48But it's not a good thing.
04:52For example, in Boominggaru, there was a swimming pool in a swimming pool in a swimming pool.
05:00If we were to talk about it, there was a swimming pool in the sky scraper in the balcony or terrace.
05:07So, they said that it was a swimming pool.
05:09The sky scraper in the sky scraper is the same way.
05:16So, that's why I wanted to study swimming pool.
05:21There was a star hotel in the ground floor.
05:24There was a sky scraper in the sky.
05:27There was a swimming pool in the sky.
05:29There was a swimming pool in the sky.
05:31Boominggaru.
05:33Wait, what's going on?
05:35What's going on?
05:37What's going on in the air?
05:40I'm going to watch this movie.
05:42I'm going to watch this movie.
05:44I'm going to watch this movie.
05:46Why are you watching this movie?
05:49Even I don't know.
05:53I think I got really touched seeing the film.
05:56It's so special.
05:57It's so hard-hitting.
05:59Parents, children, connection, also disconnection.
06:06That gap.
06:07Not just connection.
06:08The disconnection.
06:09The gap between parents and children.
06:13It's a very hard-hitting film.
06:14How…
06:15Sorry.
06:16Sorry.
06:17Okay.
06:18Sorry.
06:19Sorry.
06:20So, I don't know why I got so emotional.
06:34But…
06:35I think I…
06:36Everyone has performed so well.
06:41From Sara to Vignesh, Prutfi, Likita, everybody.
06:46They are the characters.
06:49They are not the actors.
06:51They are not the people I know, offset.
06:53It's not Vignesh.
06:54It is Vikaas or it is Amrita, you know, psychoside.
07:00So intense.
07:02I connected with every person.
07:04And the film dealing with drugs, dealing with so many other issues.
07:10So, I think after seeing the film yesterday, I realized how…
07:16How hard-hitting it actually is.
07:21I think you all have to decide.
07:24I cannot decide for my film.
07:25It's my baby.
07:26It is Sir's baby.
07:28All…
07:29All of us, you know, we are co-parenting this little child called Euphoria.
07:35But ultimately, you have to decide how it's going to be.
07:39Tomorrow and…
07:41Go watch it and…
07:43Do let us know what you think.
07:45Go and say, go and say, go and say,
07:46Go and say, go and say, go and say…
07:48Advanced congratulations.
07:49For the report you had.
07:51Sir, report…
07:52No, no, sir.
07:53No, sir.
07:54No, sir.
07:55No, sir.
07:56No, sir.
07:57No, sir.
07:59No, sir.
08:00No, sir.
08:02No, sir.
08:04No, sir.
08:05No, sir.
08:06No, sir.
08:07No, sir.
08:08I was prepared to congratulate you whole the team for the output, final output.
08:21You are 100% hard-hitting.
08:24You are saying this is going to hit the box offices very hard.
08:32Thank you, sir.
08:32100%.
08:33That is the outcome of all the synapses I had with me.
08:37Bhoomika Garu.
08:39Sir.
08:40See, you are an actress who is a very famous actress.
08:47I don't think that an actress of that experience can very easily move to tears.
08:55Just remembering that what you have seen yesterday night.
09:00That is more important.
09:01If you are a famous actress,
09:02Now, do you see this character as a mother or as an actor or as a general public?
09:14General public.
09:16General public.
09:18General public.
09:19My experience of last so many years and whatever films I have done, no.
09:26My profession as an actor, no.
09:30Me as Bhoomika in the theater, as an audience.
09:33I told, I could not sleep all night.
09:39My makeup artist and my hairdresser came today and I was sitting and I said,
09:43Me raat ko so hi nahi.
09:44Because something has, it's a very strong word.
09:54It's shaken me up and it's disturbed me.
09:57Because this is the reality today.
09:59It is what is happening, like recently in Delhi.
10:04Yesterday somebody told me, I was in Bombay the day before,
10:08and this mother, we were talking and she says,
10:11there's a case in Delhi that happened of young children, you know.
10:17I don't want to elaborate right now, but please read about it.
10:21And it's a very scary case that has happened in Delhi with a young seven or eight year old girl.
10:31So when you hear such things and you see the movie, you know.
10:35You know how real and how hard-eating it is and it is a reality today.
10:41So I think I'll leave it to you all, just.
10:44Great, great, great.
10:47Gunsakar geru, you know.
10:47Because today, you know,
10:49there's so much mood in the cinema.
10:56You know, there's a small demarcation line, sir.
11:03Me ru, you're addressing the parents or the children?
11:07Society.
11:08Society.
11:09It's a reflection of society.
11:11Okay.
11:11Today's.
11:12What has really, you know, moved you forward to make this film, and then?
11:29I'm going to tell you, sir.
11:30Okay.
11:31Hyderabad city perspective.
11:33This film is a director of Hyderabad city.
11:37Thank you, sir.
12:07Sorry.
12:07Okay.
12:07Go on.
12:09Good.
12:10Good.
12:11Sir.
12:11Very good.
12:15Oh.
12:15Very good.
12:16I was raised by the main character of the cinema. I was raised by the main character.
12:22How did you say that?
12:24I was raised by the 14 years.
12:27I was raised by the 17-18 years.
12:30That's right.
12:32I was raised by the father and his daughter.
12:38I was raised by the father and his daughter.
12:42And in particular, how does the family relate to this cinema?
12:48It's not one of the other.
12:50I was raised by the other day.
12:56There are gray characters in this country.
12:59Whatever it does?
13:02A gray shade is a person.
13:05It doesn't have a gray shade.
13:07It's not the gray shade.
13:09The way we can change the gray shades, but when we start the gray shades, we'll be able to change the purity.
13:16We'll be able to change the gray shades.
13:22We'll be able to change the same character.
13:26Prudvi Adala.
13:31Are you ready?
13:33Yes, sir.
13:35You are watching me.
13:37I am the only one who is a friend.
13:39I am the only one who is a friend of mine.
13:41I am the only one who is a friend of mine.
13:45Why did you introduce me to him?
13:47For the first time, I am the only one who is a friend of mine.
13:51I think that I was the only one who was a friend of mine.
13:55I think that I have a great time for the director.
13:59Some of them were in the waiting list, some of them were found in the end of the year and some of them were found in the same place.
14:04OK, I had no time for someone, but I don't think I had a good director.
14:12But some of them were found,
14:14I was wondering if I was a dad who had only a new newspaper audition for Guna Shaker and I was a good one.
14:22And I was not able to audition for 3 days,
14:25and I didn't want to audition for him.
14:27You should be blessed.
14:35You should be blessed.
14:53Hi sir.
14:55My name is Dilip Kandala.
14:57This cinema is the first time to talk about the content of the media.
15:07If you ask your name, it's mostly 20 plus.
15:11I am the director of my name.
15:13Yes, exactly.
15:15So 20 plus is a young director.
15:21What did you unlearn?
15:25What did you learn?
15:27What did you learn?
15:29But it didn't do anything.
15:31Because of this story, we have a periodical story.
15:37The story of the world building.
15:41The story of the Gen Z.
15:45This is what I did.
15:47I told you.
15:49I was up to date.
15:51I was watching every world cinema.
15:53I was watching every newspaper.
15:55I was watching everything.
15:57I was watching everything.
15:59I was watching everything.
16:01I was watching everything.
16:02I was watching everything.
16:03I was watching everything.
16:05I can't tell anything.
16:07So, all of this is the subject of the euphoria.
16:11So, music is called Kalabairavagar.
16:15So, for the movie theme, you are doing EDM electronic music.
16:21So, you are doing this for the first time.
16:24So, how are you doing this?
16:26We will do a rap answer.
16:28We will talk about the cinema.
16:30We will talk about rap.
16:35We will talk about the background score.
16:39Sir, do you want to talk about the hard-hitting question?
16:44Sir.
16:46Hi, sir.
16:47I'm going to talk about the AMB.
16:50After the AMB, I asked you all about the cinema.
16:54I asked you all about the director of the cinema.
16:57I asked you all about the cinema.
17:00Oh, thank you.
17:04I am not sure.
17:07I am connected to Bhoomikagar character.
17:11Okay.
17:12I am going to spoil the story.
17:14Oh, very good.
17:15Do it.
17:16So, this cinema has a lot of distributors.
17:20Oh, thank you.
17:22Thank you very much.
17:23Congratulations.
17:26Thank you very much.
17:27Congratulations.
17:43Sir, actually, in the show, the show is not a climax.
17:47You are talking about it.
17:49Like, there is a hard eating, a hard touching,
17:52and that's not a good thing.
17:54I will not say that.
17:56In the first frame,
17:59the end frame is also
18:02I have to say that.
18:05What is the end frame?
18:07Even you have a post credit scene.
18:12That's not a good thing.
18:14That's not a bad thing.
18:15In the actual frame,
18:17this is a 3 hours ago.
18:20I said,
18:22I had to say that,
18:23but I was like,
18:25I have to say that.
18:26So, I have to say that,
18:28the end frame is not a bad thing.
18:32That's a bad thing.
18:34So, post credit scene is also a good thing.
18:36Sir, you have to say that,
18:38you have to say that.
18:40But it's a bad thing.
18:41If you are a star,
18:42if you have a promotion and reach,
18:44you will get a chance.
18:46Mostly, you will have to say that
18:48you do not have to say that.
18:49So, you are not going to say that
18:50you are going to say that.
18:51You are going to say that.
18:52No.
18:53Actually, when I was ready for Raudan, I had a try for a day.
19:01I had a shooting in Bombay.
19:03I had a lot of foreign technicians.
19:05So, I had a lot of fun.
19:07After that, I had a lot of fun.
19:09After that, I had a lot of fun.
19:11I had a lot of fun.
19:13I had a lot of fun.
19:15If you want to go to the cinema, you can see a lot of people in the media and interact better.
19:31All the best, sir.
19:36First of all, congratulations, sir.
19:40I have a lot of interviews.
19:41No.
19:42I have a lot of interviews.
19:43I have a lot of interviews.
19:44You can tell me.
19:45I have a lot of interviews today.
19:46You are a lot of interviews.
19:47Yes, sir.
19:48Basically, you are a director, hits and flaps.
19:53But, in this journey, like hits and flaps, is it a mindset?
20:00What changes are you?
20:03Changes have never come before.
20:11One is that, I went to a lot of depression.
20:16It's a lot of most expected film.
20:19But, I didn't like that.
20:21I didn't like that.
20:23I didn't like that.
20:24However, I didn't like success and failure.
20:30I didn't like that.
20:33I didn't like that.
20:35I didn't like that.
20:37I didn't like that.
20:39I didn't like that.
20:41I didn't like that.
20:43I didn't like that.
20:46Thank you sir.
20:48If you see the trailer,
20:50Fox, Narcotics and Emotions.
20:54Mother and Son.
20:56And Moody Eat.
20:58They're balancing everything.
21:00And society, they're all in the messaged.
21:03They're all in the movie.
21:05Each and every scene has hit in the movie.
21:07They're all in the movie.
21:09I'll talk about it in a couple of minutes.
21:15I'll talk about it.
21:17I'll talk about it in a little bit.
21:20I'm going to talk about it.
21:27I'm going to talk about it.
21:32I'm not going to talk about it.
21:35You've got a message.
21:39including a message, like him and he said,
21:43he sent me a message, he gave me a message,
21:51and he sent me a message better in his life.
21:57How about the social ecosystem help you?
21:59In this world, I'm a fan of a reflection.
22:01I're in a reflection.
22:07If you have a reflection, you can see what is happening in an open book.
22:14So, you can see what is happening in an open book.
22:17Tell me.
22:19You better.
22:21Yes.
22:22Yes.
22:23Yes.
22:24Yes.
22:25Yes.
22:26Yes.
22:27Yes.
22:28Yes.
22:29Yes.
22:30Yes.
22:31Yes.
22:32Yes.
22:33Yes.
22:34Yes.
22:35Yes.
22:36So, what note, sir?
22:40Yes.
22:41Yes.
22:42Exactly.
22:43Yes.
22:56How � Pandraph.
22:58You need help of being a dream.
23:03The first time in India, Paxo court, the original court, the shooting.
23:22Great.
23:23So first time, I don't have time to say that.
23:26When people are given awareness in their minds,
23:31I will give you a synopsis.
23:33I will give you a little bit of a reason.
23:37I have to give you permission to choose that coat.
23:42I said, I'm not going to set it.
23:44I said, I'm not going to set it.
23:46I said, I'm not going to get a coat.
23:48I said, I'm not going to get a coat.
23:50I was talking about shooting, but I would say that I'm not going to get the only thing.
23:55That's why I was talking about the whole thing.
23:58I was talking about the whole thing.
24:01It was a lot of authentic things.
24:03I was talking about the whole thing in the early 20s.
24:07So, during the whole time, I was talking about the dimensions.
24:12We were talking about the dimensions.
24:14We also had the values that we came to choose to.
24:17So, when I say, you are not going to do this, sir.
24:21That's all.
24:23That's all.
24:25That's all.
24:27That's all.
24:29That's all.
24:31That's all.
24:33That's all.
24:35That's all.
24:37That's all.
24:39That's all.
24:41Okay, great sir.
24:43Okay, great sir.
24:45Now, I have a little doubt about this,
24:49that there are children who are not alone.
24:51They are not alone.
24:53But, you have to be a little bit of a role.
24:55Is it going to be a little opposite?
24:57Opposite?
24:59What do you mean?
25:01Even if they are not alone, they are not alone.
25:03But, they are not alone.
25:05They are not alone.
25:07So, that's not realistic.
25:09Why do you divert that?
25:11What are you doing?
25:13That's all.
25:17That's all.
25:19The mother is not alone.
25:21When she is a child,
25:23she is not alone.
25:25She is a child,
25:27she is a child.
25:29So,
25:31what is the core point of parenting?
25:35In that parenting angle, good parenting and bad parenting
25:39We have seen these two things that we have seen in the past
25:43We have seen the same character in the past
25:48There is a negligence
25:54In this time, we all have a lot of speed
25:57We all have different tasks
26:00We all have to do the same thing
26:04We all have to do the same thing
26:07We all have to do the same thing
26:12We all have to do the same thing
26:15We all have to do the same thing
26:17Sir, many directors have done a few years of cinema
26:21They are on top level
26:24In the 34 years, only 14 movies
26:29Why is there a gap?
26:31I have to do the same thing
26:36After the past, we all have to do the same thing
26:41We all have to do the same thing
26:47We all have to do the same thing
26:49We all have to do the same thing
26:51I have no problem with it. I think that's why I am very happy.
27:00Bhoomika, how do you accept this role as a mother?
27:06How do you choose the role as a mother or as an artist?
27:20First as a mother and then as an artist. I started my journey as an artist and then became a mother.
27:30But today I am a mother first and then an artist.
27:35The role reversal has happened so I realized that how important for parents and for children this movie is.
27:44Tarawatha, as an actor it's very challenging for me.
27:52More than challenging, it is an honor as an actor for me to be a part of this film.
28:02To do this role. It is not just any mother who comes and goes. It is a very, it is a mother with a lot of different shades.
28:12And a lot of different high level of emotions. Where she herself is not sure what is happening and yet she is trying to find her own way.
28:22So I think your answer is first as a mother then as an actor.
28:28And to show this, to be a part of this concept and bring it forth to the audience.
28:34So in this childhood time, there are a lot of changes in society.
28:38There are a lot of changes in parenting vision.
28:40There are a lot of changes in parenting vision.
28:44So in particular, there are a lot of changes in your parents in society.
28:50See, times are different now. Our times, I think it was much, every generation has their own problems and situations.
29:02But our generation was still better.
29:04I think the population increased, the access and easy availability to everything that is there.
29:18So for parents also, it's challenging. Even for children, it's challenging.
29:22Because there's peer pressure.
29:24It is like, if I don't do it, will I still be a friend to my friends?
29:28Will they accept me?
29:30So whether it's teenagers, you know, you have this thing of, if I don't do it, am I cool enough?
29:35Or am I not cool enough?
29:37So they are going through their own growth.
29:41And parents are going through their own journey.
29:43So each time, no, I think it's very different.
29:45And I say that I'm learning every day how to be a parent.
29:51Sir, Vignesh here.
29:57So this cinema, it's like a complicated story and a different role that I play.
30:03So what is your challenge while doing this concept?
30:06And while you are working for the film, what was the challenge you have got?
30:10There are a lot of clarity, Sir.
30:17So it's not a challenge.
30:18It's not the character of the traditional character.
30:21There are a lot of shades and complex themes.
30:23It's a lot of complex themes.
30:25There is no challenge for the actor, but there is no clarity for the actor.
30:31Plus, there is always a lot of approachable in our relationship.
30:38So, if you don't have any doubt about it, if you don't have any video,
30:42you don't have any idea about it, you don't have any idea about it.
30:45If you don't have any character homework, you can communicate openly.
30:49So, when we shoot, we have clarity for the character.
30:53So, in this case, there are many challenges, and there are many challenges.
30:57Yes, sir.
30:59There are some aspects of your cinema, like family and family.
31:06But the first time, if you don't see the A-Z figure, you got...
31:09So, sir, if you don't want to ask, you don't want to talk about society.
31:14Because in society, if you don't have any cinema,
31:17you don't have any point of view of the cinema.
31:20What is your point of view of the audience?
31:24How do you reach out to the context of society?
31:27How do you expect to see the context of society?
31:30First of all, I'm going to talk to you in the interview.
31:33I'm going to talk to you in the interview.
31:35You see in the interview.
31:39I'm going to talk to you in the interview.
31:42I don't have a reaction to you.
31:45But I'm going to talk to you about a theater.
31:48I'm going to talk to you about the theater.
31:50I'm going to talk to you about the audience.
31:51I'm going to talk to you about the entertainment industry.
31:55And this is not a multi-plex scene. You also enjoy the single theater in Brahma Rambala, Vimalala and Vimalala, and you enjoy the theatrical experience.
32:08That's why you have a request for the family's book. This cinema is not in OTT. It's called Euphoria. It's called Euphoria. It's called Euphoria.
32:28Only in theater. You enjoy it. You enjoy it. You enjoy it. You enjoy it.
32:41Thank you, sir.
32:43I am a member of the family. I am a member of the family. I am a member of the family.
33:01I am a member of the family. I am a member of the family. I am a member of the family.
33:17I am a member of the family's book. Some of you have been mentioning the樓 wife's book.
33:34in the theater.
33:36I will try to do that in February.
33:41I will not have the first business.
33:45Today, I will be playing in the two states.
33:52Telangana and Andhra Pradesh,
33:55and Maithriwaala,
33:57I will play the role of the audience.
33:59I can't believe if I am a person, I can't believe in that.
34:06I can't believe in your way.
34:07The ASC setting in general, is taboo.
34:13It's not a woman's race, or sex, or any overdose.
34:19I don't think there's any better impact on that.
34:23Does it affect the openings?
34:26If you look at that, many of you have a certificate of openings.
34:31If you have a certificate, you don't have openings.
34:34If you have a trend, you don't have openings.
34:37If you have openings, you don't have a certificate.
34:41If you have a youth, you have a sensational hard-hitting subject.
34:45But we don't have a hard-hitting subject.
34:49We also have a strong vision.
34:53I am talking about the youth.
34:57And families.
34:59This is what we call the Trump card.
35:05We are all in the same place.
35:09We are all in the same place.
35:11We are all in the same place.
35:13We are all in the same place.
35:15We are all in the same place.
35:17We are all in the same place.
35:19We all have PBS.
35:21There are no ideas.
35:23Many families.
35:25Difficult years.
35:26And these days, very few are turned into the coming stage.
35:29There are sovereign generations.
35:31They are children
35:43I don't know my family oriented cinema Lala pattern okay
35:47I don't know only with the boom so you did Vara family audience so
35:53catch it in a boom it got me no no my then a number was there any
35:59assistant sir manchamiru manchic calculated logic toner sir quarter
36:03guarantee thank you here boom it all good hi indeed namaste first of all
36:10congratulations manch responso stundi and meen koda choosy maku natchuthun
36:15and goodnom but as kunshaykagar reprimation jason that to miri a character
36:19to perform jasona choosini malu mere perform jasona character nunchi
36:22yada okati walla accept chestu un taru or throughout the process walta
36:26the scale thun taru theater nunchi but as euphorialo as a madarga
36:30chestnut chala different shades can piss the and piss on the theater nunchi
36:33biotic will late up to do so definitely disturb out taru but me character nunchi
36:38so i think prithvi can i give your example first what you did after you started the film
36:56your takeaway is it okay with due respect so first i'm coming to prithvi sir that his takeaway from
37:04the film was he used to sometimes once in a while you know once in a month have a drink with friends he quit
37:14that was his takeaway and i'm so proud of him
37:20my takeaway as a mother is to understand and think you know sometimes because
37:31my child is no more four or five or six he's in that age where you know the transition phase
37:38so how much to let go how much to hold on you can't hold on too much
37:43you have to sometimes let go and see what's happening
37:46so it's my takeaway is to just be there not just be as it is i don't take too much work
37:55because i believe that your family life and your profession should be balanced well balanced
38:01because money is important but it's not everything in life if you don't have a family
38:06but with my child i understand that these are the precious years and he's just turned 12
38:15so after 18 20 i think everyone goes their own way
38:18so this six i think six seven years more it just have to be there
38:24okay last three questions
38:26sir enter reality manam on screen made a true bichina
38:31yentavarku accept jala ante jeseru okla do accept jayali and anti adis cinema kada alani
38:38chupi staru contha varu koo and liberty these kunter one answer sir so miru starting
38:44nudge juice kundi hard hitting out on the end of naru but yentavarku accept jessers
38:48their parents are parents made true bichina nudge because he put in a hundred percent
38:52of parents lonnie out of fifty or sixty percent may unna to kakuna kunchum
38:57echo facilities idamu a kuga kunchum walladi gindi ventani idamu ilante point of you
39:02lounters so mir chupi cheney ala ala ala is there from other internet to pitch in
39:06you know yentavarku these kunter unkunderer sir naku all acceptance was joltled
39:13wal li witness state un ka haal maako idhi iro?, jare radi an Station u re when
39:38Satisfied as an actor?
40:08The warm, loving people I've worked with.
40:12But on the tightrope, I am very focused that I want to do better.
40:17Because if I don't want to do that, then I'll be sitting at home and not growing as an actor.
40:22So as an actor, I want to work with people who have, like Sir said, content is the king.
40:28I want to work in films that are content-driven.
40:31I want to work with directors who get the best out of me.
40:35I want to be in the same space as actors who want me to grow as an actor.
40:41And so that hunger is still there for me.
40:43So yes, I am grateful and I am still looking at the stars.
40:49Are they very best?
40:50So Bhumika, yesterday were you able to watch the film along with your son?
40:59No, no.
41:00He's just turned 12, so 11 plus.
41:03I'm going to wait for two years for hopefully letting him to see this.
41:06So will you be able to showcase him in the future?
41:09Yes, of course.
41:11Of course I want to show him after two, three years.
41:14At least three years, I'll wait and then I'll show it to him.
41:17He's not seen any of my films, but this film I want him to see.
41:21Sir.
41:22Sir, you said last time, you said it was not a certificate, not a certificate, not a cinema, not a youth.
41:29But you said it was a hard-hitting message.
41:34It's conventional.
41:36Because it's a hard-hitting message, conventional is something that audience looks for.
41:42Sir, just 24 hours ago, I was talking to him and I was talking to him and I was talking to him.
42:02Guntzikhar, one last question.
42:03In the trailers, Rohit Garu has been doing a key role in that time.
42:11He has been doing a key role in that time.
42:14He has been doing a long-back role in that time.
42:19So, how do you do that role in that role?
42:24In that role, Rohit Garu has been doing a lot of important role in that role.
42:33After that, he has been doing a lot of gaps.
42:37He has been looking for a lot of things.
42:40I have seen a lot of things like Rohit Garu.
42:42He has been a lot of handsome.
42:45He is a great guy.
42:48He is a great guy.
42:50He is also a great guy.
42:52So, Kachitanga, these cinema and Rohit Garu are very busy.
43:01Sir, congrats, sir.
43:03Sir, you are the director, the industry.
43:06Because you are dedicated to the cinema.
43:09You are not doing anything to a time-discount of cinema.
43:12And, this is why you are not getting a nice job.
43:17I am looking for the cinema.
43:18But in this film, you can tell us how many messages are in this film.
43:24In the first film, you haven't seen a hero in this film.
43:29It's also a release.
43:31If you haven't released this film,
43:34why don't you talk about it?
43:35Why don't you talk about it?
43:37Why don't you talk about it?
43:39Why don't you talk about it?
43:43Why don't you talk about it?
43:48Why don't you talk about it?
43:51Why don't you talk about it?
43:55Because I am so glad that you don't talk about it.
43:57And this is what I wanted to talk about.
43:59You think about it in the film.
44:02Thank you, thank you so much.
44:05I think I just let Gunasar show me the way and as a mother I felt what I felt but in
44:35the film I feel that I was his he's my teacher and I'm the student he led the way for me thank
44:42you thank you very much media each and everyone who has presented here thank you very much
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