'എക്കോ' എന്ന സിനിമയ്ക്കായി അനുവദിച്ച അഭിമുഖത്തിൻ്റെ രണ്ടാം ഭാഗത്തിൽ മോഹൻലാൽ എന്ന മനുഷ്യൻ താരത്തിൻ്റെ ആലഭാരങ്ങൾ ഒന്നുമില്ലാതെ എങ്ങനെയാണ് തുടരും എന്ന സിനിമയുടെ സെറ്റിൽ പെരുമാറിയിരുന്നതെന്ന് ബിനു പപ്പു ഓർത്തെടുക്കുന്നു. ഇൻസ്റ്റഗ്രാമിൽ തന്നെ പ്രകീർത്തിച്ച് കൊണ്ടുള്ള റീലുകൾ കാണുമ്പോൾ എന്ത് തോന്നുന്നുവെന്ന് സന്ദീപ് മനസ്സ് തുറക്കുന്നു. നരെയ്ൻ എൽ.സി.യുവിലെ 'ബെൻസ്' എന്ന സിനിമയിലെ തൻ്റെ അതിഥി വേഷത്തെ പറ്റിയും ഈ അഭിമുഖത്തിൽ പരാമർശിക്കുന്നു. SANDEEP PRADEEP | BINU PAPPU | VINEETH | NARAIN
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NewsTranscript
00:00Why are you here?
00:03I'm trying to figure out how to do three things.
00:06Three things go in and get out of the way.
00:09You can get into the right direction.
00:11If you're on the right direction,
00:13then you can't go in the right direction.
00:17I don't know if you go in there.
00:19You can't tell me I'm not going in there.
00:21You can't go in there.
00:23You don't go there.
00:24You can't go in there.
00:26I was like, the first thing I was like, can you tell me about the story?
00:29I was like, I have seen a lot of it.
00:32I have seen a lot of it, I have seen a lot of it.
00:35So, can you tell me about a story or a backstory story?
00:40No matter what I mean, I was like,
00:45I would like to do some characters.
00:48I would like to do some in-depth analysis.
00:53and I think it's a very good thing.
00:57It's not a good thing.
01:01It's not a good thing.
01:05It's a good thing.
01:09It's a good thing.
01:13Actually, I think it's a good thing.
01:17As an actor, the seriousness of that is what I am going to do with graduation.
01:31So the working pattern was like that.
01:37when you are going to Great Mass, Papadal sir, or Sylvia Atun, Arant sir, they will take
01:48out everything. And the other films were also like that. Very drama oriented. You know,
01:57there was a particular way in modulating other dialogues in the reading, in the reading
02:04modulations. That is why you have dubbing. They will never be able to do it for you.
02:14Stop modulation? Stop modulation. See, that modulation has to be very poetic. And
02:25that is why we do it for our students. So, they don't have to use the
02:35dance, but in the cinematic, they don't have to sound like that. And boys and the text,
02:46We have to bring this tour to the city.
02:53We have to speak with them all the time.
02:58Next, we have to speak with them.
03:03All that works are done during the year, so there is a dubbing party.
03:12We have to speak with the 술, breathe control.
03:15The base is special because I have a nasal voice.
03:19So, I think almost eight to ten days I dubbed.
03:24That was great.
03:26I did this too.
03:29Such a big director.
03:31Do you have any questions?
03:33No. Of course, I insisted and I used to request something.
03:39Even in Kabul, I used to dub myself and I used to dub myself.
03:45I used to dub myself and I used to dub myself.
03:48Because in dubbing, the performance is not complete.
03:51It's a learning process.
03:54It's an exercise actually.
03:55Your modulation.
03:57Your voice will be.
03:59We don't want to do it.
04:03That's why it's dubbing.
04:05We don't want to do it.
04:07Of course, we don't want to do it.
04:10In these three things, at that time,
04:13the author is perfect.
04:16Whatever the director says.
04:18Because they have to do it.
04:22So, if they individually do it, they don't have to do it.
04:26At that time, if they do it,
04:29they will apply to the applications.
04:31They will analyze the character and perform the performance.
04:34Much later.
04:36Now, there is a concept of the director.
04:43Even short, if you ask me,
04:46there are many actors who say,
04:48they say,
04:49they say,
04:51if the director is okay, I don't want to do it.
04:54Unless I deliberately say,
04:58I have a dialogue with me and I keep doing it.
05:01I don't know.
05:02I think maybe.
05:04But, if the director is okay, I think I'm okay.
05:09And I won't even.
05:10I am going to shoot in the camera and it's not in the background.
05:17Not in background.
05:19I am a external character.
05:21He is a professional character, like a picture.
05:24He is not a patient, he is not a family.
05:26He doesn't behave like that.
05:29If there's a lot of respect, I am not a very professional.
05:32So, I think there is no framework here.
05:34Yes, that's right.
05:36That's nice.
05:38I'm going to tell you about dubbing.
05:42Do you want to tell me about dubbing?
05:46No.
05:48Do you want to tell me about dubbing?
05:50No, I'll tell you about that.
05:52I'll tell you about it.
05:54There's a police officer at this time.
05:58I'll tell you about it.
06:00I'll tell you about it.
06:02I'll tell you about it.
06:04I'll tell you about it.
06:06I'll tell you about it.
06:08That's a great director.
06:10And in Hindi, you have to dub any voice in Hollywood.
06:14Even the heroins.
06:16That's why I'm talking about it, I'm telling you about it.
06:18That's why it becomes established.
06:22Then that's a signature sound.
06:24You can tell me about it.
06:26In a new movie, you can tell us about it.
06:28There's some little serious stuff in the movie.
06:30You can tell us about the reason why it's in the movie.
06:32Not that.
06:34There's a little bit of a movie.
06:36I never had to have an idea of this movie.
06:38So anyway, a village was about to talk about it.
06:40At that point, the village was about to talk about it.
06:42It was so long to talk about it.
06:45But there's an incredible concept to talk about it,
06:47it's like hunting and hunting.
06:49It's like a few things you got into it.
06:51See, there is a concept, a face, a face, a face, a face, a face.
06:55You can't tell that.
06:57All the cinema is in the world.
06:59Heroins also. Heroins is also a grammar.
07:02Sound video, appearance, appearance.
07:07I mean, everyone is the director, the director, the cameraman, DC Shriram.
07:14I don't know.
07:16I think they are completely against makeup.
07:19They are all the pieces.
07:21They are all the directors.
07:25They are all the makeup.
07:27I don't know.
07:29I don't know.
07:31They are all the makeups.
07:33They are all the film.
07:35I am a hardcore reflector.
07:38They are all the makeups.
07:40They are all the protectors.
07:42They are all the makeups.
07:44They are all the makeups.
07:46They are all the protectors especially.
07:48Because of that,
07:50I have a great experience.
07:58The original skin tone.
08:03Whatever it is.
08:05It is a glow.
08:07It is a celluloid capturing.
08:09So, the makeups are all the glow.
08:11The complexion.
08:12Whatever it is.
08:13You might have a golden,
08:14beetish complexion.
08:15So, the makeups are all the glow.
08:18The close-up is all the natural glow.
08:21That is, you should always remember that.
08:24So, that natural glow, nothing can replace.
08:27That natural glow.
08:28It is a very good moment.
08:29So, that is how much it is.
08:30I am not saying that.
08:31No.
08:32It is not to say that.
08:33For the text of this man,
08:34theguard is not to do something that is talking about.
08:35I am not talking about not to come about conventional features.
08:37That is.
08:38This makes sense.
08:39I am not to say that.
08:40Anyway, he brings in so much beauty without makeup and just maybe loose hair.
08:44You do.
08:45You do just cut the hair.
08:46Because there was no one at the first day in Vaidehi, she was all made up.
08:54First thing I didn't know, did you know the first thing?
08:57Very little.
08:58I was like no, I didn't know if I was doing anything.
09:01I was doing a complete tattoo.
09:03I was a complete tattoo.
09:04I didn't know that.
09:05I was doing a lot of makeup and I was doing something with that.
09:10I was done with that, so you can see how beautiful she looks.
09:16That's another way of presenting characters.
09:46That's another way of presenting characters.
09:53That's all.
09:55That's all.
09:57That's all.
09:59That's all.
10:01That's all.
10:03That's all.
10:05That's all.
10:07That's all.
10:09That's all.
10:10That's all.
10:11It's not a problem.
10:12If we were to communicate with us,
10:16we would have to communicate with us.
10:18That's all.
10:20That's all.
10:22That's all.
10:23School of this thing.
10:25If we were to take a trip and take a trip.
10:29We would have to take a trip.
10:32That's all.
10:33I would have to take a briefing.
10:36You wouldn't have to take a trip.
10:38That's all.
10:39We could have to keep it from a trip.
10:41Do we have a briefing?
10:43No.
10:44No.
10:45We could have to take a briefing.
10:46This is the dialogue.
10:48So,
10:49this character is an an artist.
10:50What do you want to do?
10:51This character?
10:52This character is an artist.
10:53What we want to do?
10:54That's all.
10:55Is we have no specific details?
10:57No.
10:58I can think of it as a person who is working with us.
11:01Uh…
11:02I am not a, I am a cameraman a person who is working with us.
11:04I am not even aware of the reason why I'm not the best.
11:10If we would like to see a certain person,
11:14we would like to see each other.
11:16I would like to take care of the person,
11:18if we would like to take care of the person,
11:21and if we would like to go to our own you,
11:24I would like to go to the other person.
11:27So, that's the only thing I would like to do.
11:30It's the way of thinking.
11:33He has a particular meter in which you do it, and till that you do it.
11:40I don't know how to do it.
11:44I am a charka.
11:52I am a charka.
12:04I am a charka.
12:08I am a charka.
12:12I am a charka.
12:18I am a charka.
12:22I am a charka.
12:24I am a charka.
12:26I am a charka.
12:28My charka isn't an English причесumber.
12:31I am a charka.
12:34It is written for me.
12:38I don't know how to write it, but it is written.
12:40I have no script.
12:42I have no script.
12:44Yeah, I got a little bit of detail.
12:47I got a short video.
12:49Yeah, that's it.
12:51It's a little bit of a bit.
12:53That's one of the characters and one of the schools.
12:56If we all know a person, we don't know how to do that.
13:00They are like, you can do it.
13:03We can do it.
13:05I think, that's the way we do it.
13:09He was on the scene and looked at the goofyоров scene.
13:12It was called the shorter part of the film and it was his short time for the short part.
13:17Also, not to do that.
13:19He was waiting for a long time, even to watch the camera.
13:26He was watching the movie and was watching him.
13:30He was following the movie.
13:31I was following the movie.
13:33What was the silence?
13:35I am a director of ad films for the ad films.
13:42I am a director of the cinema.
13:46You learn life there.
13:48You can learn life there.
13:51I am a talented artist.
13:57One of the directors, Siddhartha and Shivan, the first group of actors and cameras and actors are in the film.
14:16So there is no script?
14:17No, there is no script.
14:19He's a geobaby. He's a very garden in the garden.
14:25He's a very gardener. He's a gardener at the front.
14:29He has a gardener at the front of me.
14:32He has a gardener at the front of me.
14:36I never had dinner on 4 days.
14:40I had a dinner.
14:42He didn't have to go on.
14:46I didn't have to go there.
14:48He took a picture of me, I was going to take a dinner at dinner and I was going to make a dinner.
14:58He was going to make a dinner.
15:03So I thought he would be a regular dinner at the house and I was going to make a dinner.
15:08When you see Siddharth, you can't tell anyone about the film, you can't tell anyone about the film,
15:16you can't tell anyone about the film.
15:20That's the same thing.
15:24If you see one director, Siddharth is an easy way of filmmaking.
15:31They said he could have been casual and he could have more and more money.
15:38I would say there were a few sicks that were sold out there.
15:45So, they were not familiar with their work.
15:54No, nor did I not.
15:56I really like Mr. Rahman's story.
15:58Not only that, but I don't know.
16:02I have to tell him.
16:04He has to tell him.
16:05I have to tell him the information about him.
16:07I can't tell him why he is a vampire.
16:09I had to tell him.
16:11So, when I told him that,
16:13I found a vampire that he had a vampire.
16:18He had a vampire.
16:19I had to tell him now.
16:21You can't remember that.
16:23He was a Roman man.
16:29He was a Roman man.
16:31He was a Roman man.
16:33He was a person who was born and was born.
16:39He was born.
16:41He was born in a virus.
16:45He was born in a virus.
16:49I don't know what the man said to him.
16:56But he said, okay, that's how he took it.
16:59He has to change his cousin's cousin's cousin's cousin's cousin's cousin.
17:14They have their perspective and perspective.
17:21They have their own experience.
17:23They have the same school as well.
17:26They say, okay, they can't teach the dialogue.
17:31They can't teach the dialogue.
17:35They can't teach the dialogue.
17:38They feel comfortable.
17:40They can't teach the dialogue.
17:43This is it.
17:46When you say, that's not it.
17:51I always say, I will tell you, it's not the one.
17:57It is the one that is not the one that I used to.
18:03It's been a long time for a long time, but there is a lot of flavor in this film.
18:13There is a lot of dialogue, there is a lot of making.
18:18There is a lot of interesting film.
18:21We are looking forward for this film.
18:25There is a lot of interesting films.
18:31There is a lot of interesting films.
18:34There is a lot of interesting films.
18:39There is a lot of interesting films.
18:43No, there is a lot of responsibility.
18:45In the last aspect, we are prepared.
18:49We are striving to build a different experience.
18:55There is a lot of interesting films but we are looking forward for some of the other people.
18:58There is a lot of interesting films and a lot of interesting films.
19:05We are trying to figure out who is interested in this film.
19:11I think it's a little bit selective, screenplay, and skill.
19:19I think it's a good thing.
19:23I was going to talk a little bit about the interview.
19:29I was going to talk a few years ago.
19:35That approach of life, that is what happens.
19:41It's possible to take a light on your life.
19:45That is a thought process.
19:49That is possible.
19:52Yes, it is.
19:54Because the child is so happy.
19:58People are so happy.
20:00That is why the child is so successful.
20:03I have to ask for a question I have to ask for the question, what is it?
20:08I have to say that.
20:10I have to say something, I have to say something.
20:15I have to say something, what is it?
20:18I have to say something new.
20:23I used to say something like that.
20:27When I came to the cinema, it was a youngster site in the 80s.
20:35If I was a kid, I was a chief.
20:41It was a youngster site in the 80s.
20:45It was a youngster site in the 80s.
20:49It was a youngster site in the 80s.
20:54There was a youngster once I was a ghost in the 80s.
20:59He was a youngster site in the 80s and a youngster site.
21:03If a youngster...
21:05If you've used the youngster site,
21:08he was a youngster site.
21:11If a youngster was a youngster site or a youngster passed away,
21:16he was a youngster at every time.
21:20You can feel it.
21:24That's why we are actually comfortable.
21:27Yes, it's comfortable.
21:28But when you're sitting there, you can't see it.
21:31That's why you're sitting there.
21:33You can't see it.
21:35You can't see it.
21:37You can't see it.
21:42You can't see it.
21:45You can't see it.
21:47Then, you can't see it.
21:50You can't see it.
21:52You can't see it.
21:54You can't see it.
21:57He's like that.
22:03You can't even see it.
22:06You can't see it.
22:08It's not easy to do that, but it's not easy to do that.
22:18It's easy to do that.
22:23We can do that as a debut artist.
22:27Now.
22:29He said, I don't know what to do with him, but he said, I don't know what to do with him.
22:38See, that's why a child is a better actor.
22:42But we can't do it.
22:44We can't do it.
22:45We can't do it.
22:46We can't do it.
22:47We can't do it.
22:49No, we can't do it.
22:51We can't do it.
22:57We can't do it.
22:59I think it's a good thing.
23:00We can't do it.
23:01We can't do it.
23:03But we can't do it.
23:07I can't do it.
23:09Do you want to do it?
23:11Do you want to do it?
23:13Do you want to do it?
23:15It's April.
23:17I will take a personal plan to do it.
23:19He's an a Austin director.
23:23So we have a creative director.
23:25That was the one we spoke about in the story.
23:29So it's Cambodia.
23:31Okay, nice.
23:33Can you imagine a Tamil movie and a certain village.
23:38Some films are an editor,
23:42and you don't know what to do.
23:45He didn't take the role in Tamil, but he's told him.
23:49What does he do with his wife?
23:52What does he do with Tamil?
23:54I think it's a great concept.
23:56He's a guest role in Spanje.
23:57Benz!
23:58Oh!
24:01So you can't tell me that.
24:06As he's saying, there's a one.
24:08Benz is the one that you can make?
24:10You're the one that you can make?
24:12Yeah, yes, yes.
24:14What do you want to do with it?
24:17It's interesting to me that I was in the Rose, I was in the EBS series.
24:21I was in the waiting list.
24:27I was in the waiting list.
24:29I was doing a great project.
24:32I was doing a great project in Tamil.
24:33I was officially announced.
24:36How did you get the line-up?
24:39Immediately.
24:40We can blockbusters.
24:42Abhijit Joseph, John Luther.
24:45Immediately starting out.
24:47There was a faith in this film.
24:50They built it.
24:52It was a master class film.
24:56It was a delivery.
24:58It was a history of the PGA.
25:00I was in the middle of it.
25:02I was in the middle of it.
25:04I was in the middle of it.
25:06I was in the middle of it.
25:08I was in the middle of it.
25:10I was looking forward to the film.
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