00:00First of all, welcome to INS.
00:02And first of all, we want to know that Kennedy lives in a morally uncomfortable space.
00:09So, when you both first read the script, what was your first reaction?
00:13Excitement, nervousness or eager to do the film?
00:18All three.
00:19I was excited, nervous and eager to do.
00:22Yeah, that's true.
00:24I didn't get the script.
00:25I didn't get the script.
00:27I was still excited, eager.
00:30Eager to do and nervous.
00:31Absolutely.
00:32All the three.
00:33Even she was all the three.
00:34I didn't know the story.
00:36But this is so great that they didn't know the story.
00:40And you're three excited, eager to do the film and nervousness.
00:45Three things also happened and I didn't know the story.
00:48And I also had three things.
00:50Okay, what ultimately convinced you to say yes?
00:55Don't worry, Kachap.
00:56I see yes to everything that he says.
00:59He says, Unra, Kachap says, okay, you do it.
01:01I'll say yes.
01:03Same thing.
01:04Same thing.
01:04More convincing.
01:05What is our two?
01:07Same page.
01:08It's going on.
01:09Despite receiving a census certificate, why did Kennedy could not, got not rhetorical release?
01:15And how was the decision taken to release it on Z5?
01:19Tell me.
01:20Tell me.
01:20Why did he not?
01:21It's going on.
01:22It's going on.
01:23It's going on.
01:23Reverse question.
01:25What do you think?
01:26I think it's going on.
01:28It's going on.
01:54but we are very excited about this film.
01:56But we are very excited about this film.
01:58that the theatrical release
01:59didn't happen to you.
02:00Look, we will die
02:03and let a person die
02:05that I'm very sad,
02:07everything is wrong,
02:08something is wrong,
02:10and we will just die.
02:11Here we will see
02:12one positive thing
02:13and feel that our film
02:18is on a good
02:20platform
02:22and it will release
02:2320 February
02:23and the whole world
02:25is going to watch.
02:25And like that last
02:27interviewer said
02:28we have a promotion of Kennedy
02:30we are going to leave
02:32often blur the line
02:35between realism
02:37and brutality
02:37so were there movements where you
02:40were questioned that how far
02:43is or too far
02:44I don't think that it's about
02:47realism and brutality
02:48on Raag's films
02:50on Raag's films are more about
02:52truth and
02:54what you call violence but violence
02:57is also
02:58what people
03:00see he doesn't
03:02you can see them in the film
03:03there is more violence
03:05that is more in the audience
03:06than what is happening in the film
03:10and that is the beauty of his cinema
03:12that he
03:14listens to a true
03:15truth and brings you to the right
03:19and brings you to the right
03:22and then that
03:27there is certain kind of
03:29anger in it
03:30but
03:30that anger is in all of us
03:33it's not only
03:35the film is showing what
03:36the society is all about
03:40both your characters communicate a lot
03:43through silence rather than dialogue
03:44so was it harder to act
03:46with restraint
03:47to express openly
03:50so we
03:51did a lot of
03:52workshops
03:53and
03:54Anurag sir
03:55also
03:55I
03:57advice
03:58and also stories
04:00and
04:00different research
04:05information
04:05I
04:06told you
04:06and
04:07with all those things
04:08and plus on set
04:11that's
04:12I was in his hands
04:13in his hands
04:15and
04:15I think that's the best part
04:17and that's the best part
04:18about Anurag sir
04:19is
04:19he makes you feel safe
04:25and he makes you feel heard
04:27and he makes
04:27you feel so comfortable
04:29that
04:34it makes you feel good about
04:36So whether it was dialogue
04:39or whether it was no dialogue
04:41I
04:42think that
04:42working with him
04:43was the best
04:44experience ever
04:47Sara
04:49both of your characters
04:51communicated a lot
04:52through silence
04:52rather than dialogue
04:53so
04:53was it harder to act
04:56with restraint
04:56or
04:57express openly
05:00see
05:01acting
05:02if you are acting
05:03it's an art
05:05it's not about
05:07being silent
05:09or
05:09having so many dialogues
05:12it's about
05:13internalizing
05:14a performer
05:15and a character
05:16and understanding
05:17what this character
05:18is all about
05:19so
05:20this character
05:22was saying
05:23a lot of things
05:25he was saying
05:26and
05:27when he was silent
05:28he was saying
05:30a lot of things
05:30he was saying
05:32and
05:32sometimes
05:33you say
05:33a lot of things
05:34he was saying
05:35and he didn't
05:36he was saying
05:37so
05:38yes
05:39it is hard
05:39to
05:40acting
05:41itself
05:41is a hard thing
05:42it's not an easy job
05:43it's a
05:44so
05:44I say
05:45that
05:45this character
05:47is very difficult
05:48it's hard to do
05:49every character
05:49is very difficult
05:50to do
05:51simple
05:52to simple
05:52character
05:52is very difficult
05:54to do
05:55it's hard to do
06:25in fact
06:52I think this is the best way to describe it.
06:57Did you carry anything back from your characters into real life habits, silences or emotional residue?
07:05My laugh, Charlie's laugh.
07:10But now it's gone but I enjoyed that laugh.
07:15But I think for you it was different.
07:17No, I had to remove it from my system.
07:21Because it was a very heavy character.
07:23And it took a little time and it took a little time.
07:26But it took a little time.
07:28But it took a little time.
07:32And then I will give it to my body.
07:36There is a talk that Kennedy was one of those sets where conversations were minimal and moods were heavy.
07:42So was there a silence or just a byproduct of film stone?
07:47This is 100% true.
07:50What?
07:51It was a very silent set.
07:52But that's only because this set was silent.
07:59Because it was a professional set.
08:01And people didn't do it like that.
08:05They were doing their work.
08:06That's why they were silent.
08:07They went through their work.
08:09And we also went through their work.
08:12And they were silent.
08:13Yeah.
08:13But I don't think that was a bad thing.
08:15I think it actually helped.
08:17That it helped you focus.
08:19Yes.
08:19And maybe that.
08:20And every serious director's set makes a big laugh.
08:22There is no more drama.
08:24Because there is no more drama.
08:25Even if there is a serious director,
08:26their set makes a lot of fun.
08:28It's not the way it's going.
08:30It's not the way it's going.
08:32It doesn't happen.
08:34No, no.
08:36Sunny Ji is talking about you as an actor.
08:38We want to see you more as an actor.
08:40And why are you doing so much less Bollywood films?
08:45It's coming right now.
08:46Let's watch it.
08:47And after that.
08:49After that too.
08:51See.
08:51Yeah.
08:52There are some self films.
08:53And there is one AI film.
08:57That's also going to be in Hindi.
08:59And then there's also one international film.
09:01That's also there in the pipeline.
09:04Okay.
09:05Do you see Kennedy a turning point into your career narrative?
09:08Or just one chapter on a long journey?
09:11Who does a chapter see?
09:12Who does a connector say?
09:13No, I'm seeing my film as just one chapter in the long journey.
09:16Yes, the most important actor would be.
09:18So he would have to say, why does this work need to be done?
09:20Every actor's experience would have to become a turning point.
09:24Why would he do that?
09:25Why would he do that?
09:27Every actor would feel that it would have to become a turning point.
09:29When a film would be someone who would make a film,
09:30or who is Kennedy,
09:31since he is doing Kennedy,
09:33we are doing a film.
09:35This would be his only way.
09:35This would have to become a director's film.
09:37That's why he would make a turning point.
09:39He would make his director's film,
09:40he would make a film.
09:41The film would make it a fun film.
09:42After that,
09:43Now, people will decide this.
09:45It's why it's like this,
09:46because this film is the world.
09:49It's gone to many places,
09:51and its response is very tremendous.
09:53So, the hopes are high.
09:55The rest of the actors feel like this.
09:57I agree.
09:58I believe in the long game.
10:01Yeah, in the long game, not in one chapter.
10:04Yeah, it's a very long, big book with small font.
10:08Okay.
10:09One more thing is,
10:11when you go to festivals,
10:14when you go to India,
10:16especially here,
10:17we have recently seen the film Oscar,
10:21so,
10:22that film didn't have so good in India,
10:24or in festivals,
10:25when you go to festivals,
10:27you didn't have so good in India,
10:29or in India,
10:32what do you think?
10:33I don't know.
10:37It's a good film.
10:38It's a good film.
10:39It's a good film.
10:41It's a good film.
10:43Now, it's a good film.
10:44You're saying it's a good film.
10:46If you're not saying it,
10:47then how will it happen?
10:50It's not just about making the film and putting it out.
10:55It's everything.
10:56It's the production.
10:57It's the PR.
10:58It's the media behind it.
10:59It's so many different,
11:01big things and small things,
11:03things that make a film successful.
11:05And so,
11:06I don't think that it's one particular thing
11:09that makes a film successful.
11:11Of course,
11:12if the story is bang on,
11:14then it's going to reach different heights.
11:16But it also depends on so many different things
11:19to make, you know,
11:21people's voices heard,
11:22their stories heard.
11:24Okay.
11:25Lastly,
11:26what message you have to give to the audience?
11:2820th February,
11:29watch the film on Z5,
11:30Kennedy.
11:32Yes.
11:32Please watch the film on Z5,
11:34Yes.
11:35Okay.
11:36Okay.
11:37Please go watch Kennedy on Z5,
11:41February 20th.
11:42Then,
11:42February 21st,
11:43or 22nd,
11:45or 23rd.
11:46And,
11:46until you don't memorize all the dialogue,
11:50then don't stop watching.
11:51it's going to be all the time.
11:52It's going to be all the time that you're going to have a film.
11:54it's going to be all.
11:54It's going to be all the time that you have to go from Z5.
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