00:06My first question is to both of you since it's your debut as a producer, with his monumental
00:11experience behind him, a school incident if I may say so, what was this Jugalbandi like
00:18between the two of you as co-producers and also as father-in-law?
00:22I don't get it.
00:25Jugalbandi is not organic.
00:27He has been working for 10-15 years in the set.
00:31He has been doing the direction, in costume, in production.
00:40He has been doing it.
00:41He has been doing it.
00:51He has come for me.
00:53How you think this story is the best.
00:57I thought that I was good.
00:58I thought that there is a new thing.
01:01I have a new angle.
01:06My work has been understood.
01:09My work has been done.
01:10In my work, I have been working here since Rajneethi, so it was organic is the correct
01:37word.
01:40And to go out on your own in a real world, it's like when my father taught me how to
01:48cycle, after a point he let me fly, you know, he was not there behind me off time.
01:53To take that and the nervous energy inside you, the anxiety inside you, which is a fuel
01:58for any artist.
01:59How do you bridge that gap to set out into the real world on your own and then make your
02:04way around?
02:06But fortunately, I mean, he still has my back, so at every stage, so it's I know that
02:14there's there's something I can fall back on.
02:17So I'm not as nervous, but I know what you're saying and it is a little scary.
02:24I mean, you do feel like what if you mess up, but I think if you know what you're doing,
02:31if you're clear in what you want to make, then it becomes easier.
02:35And he spoke about that you have been working since the time of Rajneethi, 15-16 years now.
02:41Of course, it's a very important film in the cinema and cinema, watershed moment if I may
02:46say so.
02:47So, to handle such an ensemble cast and to extract best of the performances from everyone, it
02:53happens very rarely.
02:54And what was your experience when you started working on Rajneethi in my way from his experience,
03:02his school of thought about cinema or how he handles people, how he deals with people in
03:06cinema.
03:07So, in Rajneethi, I was like a costume assistant, so not so much in the foreground, it was my
03:15first film, so there was lots of things were new to me on set, but it was great.
03:22I mean, I also didn't, I had not seen him like that on set before because during Angajal and
03:28Aparan, I was in school.
03:30So that was my first time, you know, when I saw him like in command.
03:34And so, I mean, there were like 10,000 people.
03:37So, yeah, to address them and everybody used to listen to him so patiently and, you know,
03:43and whatever he used to say, if he used to say sit, they used to be sitting and so, yeah,
03:48that's when I realized that, oh my God.
03:51So yeah, it was great.
03:53And so for you, watching her grow from a child to an artist, a person from the time of Rajneethi,
04:00what are the changes that you have seen over the years in her as an artist, as a professional?
04:05And so, I don't know when I was growing.
04:11I don't know when I was growing.
04:12When I was growing.
04:13I was growing up in my head.
04:14I didn't know anything about it.
04:15He did as a pick up.
04:17That's what I did.
04:19So, yeah, that's what I was growing up in my head.
04:21When I was growing up in my head, I said, oh, my growing up is growing up.
04:32And we all learn, we all learn, she's also learning and she's learning well because people
04:44on the set, people outside, they love her, they talk so well of her, which is good, which
04:52is the main, as a producer, you need to communicate and you need to understand what everybody needs.
05:02And of course, the whole mechanism and the timing and the scheduling and all those things
05:07and you need to get the work done, budget, etc., all those things are there, but most
05:12important is that, you know, you have a rapport with everybody, that's important.
05:21Now, producers and directors, two very different set of people, different set of professionals.
05:27On one hand, if a director wants to tell the story as freely as they could, producer always
05:32looks for the control of budget, control of the environment so that it doesn't spread
05:35out beyond its limits.
05:39Besides being a father and a doctor duo, when you work in this dynamic, her as the producer,
05:44university director, what's that convergence of energies like creative energies, anyone can
05:52take anything else?
05:54So, with Sir, because, you know, I've worked with him before and usually we all know his
05:59vision, we are very clear and with him, honestly, when he's writing or when he's explaining a scene,
06:07because we work from, I mean, I know what he's going to do, so you kind of know, this is
06:14what is going to be required and this is what it's going to look like.
06:17So, with him, there was no problem, but yeah, I mean, if there was another director, then
06:22probably, but then also I don't think, I mean, if you have a director of that stature, then
06:28to try and cut down his creative vision with a budget would be a little unfair.
06:33So, yeah.
06:35And moving forward, Sir,
06:37Jo kuch bhi amme yaas paas ki dunia me bichal ra hai, wars, everything across the world,
06:41not just a person, it might hurt you, it might hurt me, but this is the space where artists
06:46rebel, because this is where they could find stories of grief, of happiness and you know,
06:51moments of darkness.
06:52How do you look at what all is going on in this world currently and how does it drive
06:57the artisan?
07:00Well, it's interesting, interesting time.
07:05People are electing leaders who are of a different, you know, era, period, intention,
07:17you know, their politics, their statesmanship, all, everything is different.
07:20It's very interesting for me to have grown and seen the world changing, the way it has
07:27been changing and to try and understand the mechanism of it and put it in the form of stories
07:37and share it with people.
07:38That is the fun part of it and I have enjoyed doing it.
07:43I will continue to enjoy it.
07:44See, I can't change the time.
07:48We have to all change with the time and that's the truth.
07:54So, I feel happy or sad with only one thing, with compassion or cruelty.
08:05When I see compassion, when I see humanity, you know, your faith is restored and then you
08:15see destruction and death and disaster and you are pained, you have, you go through grief.
08:24But then that's also part of life and you have to understand that there is little you can do,
08:31except that if you understand the reasons why they are happening and if you can tell them.
08:39So, that is the effort, that is the, but I am with the society, with the time and trying to
08:50live honestly.
08:50Yeah, exactly.
08:52And I have a few days before George Cardin's clip.
08:55He said something to the effect of the, America is a 200-250 year old nation, but there has been
09:0020, 10 wars in this period of time, 10 and 11 wars, which is averaging every war 20 years.
09:11Do you think human nature and our world is cyclical, it's not linear?
09:16You know.
09:22That's, that's the idea.
09:22You know, the way our world is cyclical.
09:27What about you, Bhursaranta?
09:28We have to die, we have to die.
09:30We take our birth, we ask ourselves and go and go.
09:33And we take our birth.
09:36Then we take our birth.
09:37So this is the moral reality.
09:41This is the moral reality.
09:42The moral reality, we see the moral reality.
09:43That is the moral reality.
09:46We take our own society.
09:47And Disha going forward, while working on Sankalp, you started off as a costume assistant.
09:54I have some knowledge here I have observed, please correct me.
09:58You can't even know what you can do in the life of life.
10:04While working on Sankalp, what was that one grain or one germ that was fed to you as a costume
10:11assistant
10:11that came in handy and added to your vision as a producer?
10:15As a costume assistant?
10:17In costume, that sphere of life.
10:20No, but I, not particularly because of that, but I feel like anything that you imbibe on set or learn
10:25on set kind of helps you.
10:27Because practically if you are over there, you know, you are getting practical first hand knowledge of what is going
10:33on.
10:34So everything kind of helps you to grow and to understand and the entire process you kind of imbibe that,
10:40which helps you to take things forward.
10:44My next question is for both of you.
10:47The current climate of the Indian cinema is such that, you know, people, the audience,
10:52they are more drawn towards big films or spectacles or pot boilers.
10:58But the problem on the flip side is that, films which are important for the society, which are meaningful,
11:03which have to say something, which could course correct the society or the thought process of people at large,
11:09they don't have that space in our theatres.
11:12Because we have limited number of screens, most of them are allotted to the big budget films or the big
11:18naked films.
11:20As a filmmaker, as a producer, what would be your solution to tackle this problem?
11:24So that those stories, which are necessary for society, you have very many stories.
11:29How do we make sure that those stories are lost in our entire existence?
11:33I know what we can take in that story.
11:35But then there are also many films,
11:37in Jamshedpur, my multi-plex cinema in Jamshedpur,
11:42you will be amazed.
11:45There are twelve films that are going on,
11:48in one time.
11:49in a show, two shows, four shows,
11:51like that film's language versions.
11:55So today,
11:56there is a chance to come in the theatres.
12:00They are not able to come,
12:01because there is a cost involved,
12:03on hiring the theatre,
12:05or publicity,
12:06and you know,
12:09we send hardware, software,
12:12it's a cost.
12:13It's a different thing.
12:14But there is an opportunity.
12:16There is a better opportunity.
12:18There is a better opportunity.
12:21The filmes that we make,
12:23we have to think about it,
12:24that we will make a film,
12:27how we can contact people,
12:29how we can engage people,
12:31because,
12:31when things are happening,
12:33the good content of things are happening.
12:38What you want to engage,
12:40any other thing to say.
12:44You can do any wonder.
12:46If they don't connect,
12:47it doesn't work,
12:48it doesn't work.
12:49It doesn't work.
12:51That's why,
12:52it doesn't work.
12:57you can do things good.
12:58And as a director,
13:00technicians,
13:01we must learn this.
13:02You have said it not.
13:04It doesn't work.
13:05It doesn't work.
13:05It doesn't work.
13:09And Disha, moving forward, he spoke about the process of learning, you know, you have
13:13a knife for learning, you go all in, once you set your mind to something.
13:17As an artist, I see learning as an endless process, but that also means that you could
13:23get lost in that sea of knowledge, in that sea of wisdom.
13:27How do you set boundaries while you're working or in your own personal space, when you're
13:31learning something or when you're pursuing something?
13:33I think that's a very personal approach.
13:36I mean, as to how much you want to take and how much you want to let go of what
13:41I mean,
13:41depending on the situation, whatever you feel best is going to work out.
13:45I think that's what you take and where you feel that's your personal judgment.
13:49I feel like you're the best person to decide in that kind of scenario as to what will be
13:55the best thing for you to do for the project or in your individual life.
13:59And that's how you implement it. That's all.
14:03And for my final question, sir, as I mentioned earlier, you know,
14:07a distinguished personality in our cinema, in the cinema, tall figure in the cinema.
14:13As an artist, what do you consider as your responsibility to this medium of cinema and to society at large?
14:20Well, we must understand the sensitivity of every dialogue that we, you know, try to convey, every image, every story.
14:34The idea is to entertain. The idea is to engage. The idea also is to be able to kind of
14:42like, you know, stir certain emotions.
14:45And if, if there is something that you could say, you try and say it.
14:51But always say it with sensitivity. You don't have to hurt people. You don't have to destabilize.
15:03So the idea is to constructively negotiate and say what you want to say and keep it engaging, keep it
15:09interesting.
15:12And for my final question, I'm coming to ask one last question. So both of you want to go to
15:15the question.
15:18Revolution, this world, what do you mean by this world?
15:20Because you can also create a film called Gay Revolution.
15:25Kranty, Samhach, how do you keep them apart?
15:28Kranty is the meaning of Kranty?
15:33Natural.
15:34Natural.
15:35Prakriti is.
15:38Juala Mokhi is so phertati.
15:43Toh, when something is so common, when something is happening,
15:46it causes many things like bottled,
15:49It causes people to produce.
15:51They are a natural.
15:55We have to do some time.
15:57We have to do some time for this.
15:58We are up from the first time.
15:59The prayers are still alive.
16:02The prayers are still alive.
16:04When we can't understand,
16:06we can't be able to get a prayers.
16:12The most important,
16:15if we are seeing the time with attention,
16:16if we are watching
16:19or living the time,
16:21then we will teach you all.
16:23That is what you can teach.
16:29No, I mean, I am very excited about the show, Sankalp, it is releasing on the 11th on MX
16:35Amazon.
16:36So, I hope everybody likes it and watches it and gives it as much love as it gives to
16:41Ashram.
16:43More.
16:44Yeah, more love.
16:45I hope people strong to large numbers, they crash the servers of Amazon.
16:47I just hope so.
16:49Perfect.
16:49So on that note, thank you so much.
16:51It was a pleasure and an honor.
