Mumbai, Maharashtra: Filmmaker Sriram Raghavan spoke at the Red Lorry Film Festival in Mumbai about his writing process, adapting stories and why he avoids remaking films. He shared that he often lives with stories for years, letting time improve them and prefers adapting books or short films over repeating existing cinematic adventures. He discussed projects like 'Badlapur' and 'Andhadhun' revealing how ideas evolve through what-ifs and reflected on advice from mentors like director Ram Gopal Varma and director Kundan Shah. Sriram Raghavan also emphasized juggling multiple story ideas while continually seeking new inspiration.
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00:11She is Deeksha Raathre, she is the producer.
00:16I can talk about each ending, I won't say which was toughest.
00:20Like for example, Andadun, I knew it had to end in a certain question mark for the audience,
00:25but I didn't know exactly how would I reach this question mark.
00:28But I didn't want the fact, I mean there were two things we were very clear about.
00:31If at the end of the film he is actually a blind guy, you see poor chap, he did something
00:37for Raak
00:38and he suffered too much for whatever happened.
00:41And if we can see then what the hell, I mean this guy can do all this and get away
00:44with it.
00:45It doesn't make sense.
00:46So we had decided that we will keep it strangely, I mean tantalizingly ambiguous.
00:51That was the idea.
00:52But how to get there we didn't know.
00:54So that took us time.
00:56Badlapur actually, my producer got worried because that was, it was an abrupt, just like a midpoint.
01:00It was not an end also.
01:01And then suddenly the film stops, okay go home.
01:04You know and, but that's the way it should have ended according to me.
01:08But then we ruined it by putting a music video at the end.
01:12So I tell, whenever people are watching, I say when the music video comes, please stop and don't watch it.
01:18That film also was weirdly ahead of its time because it had that banger opening.
01:22You know it's that Netflix algorithm of open with a bang.
01:25I mean if there's any film that really opens with that, it's that.
01:27Where it sort of immediately hooks you, don't miss the beginning.
01:31Yeah.
01:32Don't miss the beginning was there because I couldn't get the title Badlapur.
01:36So they wanted me to add something.
01:37So I could have added Badlapur the revenge or something or I don't know.
01:40Which just sounds quite silly.
01:42So then I said people shouldn't miss the beginning, so why not.
01:45So if you're playing dumb Sharad, it's a great way to win.
01:50You know, nobody will guess.
01:51It's called don't miss the beginning.
01:52No, I just found it very funny because, you know, PBR has conditioned all of us to be the worst
01:56audiences.
01:56So the film came with instructions which clearly people needed.
02:01And just, we'll come back to my Christmas because I wanted to end the conversation there to introduce the film.
02:06With Big Kiss, I found it very interesting that you said, you know, to Satyanshu, you said that,
02:13that for you, if the second part of that film, you know, that the father's journey didn't happen,
02:18it wouldn't have really excited you just to talk about this sort of man's sacrifice.
02:22Which I thought was very interesting because that is, I mean, that's a typical Hindi cinema biopic, right?
02:28Just sort of this insane soldier's achievements and everything he did, the bravery.
02:32So why was that so important to you?
02:33Why, you know, without that part, why was the story less exciting for you?
02:37No, I mean, if I was doing just the Arun story, then I would have had to make,
02:42see, he became sort of a heroic figure in the last one hour of his life and he didn't even
02:47know.
02:48He died before he even knew he's the hero and he's going to be celebrated or he'd been an inspiration
02:52for people so many years,
02:54for arming boys so much, so many decades later.
02:57So if that was the thing, then that whole film that is the bulk of the film should have been
03:01that last battle, you know,
03:02which means it's like a, like some films have that, you know, where the battle becomes the main thing, you
03:06know, so,
03:07but then am I the right guy to do it? There'll be so many better people who'll be, who'll enjoy
03:11it more.
03:12So for me, the other story made it, gave it a perfect balance.
03:16A lot of people have, as I was telling you earlier, you know, that film has brought so many of
03:19us hope.
03:20You know, there's always that one film every year that really just gives you hope.
03:23And that was that for this year and I can say that confidently, it's only March.
03:26But I found it so interesting, so many people were saying that that's an anti-war film.
03:29For me, it's also kind of an anti-biopic because you really humanized it.
03:33You know, it felt like we're in the presence of a person who went on to do this incredible brave
03:37thing,
03:38whereas that's not the biopic language, right?
03:41Like it's always about sort of glorifying this person right from their first steps.
03:45And I thought it was very interesting that you really, it really felt like a very human story,
03:48which is not what this genre tends to be, tends to be very much sort of.
03:52Yeah, but the biopic is, I mean, yeah, you can, I mean, my idea was not to make a, you
03:58know,
03:59Amar Chitra Kadha version of a story, you know, so it was something more I wanted to,
04:05and, I mean, I've seen, after I began working on this film,
04:08I had saw many, many good, really good war films from all over the world.
04:12And there's so much one can say with a certain film, a certain subject, so I got into that.
04:19We don't have to get into specifics of the stupidity around the conversation around the film,
04:22but is that ever frustrating that you went ahead and put all your time into a story that you truly
04:27believed in,
04:28that was from the heart, and then for various factors and conversation that is not in your control,
04:32which I would probably say is nothing to do with anyone who's actually watched the film,
04:35it's just stuff that, you know, it doesn't sort of get the audience in their nerves.
04:41See, when the film doesn't work, you feel bad.
04:43But then you think of so many great filmmakers, I mean,
04:46great films which have not worked.
04:47And what did those, what did ex-Raj Kapoor feel after Bear Ram Jokhar tanked on the second day?
04:52I remember when I was a kid, my parents had taken it to the movie and it was so empty,
04:55me and my brother used to play catching coke in the hall.
04:58You know, so, I mean, that also happens.
05:01So, I mean, sometimes films work, sometimes they don't.
05:03So, one has to take in his time because, like I said, Ramu's advice comes in useful that time, you
05:07know.
05:08What did I enjoy more? And there were enough people who liked it, so.
05:12Very much so. And all very loud voices.
05:16For anyone who hasn't watched it, it's on Amazon Prime Video.
05:20You, just coming to Merry Christmas, you know, you said, I'm going to swear,
05:24you said Madhapur is a bit of your, a fucking film for you.
05:26Go back to what excited you to kind of, you know, be your voice.
05:30So, what was the thought going into Merry Christmas?
05:33Because, you know, totally, you know, pace-wise, it's very, very different to what a lot of people expected from
05:39you at that time.
05:40Yeah. So, actually, when Andhazun happened, after Andhazun, I remember when Ramu, again, I'm talking about, I used to, I
05:47mean, when Ramu made Satya, after Satya, Satya was doing, we now loved it in Bombay.
05:52It was doing well in Bombay and where is Ramu? He disappeared.
05:54Then I came to know, he's shooting something in Panvel and he's shooting Korn. In three weeks he came back
05:59saying, I shot that film also.
06:01I said, wow. So, Merry Christmas was actually meant to be a very low budget film to be done in
06:05a certain manner.
06:06You know, it was like, okay, this is over. Now let's do another kind of a, uh, and the, for
06:11me, it was interesting, okay, since I've done that, let me do a love story.
06:14Let me push the onmel up a little bit and see, okay, can I make a love story in the
06:19gharp of a thriller and so on.
06:20And there was also that, uh, thing of, uh, I wanted a very, uh, actors, uh, who have just not
06:27worked with each other.
06:28And, uh, by chance I met Vijay Sethupati and I, I just enjoyed chatting with him, interacting with him.
06:35Then I asked him, do you know Hindi? He said, I have three years, don't try him.
06:38That's the only Hindi he knows properly here.
06:39I have three years in Dubai.
06:41That was only time he could say, not good.
06:43It's worked for him for multiple Hindi projects.
06:45So I said, okay, he's caught me.
06:47But after that, okay.
06:50Uh, it's not that, but it's just, it sounds better, it gets a laugh.
06:54It sort of works for the character also.
06:55Yeah.
06:56Um, and, and, uh, how close was that to the story?
07:01Uh, well, okay.
07:02Now, Merry Christmas, again, uh, I came across the book because one of my colleagues, one of the co-writers
07:08of Andadun, Yogesh,
07:09he suggested, he said, hey, this book has come, this writer has been published and translated in English and so
07:14on.
07:15So, I read three, four of the books.
07:17And this one, though, I just fell in love with the book.
07:19And I remember the, it's a novel actually.
07:23Both of these, you know, they're not big fat books.
07:25They're like 120 pages kind of a thing.
07:27So I loved the story and I said, wow.
07:30And, uh, it's not easy, you know.
07:32It takes three, four years it takes to get the thing.
07:34Initially, they said no and so on.
07:36So, uh, but I loved the story, you know.
07:39And, uh, and I thought if I don't get rights, is there any way I can still extract the essence
07:44of the story and make it.
07:45And it was possible, but we couldn't crack it.
07:47And luckily, after some time, we got the rights also.
07:51So, I found it very moving.
07:53It's a very film, film story.
07:55It's not a, it's not, it is, there's not realism, you know.
07:57It's just, so I wanted it and, uh, it was set in Christmas time.
08:00I thought it's like a fairy tale kind of a thing.
08:03A little, a grim fairy tale.
08:04That was my initial, uh, subtitle.
08:06G-R-I-M, not double him.
08:08So, uh, and, uh, yeah.
08:10So, but when I read the thing, I, then I came to know there's already a French film made on
08:15that same film.
08:16And the French film had been scripted by the, by the author.
08:20So, I said, we saw the film and, uh, I said, no point repeating the same thing.
08:25I mean, the, so we wanted to change things as, as much as we can.
08:29Then, again, I, I, one of my friends is Kumar Raja, who's the director of Super Deluxe.
08:35So, I told him, I said, uh, about the film and, uh, he had some ideas.
08:40I said, should I make it a Hindi, Tamil, make it with two different endings and all kinds of things
08:44we tried.
08:44But initially, I stuck, then I stuck to one story.
08:47But the story, what you read in the book is different.
08:51Not exactly, the same story, but it's a little different.
08:54What we have done with it is different from what the book is and what this film is.
08:59This film, what you're going to see is actually, uh, a closer adaptation of the novel.
09:04But even this has got terrific changes.
09:06I mean, some changes.
09:07So, I don't know how many of you have seen Merry Christmas?
09:11Everyone.
09:11You got it.
09:12Almost.
09:12So, I, I don't want to spoil it for you all.
09:14So, there are, so you will know a few things, but it's not, uh, uh, it's not exactly the same.
09:20So, Merry Christmas and this are quite posable.
09:23Is it cool as a filmmaker to watch another filmmaker's take on the same material?
09:28To see what they've done with it?
09:29I read somewhere that Tarantino saw this and loved it.
09:33So, I don't know whether it's true or not.
09:36I can think of whom I delivered.
09:37Huh?
09:38Um, but, uh, no, I forgot I was going to ask about Merry Christmas.
09:41Um, we will try and squeeze in, uh, sometime at the end for a few questions.
09:45I don't know how much, um, we will manage.
09:47Um, what people are saying the audience wants today and then how much are you through?
09:54No, actually, it's quite, uh, interesting because when I began, uh, the film, when I began Merry Christmas,
10:00I told my producer, Ramesh Sarani was the producer and, uh, along with Macbox.
10:04He, I said, I'm going to make a 90 minute film and there's going to be no interval.
10:07So, he said 90 minutes without intervals is very difficult.
10:11I'll make it 100 minutes.
10:11I said, no, no, I'll make it 80 minutes if you want.
10:13But I want no interval because the story has to go where to go.
10:16Then he didn't, uh, he said, okay, let's see and all that.
10:19Then as I began writing it, I said, it's two hours, something, something.
10:22So, I was very happy with that.
10:24So, the film, uh, I forgot your question, but the film changed, uh, while writing it, you know.
10:30But I'm saying, both when you were working on it and on hindsight, you know,
10:33this whole thing of audience today, attention.
10:35Okay, the slow burn.
10:36But I'll tell you what.
10:37When I, when, you see, I have a habit of whenever a film is sort of a rough cut,
10:41whatever is cut, I call a few people and shoot.
10:43And then also, people said, you know, waiting for 18 minutes of,
10:47no, it was almost 23 minutes before the first sort of, uh, crime things happen in the movie.
10:52Thing happens in the movie.
10:5323, 26, I forgot.
10:55Right?
10:55It should happen in the first five minutes.
10:57That was, it was five, six years back, that film.
10:59But even then, they were saying it's slow and all that.
11:02So, there's no way of knowing it.
11:03And, uh, I don't know, this whole pacing thing is a, is a, you know, I mean,
11:07the one beautiful thing which everyone feels like, cut it by 20 minutes.
11:11So, cut it by seven minutes.
11:12How do they know?
11:14That's how they want to sound smart.
11:15Yeah.
11:16So, no, I was very aware that it's, uh, it's a slow bun.
11:19So, I, I remember telling in interviews, there's a slow bun, slow bun.
11:23I think it was suddenly, everybody says, ah, slow bun, slow bun.
11:26And slow cooking and all that.
11:27I mean, I don't know.
11:29So, so those who like it, like it.
11:30But, uh, I can understand people getting restless and, uh, I can understand that.
11:35But I want to take a chance.
11:36If by chance I managed to make this work box of his vice, that will be great.
11:42You can break that.
11:42Yeah.
11:43And a lot of people told me they were very happy that I made a slow film.
11:46A lot of filmmakers, at least.
11:47I, I love how the definition of slow film is changing.
11:50You know, it's just that, no, there's still crime.
11:51It just takes 20 minutes.
11:52Like that's a slow film.
11:53Yeah.
11:54But, but what about, you know, if you're working on the next, what about the next,
11:56whatever the next conventional wisdom is.
11:58You know, if a producer or somebody tells you that, no, this is what's working.
12:00These are the kinds of things audiences responding to.
12:02Do you ever feel like you need to break that in?
12:04Or is it, are you just trying to do a film that would excite?
12:07I think the latter.
12:08Because there's a beautiful line by William Goldman.
12:11And then nobody knows anything.
12:12You know, it's the last.
12:13So we don't know.
12:14We don't know what's going to work, what's not going to work.
12:16When Dhurandhar came out, they were like,
12:17four hours, three hours, who's going to watch?
12:19You know, and the same guys are now paying 2,000 bucks a ticket.
12:22Great.
12:24No comment.
12:25No comment.
12:27I want to live, you know, it's fine.
12:29We will open up to a couple of questions and I have a couple more.
12:32And if somebody can give me a time check.
12:34You know what?
12:34Yeah.
12:35Start.
12:37You're opening up with a question now?
12:39Yes.
12:39Yeah.
12:39Yeah.
12:39We can take one or two.
12:40Do we have mics or are we just shouting?
12:43Shout.
12:44I just want to ask you one question, sir.
12:48Can I start by?
12:50Sir, big fan.
12:51Absolutely.
12:52I just want to know about the new era of filmmaking that's coming in with the technology and AI
12:59that has been incorporated.
13:01Does that give you like an advantage or a disadvantage as a filmmaker?
13:06What is your take on the new technology and how game are you for it?
13:11Well, this is a long, elaborate answer, but I can, in short, I can just say, you know,
13:15my co-reader today sent me, ChatGPT has given me a couple of good options for Badrapur
13:19too.
13:20I have to read it.
13:20I'm satisfied.
13:22So I don't know.
13:22We have to take some things that will be useful, some things that will not be useful.
13:26And certainly it can't decrease our imperfections.
13:30That is the best one.
13:31But why I was asking you this question is that when you pitch a story and this is a
13:36for all the young filmmakers, a lot of studios are actually going and giving it to an AI
13:41generated form, whether this will work at the box office or not.
13:46So, do you think that's the future?
13:48I mean, what do you think?
13:49How are we going to go about it?
13:50I don't know about this going to AI and asking.
13:52It's like all backs used to be asking.
13:54Even my scripts have been given to people, okay, read the script and see if this works
13:58or not.
13:58I don't know how they compute all this, but I think there are a lot of people who have
14:02to justify their jobs.
14:05Do you want to choose people?
14:07So I don't.
14:07Do you want to choose?
14:08No, no, I don't.
14:08I'm fine.
14:09Yeah, should we go?
14:12Hello, sir.
14:12Sir, first of all, huge fan of your craft.
14:15I absolutely love Bhaldapur.
14:16Sir, my question to you specifically is like when you're writing a film like Bhaldapur
14:20or any film and even when you are like directing it.
14:24Sir, at any point like when you start the shooting of it or anything, do you feel in the midway
14:30like you kind of like you want to add this element, that element, but ultimately at the
14:34end of the day that you feel like you're slightly drifting away from it.
14:38And do you like take the second option or you keep it to origin?
14:42Like what goes through your mind like?
14:44No, I mean some stories do change while we are making it for good reasons only hopefully.
14:49Like I said, even Merry Christmas, when I began writing it, it began as a 90-minute
14:54no interval thriller.
14:56Very fast paced.
14:57But while writing it, we discovered that it's more fun.
15:00If it is, if I stick to, that's the plot.
15:03It's more fun if I stick to the, if I sort of explore the characters and well, so it suddenly
15:08became a different film, you know, in its own way.
15:11So that will change on the way.
15:12But of course, this is always the writing process.
15:14It's not that we began shooting and in midway we thought, but even that sometimes happens.
15:19You begin shooting and you realize that something is, you don't need something or you need something
15:23more here.
15:24That happens.
15:25Should we try taking one from the back?
15:27Anyone has?
15:28Yes.
15:33Yeah, mic is just coming.
15:35Oh, okay.
15:37Hi, sir.
15:37Hi.
15:38Sir.
15:40Generally, I watch films.
15:42The staging of any scene, really like, it feels like you are inspired from Alfred Hitchcock.
15:49So, what do you feel like, what aspects of Alfred Hitchcock's craft should today's filmmakers
15:57copy more?
15:59Your question is, don't copy anything.
16:01Just watch, watch the films, watch the films.
16:04Not only Hitchcock.
16:05There are so many people.
16:06Now, there are so many.
16:08Hitchcock was, I mean, he, I mean, his last film was in the late 70s.
16:12So, it was like 50 years back, you know.
16:14So, after that, so many people have been inspired by him.
16:17So, like when I was in the film institute, Hitchcock used to be sort of, ah, Hitchcock,
16:22you know, like commercial, Hollywood kind of a thing, you know.
16:24And I used to feel that everybody used to like the European filmmakers.
16:28But Hitchcock was given slightly sort of a second level treatment.
16:32Then, by chance, I read an interview with Spielberg.
16:36I mean, one of the things he said, ki, anyone who says he is not influenced by Hitchcock
16:40is clean out of his mind.
16:41So, I liked that.
16:43I said, okay.
16:43Wasn't one of your first ever jobs translating Hitchcock films into Hindi for some producers?
16:48Not Hindi films.
16:49But my first film as an assistant was Ed Barr, which was a remake of Dial-in for Murder,
16:53which was one of my favorite Hitchcock films.
16:55In fact, I should tell Ashish, they're going to get the 3D version of Dial-in for Murder.
16:59That'll be great for, you know, with the specs.
17:02Because it's almost like an entire set in a house.
17:05So, it's like the film in 3D would be, I mean, I would have not seen the 3D version.
17:14Okay.
17:15Should we try getting on from the back?
17:19Sorry, let's just get one question.
17:20Yes, the mic.
17:21Okay, I guess we have a question.
17:23Hello sir, my name is Pratik.
17:25Where are you?
17:26Okay, second.
17:27Hello sir, my name is Pratik.
17:29And according to you, what will be the future of Indian cinema as AI is rising?
17:37So, we don't just get that question.
17:40Yeah, I mean, again, these are like good or bad.
17:44I can't say all the rest.
17:45They are not short answers.
17:46Ask TACPT, you can get back to us.
17:49And any update on your upcoming projects?
17:53No, I mean, I'm working on 2 or 3 projects and hopefully in another 3-4 months I'll be
17:57sure which one I'm doing.
18:01Yeah.
18:04You can just say it loud, sir.
18:05Okay.
18:06There's a mic there.
18:07I thought there was mic there.
18:09Sir, good afternoon.
18:10First of all, I really love your work.
18:12Sir, what advice would you like to give an aspiring screenwriter?
18:15Should a screenwriter create a film based on what they think will be successful or based
18:19on or as an audience member or as the perspective from an audience member?
18:24Only write to satisfy yourself.
18:26That's the main thing.
18:26How would you know what I will like?
18:28I will not know what you like exactly, but I'll know at least I know what I like and
18:32hopefully you'll like it.
18:33So, you just stick to your heart and your content.
18:36Sir, one more question.
18:37Sir, do you think has the theatre audience changed such that they only see mass cinema,
18:42leaving the experimental films only to overtake platforms?
18:45We have to prove that wrong, yeah.
18:47Actually, that has been happening and we have to really prove that wrong.
18:50I think we should bring experimental cinema back to theatre.
18:53Yeah, yeah.
18:53You're also wrong to believe that experimental films go to overtake platforms, sir.
18:56Ah, not experimental films.
18:57I think he meantтАж
18:58After COVID, I think that isтАж
18:59That was true a few years ago, but now even there, there's not really much.
19:04Yeah, should we take one from the back?
19:09Hi, sir.
19:11Less of a question and more of a suggestion.
19:14You should try to make an anthology film like Wild Tales because there's no other director
19:22in the country who's master of twists and turns.
19:25So, and with the current type of films, an anthology film will work.
19:33No, no, I love Wild Tales, but there are a lot of filmmakers.
19:36You don't makeтАж
19:36There's a lot of good work happening in Malayalam cinema,
19:40Tamil cinema, Marathi cinema, soтАж
19:42No, there are a lot of people thatтАж
19:44Wild Tales is wonderful, yeah, but to get those stories and yeah.
19:47So when's the last time audience went to the theatre to watch an anthology film?
19:51I mean, that's unlikely, but it's a good idea.
19:54Can we take one more question?
19:56Yeah, should we justтАж
19:56Last one?
19:57Do you want to choose?
19:58No.
20:00No question.
20:00Okay, yes.
20:02Hi, sir.
20:02Big fan.
20:05There's an elementтАж
20:06I mean, you could just clear out my doubt maybe,
20:09that there's an element of that meta quality in your film, right?
20:13The elements of filmmaking are somehow visible in your films,
20:17like production design or something.
20:19How theyтАж
20:20Without giving any spoilers to anyone who hasn't seen Merry Christmas,
20:22like how they restaged the whole apartment and everything, right?
20:26So there'sтАж
20:27There's that element of production design.
20:28Even in Andhra don't know how, you know,
20:30the whole concept of him,
20:33of what the audience knows and what the characters don't know isтАж
20:36The whole element ofтАж
20:38I mean, I don't know how to answer that.
20:40Yeah, they willтАж
20:40You're right.
20:42Yeah.
20:43No, I mean, it's a meta quality,
20:45like where the craft is sort of made visible within the story realm.
20:50I think, yeah.
20:51Because IтАж
20:51Like, forтАж
20:52Sorry, sorry to interrupt,
20:53but like ifтАж
20:54Akash from Andhadhun,
20:56he's an actor basically, right?
20:57Because he's playing a part of someone maybe who he's not.
21:02You know, that quality is there.
21:05TheтАж
21:05Andhadhun is full ofтАж
21:06See, all those thingsтАж
21:06I mean, when you start writing a story,
21:08you don't think aboutтАж
21:09I'll make this meta,
21:10I'll do thisтАж
21:10Those things come, you know,
21:12on the way, you know.
21:13The fact that in Andhadhun,
21:14if you see the original short film,
21:16on which it was based,
21:17there's a man there,
21:19there's a man there who's dead.
21:21Now, the dead man could be a businessman,
21:24but the fact that I made him an actor,
21:26hence I could use Anil Dhawan,
21:27hence I could use Anil Dhawan's songs,
21:29hence I could make his wife
21:31someone who's an aspiring actress.
21:33So, look at all theтАж
21:34all the sort of clues and the sort of leads it gives me,
21:39you know, just because of one decision,
21:40make him an actor.
21:41He could have been a businessman in Pune,
21:43he could have been a doctor probably known.
21:46We will unfortunately have to end it there.
21:48I really wish we could have more time to pick your brain
21:50and your films.
21:51But thank you for the perspective,
21:52thank you for the joy at the movies.
21:55And in 2026,
21:56based on a kiss,
21:57thank you for the hope.
21:58And I really hope Danny Boyle sticks to his lane.
22:02And enjoy the film.
22:03It's a very interesting film
22:05and for those who have seen Merry Christmas,
22:07there will still be a lot of surprises.
22:10Welcome to Aynes, sir.
22:11In one moment,
22:13what is the reason why the film festival
22:15has also made its place today?
22:17What do you want to listen to this film?
22:21Best.
22:22Best is that such a lot of OTT
22:23and such a lot of people were just together.
22:27I mean,
22:27that there was a lot of people just to see one venue,
22:28and the film is still on the same time.
22:29That's the fun of the theater.
22:31That's the fun of Red Lorry.
22:33It's a fun and good job.
22:36That's very fun of the film.
22:40foreign
22:48foreign
22:50I think it's a very good film.
22:51I think it's a good film.
22:54I think it's a good film.
22:57What do you think?
22:58In the way, in the way,
22:59in the way,
23:00in the way,
23:02the thriller is going to be predictable?
23:07The truth is,
23:08the truth is,
23:08because there are so many suspense, thriller,
23:10so it's a little bit
23:12that you can see.
23:15But I still think that
23:17there are so many stories
23:18that if people like the right people,
23:21then they keep themselves the way.
23:24They don't tell me.
23:25If you're talking about this session,
23:27then you have to talk about something?
23:29My session was about
23:32because I made a film,
23:34Merry Christmas.
23:35It was a French book.
23:37So in that book,
23:39someone from Norway has made a film.
23:42I also wanted to see
23:43how the treatment they had.
23:46So I wanted to introduce her.
23:49There was a lot of public
23:50and we were talking about
23:51about the cinema
23:52and about the adaptations.
24:07She is Deeksha Rautre.
24:09She is the producer.
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