Jaskirat Singh Rangi descends deeper into his alias as Hamza Ali Mazari, rising through Karachi's criminal hierarchy to claim the feared title "Sher-e-Baloch" while balancing loyalty, betrayal, and survival in a ruthless underworld.
#dhurandhar2
#dhurandhar2movie
#dhurandhar2fullmovie
#dhurandhar2film
#dhurandahr2movie2026
#dhurandhar2
#dhurandhar2movie
#dhurandhar2fullmovie
#dhurandhar2film
#dhurandahr2movie2026
Category
🎥
Short filmTranscript
00:02The first scene of Dhurandhar I and Dhurandhar II is the action director.
00:07Ladies and gentlemen, Ijaz Gulab, how are you?
00:10You are not ready for this.
00:15The first scene of Dhurandhar II, its backstory is opened.
00:20The rays are showing the rays, which looks like the world will only burn.
00:23In the film, what you saw, it was 60%.
00:27The brutality was even more.
00:29After the death of Rahman Takayat, Ujjair,
00:32he kills Arshad Pappu's garden.
00:34Then he plays football.
00:36I don't think that in Hindustani cinema,
00:38I've never seen anyone like this.
00:40It was a rubber and silicone body.
00:43But there are many things like blood, blood,
00:46and the force of killing.
00:48If you can see all these things,
00:50there is a scene where Arjun Rampal is from,
00:55he puts on the face of Ranvij's face,
00:58and he sees that it's happening here, here, here.
01:01He's made a prop.
01:03Who does he make a prop?
01:03He's made a rubber.
01:04You won't have a gun, but it will have a tear.
01:08The character of Hamza,
01:10he keeps a tanker from Meizor Iqbal.
01:11He keeps a tanker from Kerosene.
01:14He puts a tanker in the tanker,
01:15and it looks like a real blast.
01:17I don't think it's CGI.
01:19Tell me about this.
01:20The blast was not real.
01:21The blast was not real.
01:22The blast was real.
01:23The blast was real.
01:41The scene from Atik Ahmed,
01:43the actor of Atik Ahmed,
01:44he looks very similar to the scene.
01:46And his death was also recreated here.
01:50When you replicate the real incident,
01:53how easy it is and how challenging it is.
01:56The real sequence is very difficult to replicate the real sequence.
01:58What is it?
01:59I think that after the shootout at Lokhanola,
02:03this was the first film to be done so much.
02:05I think it's a little bit.
02:17Hello and welcome back to another episode of Unfolding Talents.
02:22And today we are with Dhurandar 1, Dhurandar 2,
02:25Farsi, Family Man, Shootout at Lokhandwala, Don2O,
02:28Saira, with almost 500 films,
02:3130 films,
02:32web series,
02:33and 50 films,
02:35commercial ads,
02:35action director,
02:37Ajaz Gulab.
02:38How are you?
02:39How are you?
02:40One more time.
02:42I will start with you.
02:44If you haven't seen Dhurandar 2,
02:46I will try not to spoil it.
02:49If there is a spoiler,
02:50I will tell you.
02:52You can skip that part.
02:55The first scene of Dhurandar 2,
02:59where MLA Sukhvindar Singh goes to his house,
03:03and then the sequence of the whole sequence,
03:04I will tell you.
03:06Because this scene,
03:07I have captured the fast cuts,
03:13the rage in Ranveer Singh's eyes,
03:16which feels like the world will run away.
03:19The rage in the middle is a lot.
03:22And then,
03:23after the end,
03:24Ranveer Singh is emotional.
03:27I have seen it in the first time,
03:28that the hero is in the action scene,
03:30which means rage with emotion.
03:32This is the whole scene,
03:33and this means what was the execution,
03:34what are the difficulties?
03:35Tell us about it.
03:37The second part,
03:39it is revealed that Ranveer,
03:42when he comes back to his house,
03:43he is an army man.
03:45Correct.
03:46So, the person who serves his country,
03:48is prepared for his knowledge,
03:51if he has something like his family,
03:55what can he do with his family?
03:59What can he do with his family?
04:01What can he do with us?
04:03If he has seen the brutality of our family,
04:07he will show his point of view.
04:09Basically,
04:10he is thinking,
04:12how will he happen?
04:13How will he rape my sister?
04:15How will my father kill him?
04:17How will he kill him?
04:17How will he kill him?
04:19So,
04:19if he has seen it,
04:21the thought of our script writers
04:23and directors,
04:24that we have to make a different story.
04:27we have to show that
04:29our person,
04:30when he reached the spot,
04:32he is feeling that
04:34there will be something like this.
04:36Because he is a thought process,
04:38and he has received feedback from the people,
04:41because he has friends there,
04:44and Shadar also.
04:46So,
04:46if he gets feedback from the people,
04:47what will he get?
04:49Because there are ten thoughts,
04:50so,
04:51the human's mind is ten.
04:53So,
04:54that's what he wants to see.
04:55He wants to see it.
04:56Okay.
04:57So,
04:57according to that,
04:58the sequence,
05:00it started so elaborately.
05:02I will say that,
05:03in the film,
05:04you have seen it,
05:05it was 60%.
05:07It was more than 60%.
05:07It was more than 60%.
05:09It was more than 60%.
05:09It was more than 60%.
05:10because our children also see it.
05:12It's O.T.D.
05:15the children also see it.
05:15We can cut the O.T.D.
05:17But,
05:18we can't do that much,
05:19so,
05:20the story will change the film.
05:21Correct.
05:22So,
05:22we have to focus on it.
05:23We have done a lot of things,
05:24but,
05:24we still have 60-65% of the model.
05:27Okay.
05:27In that scene,
05:28there are two people,
05:29it's a forest,
05:30and it's a forest,
05:31and it's a forest,
05:32and it's a forest,
05:32and when it's in the eyes,
05:35when the scene is shooting,
05:37what does the camera handle?
05:39What does the action director
05:40and director have done?
05:42What does the action director
05:43and director have done?
05:44We have also a DOP.
05:45We have to focus on it.
05:45It's a great thing.
05:47the frame is a different knowledge.
05:49Like,
05:50I want to say that there is a pain
05:51and when he is doing it,
05:53he will see it.
05:55And the director wants to see it on the face,
05:57and the director wants to see it on the face.
05:59But,
05:59the third man in our room,
06:01is Vikash Nowlakhakh.
06:03Vikash Nowlakhakh.
06:04That's the DOP.
06:05They said that I want to film this.
06:07So basically,
06:10after a good discussion,
06:12he wants to see the emotion after killing it.
06:15Because that man doesn't want to know anyone,
06:18but he has taken it under the force
06:20and he wants to see his family.
06:23Correct.
06:24He wants to see his eyes.
06:25He wants to see the audience.
06:27He wants to feel the audience.
06:28If we are here,
06:30we can do this.
06:33What was your briefing
06:35and what was your briefing,
06:36and what was your briefing when you shoot it?
06:39Like,
06:39when you see the eyes,
06:40what was your briefing?
06:41Was it Aditya Sir or was it?
06:43No, it was Aditya Sir.
06:44Okay.
06:45What was your briefing?
06:46Basically,
06:46I was physical.
06:47Okay.
06:48In action,
06:48what was motioning,
06:50how much speed was it,
06:52how much impactful was it.
06:55So,
06:56this is my feedback.
06:57But,
06:57the performance-wise,
06:59everything was Aditya Sir.
07:00Okay.
07:01So,
07:01I'm furthering from this scene
07:02which is a scene
07:02that I wanted to mention
07:03I want to remember
07:06which is a scene
07:07which is a lot of
07:08that is where
07:11after the rehmat
07:12of death,
07:13it's a change.
07:15It's a scene
07:17and then
07:17he can play football.
07:21The scene
07:23which is the scene
07:24that is where
07:25the start of
07:25and that is where
07:26he is going through.
07:27Do you know what was the preparation for you?
07:33We had a lot of preparation, we had a lot of things we had previously.
07:36We had all the sequences that we had previously previously.
07:40How does the killing of Ashad Pupu, how will people reach us, how will they attack us.
07:46After killing, we thought that it was the whole director of our thought.
07:51After killing him, he will not get out of the way of killing him.
07:57Sometimes, we see that in the film,
07:59or in the film,
08:01he hit a gun and cut a gun.
08:04But after killing him,
08:06the emotion of his brother,
08:08and his anger,
08:10is not going to end.
08:12So, what can he do?
08:14Then, Khadrita said,
08:17can we play football?
08:18You can play football.
08:20If you watch the film,
08:22we have a sense of
08:24that when the girls are free,
08:26they play football.
08:29Okay.
08:31So, we have used that element.
08:33What the truth is.
08:36I see that,
08:38this is a lot of violence,
08:39which can disturb many people,
08:41but I will tell you,
08:42that,
08:43a lot of violence,
08:44like a word for a film,
08:47which is,
08:48that,
08:52has been used in two or three times,
08:55and then,
08:56that,
08:56I don't think that,
08:58In the Hindu cinema, I've never seen a proper cut in the cinema.
09:01What does that mean?
09:03If you can tell that there was a green screen.
09:06No, we also used a prosthetic body.
09:10It was made a prosthetic body.
09:13But there are many things like blood, blood,
09:17force of killing.
09:18If you can see it,
09:22the realness is basically on performance,
09:25on camera angles.
09:27The camera angles used by the camera angles,
09:30you have the realness.
09:32If we only show white or close-up,
09:35that's not the case.
09:36Because in the shooting, it's also looking at it.
09:39The brutality is more.
09:41It's looking at its force.
09:43It's looking at its performance.
09:45Correct.
09:46And if you can see that,
09:48if the bones are still standing up,
09:50the bones are looking at it.
09:54So overall, I would say that we have
09:59full freedom of Aditya Ji.
10:01If you can think so, think about it.
10:05Whatever you want to think about it,
10:07you kill yourself.
10:08Okay.
10:08Then,
10:09what we wanted to think about it,
10:10what we wanted to create it,
10:12what we wanted to create it,
10:12there would be a directorial touch.
10:15Okay.
10:16So basically,
10:16I would say that Aditya Ji is a very cool-minded,
10:19very peaceful person.
10:22But when he comes to such things,
10:25I think that something else is going on in his head.
10:28Okay.
10:28Because they also try to keep the audience,
10:32they also try to keep the actors,
10:34like,
10:34what happens sometimes,
10:36like,
10:36like,
10:36in the previous films,
10:38like Ranjit,
10:39Shaktikapur,
10:40Pran.
10:41Before,
10:42people didn't like to see such villains in the live.
10:46You know,
10:47because they became a very bad person.
10:50But,
10:51everyone knows that it's a film.
10:53It's a film right?
10:54But,
10:54if someone is doing a bad job,
10:58it will also be heroic.
11:00So,
11:01Okay.
11:02If you look at Hamza,
11:04a kind of villain,
11:06he is killing himself,
11:08and he is killing himself,
11:09and he is killing himself,
11:11and he is killing himself.
11:13He is killing himself.
11:14he is killing himself for his life.
11:16His work is bad.
11:18Correct.
11:18He can also kill a person.
11:22But,
11:22But how do we show that a man's unnatural behavior will come out of the world?
11:30Because naturally, no one wants to know anyone.
11:33You and us are such a big enemy.
11:35But after coming, we will fight and fight,
11:38and we will not do anything else.
11:41Correct.
11:42That is extreme emotion.
11:43Yes, that is extreme emotion.
11:45Correct. Okay.
11:47Sir, I am talking about the scenes.
11:49I am talking about the scene that I would like to mention.
11:57Basically, the climax of the film was so elabited, so big.
12:03You have seen it around 22-25 minutes.
12:07Where the cinema is blocked.
12:10It's called the entire tanker.
12:14It's been an elabited scene.
12:17And the audience didn't even bore in action.
12:21The audience didn't have to worry about it.
12:25So, it was challenging for us that every 30-15 seconds,
12:31there was a new impact after 30-15 seconds.
12:34You know, we are inter-cutting.
12:36There is a fight inside, there is a blasting,
12:38there is a lot of people.
12:39But the impact that goes outside,
12:41the impact that goes inside.
12:44Correct, correct.
12:46If you look at the whole climate,
12:48you don't feel like that.
12:49Okay, okay, it's been seen.
12:51We have seen many killings,
12:53many blastings,
12:55everything is done.
12:56But every time,
12:57we are looking at that,
12:58it is different.
13:00Like,
13:02if a car has a blast,
13:03there will be a reason for it.
13:05So, you have seen that the cylinder of the car
13:07is going to impact the other car.
13:10Correct.
13:11So, the connections,
13:12we have a lot of time.
13:14In order to think and prepare,
13:17we will impact the other car,
13:20and the other car will impact the other car.
13:20And the other car will impact the other car,
13:22and the other car will impact the other car,
13:24and where it is falling,
13:25what will happen to the car.
13:27Correct.
13:27You know.
13:27So,
13:28that is,
13:30we have to take a chunk of impact.
13:31That,
13:32that,
13:33that,
13:33that,
13:34that,
13:34that,
13:34that,
13:34that,
13:35that,
13:35that,
13:35that,
13:36that,
13:38that,
13:39that,
13:39that,
13:41You know, as you have seen, when people come to the church, they are gradually coming to the church.
13:49And every one has an intention to fight.
13:53So basically, the whole action is part of the church and the church.
13:59And after that, the challenge is to make each other personal.
14:03Where Arjun Rampal and Ranveer Singh are.
14:08So the person who is personal, how will it happen in the personal?
14:15Where will they run?
14:16If they leave this area, they will reach out to which area.
14:20They are running from the street.
14:21They are running from the street.
14:23They are running from the street.
14:27They are running from the street.
14:30They are running from the street.
14:32They are running from the street.
14:33They are running from the street.
14:35So, this is a very elaborate sequence.
14:40And Aditya Sir used to say that it is more elaborate.
14:45Because basically, there was a fight between India and Pakistan.
14:49Correct.
14:50If there is a match in India and Pakistan,
14:52if there is a match in the 20-over, if it is finished in the 15-over,
14:55the audience will not get fun.
14:57If there is a match in the 20-over,
14:59if there is a match in the last few years,
15:01then the other people will be more than happy.
15:03That will impact people.
15:05Correct.
15:07So, the sequence is good.
15:08Our client is in the same place.
15:11But the last few years of the 5-10 minutes,
15:14they will give the impact.
15:16That will give the challenge.
15:17No, you are saying that you are telling the whole temple,
15:20there will be a scene that we have been trying to get into it.
15:21For the 4-5 minutes that I have made,
15:26that if I have been wondering why,
15:27that I have a scene that has got to come from here.
15:30The scene of the bottom of the bottom,
15:33where the bottom of the bottom is whole.
15:35The floor is whole.
15:36The basement is full.
15:36The basement is full.
15:36The basement is full.
15:38The basement is full.
15:40Now, there is a very large amount of hot material.
15:48And after that, he hits the whole wall and hits the wall.
15:52And he can see that he hits the wall.
15:55Before he talks about this, he talks about this.
15:58This was the first idea that Sajid Mir will kill him.
16:03But it was very difficult to execute him.
16:05Because it was a blast.
16:06After the blast, how will it happen?
16:09And how will it happen?
16:10There were many of my assistants, my rigging team.
16:14They did a very good arrangement.
16:17Because a real man had to hit the table.
16:21To hit him, to keep his safety.
16:25He was shot in real?
16:27He was shot in real?
16:28He was shot in real.
16:29He was shot in real.
16:32He was shot in real.
16:33He was shot in real.
16:33He was shot in a shot.
16:36If you can see it, he didn't see it literally.
16:39But he was shot in the overlapping.
16:40When he came back, he would fall in his face.
16:43So he was shot in real.
16:45He was shot in real.
16:45Oh, okay.
16:47Because he had to shoot that scene.
16:49Normally, not possible.
16:51Without his makeup, that we could go with the hollow.
16:54Very hard, right.
16:55So, that's the help of the hollowness was taken.
16:57But he started pushing his leg.
16:59He pushed it, and we had to hit the table.
17:04He also hit the table.
17:04And the Dr. Mahir also hit the table.
17:06Our兄弟's safety was taken.
17:07that when the table lands, the real will land on the chest.
17:11But then the chest would be fine.
17:14You know, when the table was taken away,
17:17it was hit by the impact of the table.
17:19But the impact of the table,
17:21the impact of the body should be taken away from the body.
17:24We should have seen it that it would have been banged with the table.
17:28So the whole thing we had done with wire works,
17:31it was done with the support of the table.
17:33What a matter.
17:34In fact, I also remember that,
17:36the third character,
17:39the character of Hamza,
17:41who is blasted,
17:43has a part of the pillar,
17:44and has a part of it.
17:47Tell us who it is.
17:49It was the same.
17:51Actually, at that time,
17:53there was another idea.
17:54To take his head and kill him.
17:57But then again,
17:59that happened again.
18:00If we have to kill him,
18:01then the head and the head and the head will kill him.
18:04That will be the same.
18:07When we saw that the debris,
18:09the rod,
18:10the rod,
18:10and the idea was found.
18:12That was the idea.
18:12That was the idea.
18:14I knew that.
18:15We were doing something,
18:16we were doing something,
18:16we were doing something,
18:17Mr. O.
18:18who was also.
18:19So,
18:19I said,
18:20why should I take it and take it?
18:22Because,
18:23Aditya Sir said,
18:24that,
18:25that,
18:26that,
18:26that,
18:27that,
18:27that,
18:27that,
18:28you
18:29If,
18:30that,
18:31that,
18:31that,
18:42that,
18:43It was a prop, it was a prop.
18:45But he took it and took it out of the rehearsal.
18:47So Adi Tuzar was there.
18:48He said, this is possible. Why is it possible?
18:51But how do we do contact with him?
18:53We will also do contact with him.
18:54We will also do contact with him.
18:57Okay.
18:58So I said, how will it happen?
19:01Then I told him that he was doing a job in a little bit.
19:04Then we called him to Saini.
19:06Saini, he made something like that.
19:08So when we kill him,
19:09at least he went to his face.
19:12Then we made a prosthetic body.
19:14He took it.
19:16He took it to his face.
19:18As he smashed his face,
19:20he used the prosthetic body.
19:22Okay, okay.
19:23How many days do we have to shoot?
19:25Sir, what we had previously done.
19:29The sequence of the mosque was 6 days.
19:32Only the rehearsal.
19:34Oh, okay.
19:35Only the rehearsal.
19:37The shooting was about 12-14 days.
19:3912-14 days.
19:40How does it maintain continuity?
19:42Sir, tell me.
19:43In the same look, in the same anger.
19:45I am very layman.
19:47How does it maintain continuity?
19:50It was a bit difficult to maintain continuity.
19:51Because we are going to get back to the house.
19:53We are going to get back to the house.
19:54We are going to save the design.
19:56I am going to say that H.E.M.B has worked very well.
19:59The hair and makeup, the costume,
20:01the people of the costume,
20:02and they are very focused.
20:03Because they took photos of each shot.
20:04So, we had to match each shot to shot.
20:09So, we had to match each shot.
20:09So, that was very important.
20:11Then, our continuity instructor,
20:16he also had a lot of input.
20:18Okay.
20:18He also focused on that.
20:20He had a lot of attention.
20:21He had a lot of attention.
20:22He had a lot of attention.
20:23He had a lot of attention.
20:24He had a lot of attention.
20:24Oh!
20:25So, I am saying that
20:27everyone has tried to give their own 100%
20:30and I think that
20:31they are showing 100% to the audience
20:33and also liking it.
20:35Right, right.
20:35This is a very iconic moment.
20:38This scene is where the mosque starts.
20:40When you first know that
20:42that H.E.M.B is one of them.
20:43He is one of them.
20:44H.E.M.B is one of them.
20:45H.E.M.B is one of them.
20:46H.E.M.B is one of them.
20:48And then, H.E.M.B is one of them.
20:53If you are dead,
20:56you are dead.
20:56Then, I am going to start the scene.
20:57Correct.
20:58And the people who have seen the scene
20:59and the people who have seen the scene
21:00and the people who have seen the scene.
21:01But they have to be gone.
21:03Correct.
21:04See, these are the same things.
21:06In the story of the story,
21:07the people who have seen the scene
21:08that if one person was stuck
21:10and he knows that
21:12he can be stuck
21:13he has a backup mind.
21:17How can he go out?
21:18How can he attack him?
21:20How can he protect himself?
21:21How can he protect himself?
21:24How can he protect himself?
21:25Well, he has worked very well.
21:26When Hamza comes,
21:28the car takes the scene
21:29and we thought he has weapons.
21:32Basically, he had weapons
21:33and he had bombs
21:35and he had bombs
21:36which he has rigged.
21:37And he also follows.
21:39And he also shows.
21:39He also shows that
21:40the other victims is going properly.
21:42So, he was the idea of the director
21:44that he already rigged
21:46and he knows
21:47that at any point of time
21:50of time
21:51I'm going to get
21:53back to the time
21:54so I'm going to get hot
21:56I can see
21:58Okay, I've said
22:00that Arjun Rampal
22:03and Ranbir Singh
22:04that's the end
22:07that's where
22:08the entire container
22:10is kept
22:10and I don't know who
22:13the whole thing is
22:13the whole thing is
22:15that I want to mention
22:19that
22:19it's very claustrophobic
22:23that's where
22:25Arjun Rampal
22:28is
22:29that's where
22:29that's where
22:29that's where
22:34that scene
22:36that's where
22:39the real
22:40real
22:40is
22:40real
22:41real
22:41real
22:42real
22:42is
22:44real
23:13because
23:14the whole thing
23:15was hurt
23:17and you
23:18see
23:19that
23:20that's where
23:20that's where
23:21that's where
23:22that's where
23:23the whole thing
23:23is
23:24that
23:33let's do one more
23:35the whole thing
23:37Arjun Rampal
23:38and Ranbir Singh
23:40both
23:41were so
23:41interesting
23:45that they never thought
23:48let's take a break
23:50they never had a break
23:51but it was a little bit
23:53it was a little bit
23:54the prop
23:56like you said
23:57the prop is a little bit
23:59but if I'm forcefully
24:01using it
24:02it can hurt
24:07it's better
24:08it's better than 90%
24:09it's better than 10%
24:12but it's better than 10%
24:13correct
24:14correct
24:14so
24:15as
24:16that's
24:16like
24:19been stretching his skin
24:22so
24:24that is
24:27effective
24:28and actors are full.
24:30This scene is the end of this scene where Arjun Naampal is running and Ranveer Singh
24:37is building a head-to-head, and he is cutting his head-to-head.
24:43In this scene, can you tell me that this was prosthetic?
24:46No, no, what is it?
24:48The real head is difficult to cut the head.
24:51The real head is difficult to cut the head.
24:53In this scene, we had to swing or put on the legs.
24:59It was done by dummy props.
25:01But if it was cut and separate, it would help CG.
25:05Okay, okay.
25:06In CG, we worked out a lot of work-out.
25:13What kind of separation should it be?
25:15What size should it be?
25:18What color should it be? Green?
25:20Because it was challenging for us to drip blood.
25:26So when you use a chroma cloth,
25:28if there is another color,
25:30then it has a problem of erasing.
25:33Correct, correct.
25:34I have done all the calculations.
25:37Okay, okay.
25:39Ranveer Singh, Hamza's character,
25:40This one character is a major aqual tanker.
25:46He stays the¡k cat on the tanker.
25:48He gets it on the top.
25:50He puts it in the tanker
25:52and puts it on the bottom.
25:53He puts it as good style.
25:54He puts it on the top of the tanker.
25:54Sometimes that's not the right guy.
25:56Sometimes I watched a right other time.
26:00In the first time,
26:01He throws the trick across.
26:02He puts it right,
26:03and puts the lighters at a distance.
26:04In the sense that the kerosene comes and gets blasted after that and that blasts me a bit of real.
26:14I don't know about CGI about this.
26:16The blasts were real.
26:18You didn't do it.
26:19The blasts were real.
26:20My SFX supervisor, Vishal, told me that we will do it real and we will not do it safely.
26:28Because it was such a big blast that was almost like more than 200 liters of blast.
26:34It was a tank.
26:36So, to fix it properly and how much metal can we use so that the kerosene will get out of
26:42the tank.
26:42Yes, the kerosene is very strange.
26:43It means that it is seen as small and small.
26:46So, what we told you about is that it was made of acrylic.
26:52The tanker was made of an acrylic frame.
26:56And the tanker was made of a detonator cord wire.
27:01So, to see the tanker's impact.
27:05So, the rigging of SFX was also very good.
27:09Then, as we took it from the tanker, the distance is a lot of.
27:14So, we see that the tanker will be sinking in half the water.
27:20Or the tanker will sink.
27:22But basically, the tanker was made of positions.
27:25We used cables for heating.
27:28We used wires to sink.
27:31Then, as you can see, the kerosene is running.
27:36And the fire is starting to travel.
27:40So, all the things that we did properly.
27:42So, one thing is very important.
27:44One thing is very important.
27:44The effortless thing is.
27:46You can see.
27:47Because there is a lot of time.
27:48It is not just that we poured it from here and put it on.
27:52No.
27:53With the shot, what will it look so beautiful?
27:58What will it look so beautiful?
27:59What will it look like?
28:01What will it look like?
28:04What will it look like?
28:05What will it look like?
28:06What will it look like?
28:06Even Vikas Naulakha was so confident that this shot will take me at 4.30 and 5.30.
28:13Oh.
28:14So, it was really planned.
28:16We will finish all the work.
28:17We will reach here.
28:18We will plan here.
28:19We will start shooting at 4.30.
28:21How long did you shoot this scene?
28:23This is the tanker's scene for three days.
28:26Three days?
28:26Three days.
28:28Okay.
28:30Because we have a lot of time.
28:32If you can see the whole flow,
28:34then you can see it suddenly bright, suddenly cloudy.
28:39Correct.
28:41So, we have a lot of time.
28:44We have a lot of time.
28:45No sir.
28:46It's amazing, sir.
28:48I mean, I'm asking you to ask a scene.
28:54I remember one scene.
28:55This is a spoiler.
28:58I would like to ask you,
29:00I would like to ask you,
29:02I would like to ask you,
29:03because the camera's behind me,
29:05the people who are watching me.
29:06I haven't seen it.
29:08So, there's a scene in the bathroom.
29:11There's a scene in the bathroom.
29:12There's a fight.
29:16There's a scene in the bathroom.
29:21I feel the pain here.
29:23There's a syringe on the right hand.
29:24There's a syringe on the right hand,
29:26there's an actor on the right hand,
29:27and there's a syringe on it.
29:29And one,
29:29he wants to feel the syringe on its look.
29:32He wants to take his eyes.
29:34But he comes back.
29:35And into the room as well.
29:36in the tub and the death of his death.
29:39In this scene the impact and the fear of what will happen,
29:44what is the challenge and how you executed it?
29:48His choreography was the same as the sequence of the narration
29:54because he was a friend of his childhood.
29:58So it will start slow.
30:01But at one point you should think,
30:04no, it's enough.
30:08So we started it like that.
30:11He was trying to understand it,
30:15but the other person is going to kill him,
30:18attacking him.
30:20At one point you should think,
30:22now I can't win.
30:25So the idea of hitting the top,
30:28the idea of hitting the top,
30:30the idea of hitting the top,
30:32because we wanted it to be dead.
30:34So Ranveer didn't have to do that?
30:36Yes, he didn't have to do that.
30:37Because he didn't want to know his friends.
30:40Right.
30:41So he had to show an accident.
30:44That's why he accidentally hit the top,
30:47and he broke.
30:48So we made the puff foam.
30:51What is the puff foam?
30:53No, it's not a thermocore, it's not a PVC.
30:54It's a chemical based.
30:57There are two chemicals,
30:59when we mix them,
31:01it's like foam,
31:05but it's soft,
31:08but it's hard.
31:10So we made it.
31:12But we made it only in that section,
31:14and we had to hit it in that section.
31:16Okay.
31:17So the actor had to hit exactly the same position?
31:18Yes, he had to hit exactly the same position.
31:20Because if we made it,
31:22then we had to hit the top,
31:23and we had to hit the top.
31:24So for us, it was also a challenge,
31:26that we had to hit that portion.
31:28What a matter of detail.
31:30Okay.
31:31So that was all the things.
31:32Like we had to hit the mirror on the front.
31:34Yes, it was.
31:35So we have to hit the mirror on the front.
31:36So how did we hit the mirror on the front?
31:38How do we hit that mirror?
31:39We didn't have to hit the mirror.
31:41We didn't have to hit the cracks.
31:42That's not the original mirror,
31:44It was a Chinese unit.
31:45What was it?
31:47The original mirror.
31:48The original mirror,
31:49said it was transparent.
31:53Okay.
31:55So transparent actually,
31:56it was just a web.
31:58Okay.
31:58The sound, the lighting is all about the impact.
32:06Sir, I have a question for you.
32:09Because you have heard of the shishet, the tub case material.
32:15When I saw the cinema, my mind came to me,
32:19that the ball is like, actually, the whole process of the process is that if you really put something inside,
32:27or someone told me that someone in their hands there is an angle,
32:31where there is a small thing to shoot, and someone shoots like this,
32:35and then the ball goes like this, balloon goes like this.
32:39My question is, if you can tell this bullet effect, exactly how do you make it?
32:46It's a bullet effect. Basically, there are electronic charges.
32:52We can say that it's a potakai, which is a potakai, which is a potakai, which is a potakai.
32:58For the house, there would be an impact that the house would break.
33:05So, we use it for the potakai, which is an electronic potakai, which is a battery-operated.
33:15So, we use it for the ballon.
33:17The ballon is put on a paddock, so that the squib will not be hit in the body.
33:26Because we are using it on the battery, or sometimes we have to use it on the current.
33:31Because the battery can be used for the current, like 0.6.
33:41So, if it's a 0.5 or 0.1 or 0.7, if it's a voltage, it can be used
33:49for the battery.
33:50Then, we have to go to the current.
33:52So, if we are doing it on the real current, it's a different impact, but it doesn't have to be
33:58hit in the current.
33:58So, it becomes a pradding. It's a process.
34:02We have to bring it into bed.
34:04Then the ballon uses a squibs to put on the ballon.
34:08Then the squibs, which is called like this.
34:10If we want to fit it in, we will fit it here.
34:12We can fit it here.
34:14We can fit it here.
34:16We can fit it here.
34:17We can fit it here.
34:30Okay. And what the blood is used in it?
34:34That's the theatrical blood that we use in our dramas.
34:37Okay.
34:38That's the same blood that we use in the body.
34:42So what has changed over the period?
34:44Like in the 90s, it was generated like this.
34:47Now it's different.
34:49Or it's the same way?
34:50No, it's the same way.
34:51Okay.
34:52It's not the other process.
34:54There's one difference in it.
34:56There's one difference in it.
34:57When you look at it, there's a little smoke.
35:01Hmm.
35:03It doesn't have to come in real.
35:05But what happens is that when you leave it,
35:09it doesn't have to come.
35:11Correct.
35:12The other thing is that we can use air.
35:14But air is the size of the pipe.
35:18So it makes it fit back to the clothes.
35:21It makes it look like the pipe.
35:22It makes it look like the pipe.
35:24You know?
35:25So that's why it's a little bit rare.
35:28Okay.
35:28And what do we do is that with real,
35:31it's used in CG.
35:33Okay.
35:35For example, if you have to show it.
35:38We have two things.
35:40Or we have to make a prosthetic face.
35:42And then put it into the same script.
35:45Okay.
35:45Or if it's done in CG, it's an impact.
35:48Okay.
35:48Because if you make a face, it's a cost.
35:52So for a particular 2-3 seconds of a shot,
35:55it's not a problem.
35:57So it's CG.
35:58Okay.
35:59Okay.
36:00So first, where you don't see smoke,
36:03it's easy to get to see smoke.
36:05Where you don't see smoke, it's real.
36:07This is a very interesting thing.
36:09Because I've told you about it.
36:11Okay.
36:12All right.
36:12I've read about the balloon.
36:15Where is the condom?
36:17It's a condom.
36:18It's a condom.
36:18Okay.
36:19It's a condom.
36:20It's a condom.
36:30Okay.
36:32It's a condom.
36:48Okay.
36:50Okay.
36:51Okay.
36:51Okay.
36:53Okay.
36:54Okay.
36:55Well, I'll just…
36:55I'll say this one more time,
36:56…
36:56the shadows are broken.
36:59I mean, it's always used real shadows.
37:03Because I was watching a video in YouTube
37:04that maybe some of the other materials
37:07can also be made.
37:09It's also made.
37:11It's made.
37:12But there is one flaw.
37:14If you look at it, there is no realness.
37:16Because if you don't see it,
37:19then the real transparency is different.
37:21And the ones that are made
37:22is a little haze.
37:24You can't see through.
37:26It's clearly not seen through.
37:28But we use it only for actors.
37:32If we use it for boy doubles,
37:34it doesn't mean anything.
37:35Because it's not so heavy.
37:37When we use actors with close-up,
37:40when it bursts,
37:42it will show the impact.
37:43Because they are used in close-up.
37:45And it has to be used in edit.
37:50We have taken a duplicate shot,
37:52and we have taken a shot with the actor.
37:54So,
37:55we have to change it in edit.
37:56We have to make a quick cut.
37:58Okay.
38:00So,
38:01there is no sugar.
38:03It's only sugar glass.
38:05Because there is no sugar glass.
38:07It's not so heavy.
38:08We can use the transparency.
38:11If we have to use the bubbles,
38:13we have to use the vacuum machine for bubbles.
38:16So,
38:17the SFX team here,
38:19there is no such thing,
38:22but the expenses will not be able to do the production.
38:27There is no such thing.
38:28It's a big shot.
38:29And because we have to make a stunt,
38:32we have to make a stunt,
38:33we have to make a risk.
38:35We have to make a risk risk.
38:37We have to make a risk risk.
38:57we have to make a car blast scene.
38:58In the highway,
39:00there is no such thing.
39:02There is no such thing.
39:05There is no such thing.
39:07There is no such thing.
39:18There is no such thing.
39:20There is no such thing.
39:22shooting with them is a very fun day.
39:23Yes.
39:24Because they are
39:26a different era.
39:28Yes.
39:28They are always
39:29a big brother with the unit.
39:33So,
39:34the whole unit is a great pleasure.
39:37When they come to the performance,
39:39he is very different.
39:42Then,
39:42their look,
39:43their style,
39:45and their performance
39:47is a different one.
39:50So,
39:50the sequence
39:51that he is sitting
39:52walking,
39:54driving,
39:54driving,
39:56looking at him,
39:57looking at him,
39:57he is looking at him.
39:58We have all
40:00rigged
40:01and performed
40:01with the movements.
40:03Hadithi Ji has performed
40:03very good.
40:05But the action part
40:07was very tricky.
40:09That was very tricky.
40:11That was very tricky.
40:11That was very tricky.
40:12That was because
40:12his motion
40:13and his motion
40:14is matched.
40:15And he did not
40:16a cheat,
40:17he is showing?
40:18No.
40:19The stunt double
40:21was running
40:21and the car
40:23was running
40:23here.
40:24They both
40:25took a point
40:25to match
40:26him.
40:28They came
40:29at speed.
40:30They came
40:31at speed
40:31and they came
40:31at the point
40:32and they came
40:33at speed.
40:35They knew
40:36that I had to go
40:37to this mark.
40:38So,
40:38we had to shoot
40:39at speed
40:40and shoot
40:41in different layers.
40:43Okay.
40:43So,
40:43that he had to
40:44match speed.
40:45After that,
40:46the impact
40:47we used
40:49the cannon
40:51used.
40:52Okay.
40:52put the cannon
40:53and threw
40:54it.
40:54What is the cannon?
40:56It is a
40:58pipe of nitrogen
40:59gas.
41:00Okay.
41:01Because the
41:02nitrogen
41:03itself
41:03is a very
41:05reactive
41:07gas.
41:08It throws
41:09everything.
41:10So,
41:11the cannon
41:11put the cannon
41:12into it.
41:13and we
41:14gave it a little
41:16movement
41:17and hit it
41:18and hit it
41:18and it
41:19hit it.
41:19Once
41:20it hit,
41:21it was
41:22in the middle of the
41:24driver.
41:25The cannon
41:26was basically
41:27part 1
41:28on the bridge.
41:29But the cannon
41:30was the
41:32stunt driver
41:33that we
41:34told
41:34you
41:34to give the
41:35car mark
41:36and hit it.
41:40So,
41:41we had to
41:42a platform
41:47made it
41:47and it
41:48made it
41:48a whole road
41:50It looked like
41:53a road.
41:53So,
41:54when he
41:54came to travel,
41:56Arif
41:56took it
41:57to the real
41:57bank.
41:59So,
41:59we had to
41:59timing.
42:01And then
42:04the blast
42:05was real?
42:06No,
42:06the blast was
42:07real.
42:08So,
42:08we had to
42:09hit it.
42:10So,
42:11the impact
42:11hit it
42:12and then
42:14rearranged it.
42:15We had to
42:16continue.
42:16We had to
42:17hit it.
42:18We had to
42:19hit it.
42:20Then,
42:21the push
42:22hit it
42:22and then
42:23hit it
42:24and hit it.
42:28Then,
42:29you had to
42:29prosthetic body.
42:31and
42:31put it
42:32in
42:34the
42:35car.
42:36So,
42:36move it
42:37and
42:38move it.
42:42So,
42:43the timing
42:43was
42:44different.
42:45The
42:47prep
42:48was
42:50two days
42:50to
42:50prepping
42:51a
42:51short
42:52shot.
42:53So,
42:54the scene
42:55was
42:55shooting
42:56on
42:56the
42:56actors
42:58and
43:00body
43:01double
43:02at
43:02the point
43:03of
43:03the scene
43:04that
43:06was
43:06very
43:07dangerous.
43:08but
43:09the actor
43:10said
43:11that
43:11he was
43:11pushing
43:11the scene
43:12and
43:13then
43:13you said
43:14that
43:14you
43:14don't
43:14do
43:15the
43:15action
43:15director
43:15is
43:16the
43:22action
43:25director
43:26is
43:26action
43:28director
43:30of
43:30the
43:31action
43:38director
43:38if
43:38you
43:39seen
43:39the
43:39path
43:40we
43:40took
43:42the
43:45path
43:46but
43:46when
43:48we
43:48changed
43:50the
43:51same
43:51motion
43:51in
43:53multiple angles
43:58used
43:59to
44:01switch
44:02for
44:03example
44:04if
44:05they
44:05saw
44:05the
44:06car
44:06the impact
44:09of
44:10individual
44:10impact
44:10after
44:11the impact
44:12of
44:13can
44:13stay
44:13body
44:14double
44:14and
44:15steady
44:16body
44:16so
44:18basically
44:19the
44:20work
44:20is
44:21sharp
44:22cut
44:23so
44:25doesn't
44:26have
44:26thought
44:29process
44:30and
44:30execution
44:30it
44:30you
44:31sit
44:31the
44:32editor
44:32you
44:33the
44:33editor
44:34you
44:34have to
44:37match
44:42so
44:45that
44:45it
44:45separate
44:46shots
44:47but
44:50the
44:50point
44:51is
44:52where
44:53he
44:53can
44:53switch
44:53the
44:54body
44:54double
44:54real
44:55this
44:56is
44:57part
44:57of
44:58choreography
44:58for
45:02example
45:03the
45:05chain
45:05idea
45:07was
45:07his
45:07idea
45:08but
45:09how to use
45:10it
45:10you
45:13told me
45:14that
45:14something
45:15would
45:16do
45:16with
45:16chains
45:16a
45:20pair
45:21cut
45:21but
45:23how to behave
45:23the
45:24chain
45:24how to behave
45:24the actor
45:26how to get
45:27emotion
45:28how to get
45:31executional part
45:31of us
45:32so
45:33the
45:34director
45:35doesn't work
45:36doesn't work
45:37doesn't work
45:38doesn't work
45:38doesn't work
45:39doesn't work
45:39you
45:42did
45:43it
45:46remember
45:47a scene
45:47I
45:48remember
45:49that
45:50saw
45:50that
45:51after
45:52the
45:52death
45:52of
45:55character
45:56is
46:00dynamite
46:01that
46:01it
46:02proper
46:05and
46:06it
46:06goes
46:07into
46:07it
46:07into
46:08it
46:08it
46:09was
46:11CGI
46:11or
46:12it
46:13was
46:13really
46:13it
46:13was
46:14flame
46:15and
46:20it
46:21was
46:21a prop
46:22but
46:22it
46:22a prop
46:24but
46:25it
46:25was
46:25a
46:26prop
46:28it
46:28it
46:28it
46:28it
46:29it
46:35was
46:37it
46:37that
46:38it
46:39it
46:41is
46:41so
46:41if
46:42it
46:42is
46:42it
46:43is
46:43it
46:44is
46:45it
46:46it
46:49it
46:49it
46:49is
46:50it
46:50it
46:52it
46:52for example
46:54I
46:56used
46:57road
46:57to
46:58do
46:58it
47:00I
47:01know
47:02how
47:03it
47:03is
47:04so
47:05if
47:05it
47:05is
47:05it
47:05it
47:06can
47:06it
47:08so
47:09we
47:10do
47:11multiple
47:12time
47:14rehearsal
47:15how
47:16it
47:16will
47:16how
47:17it
47:17will
47:21straight
47:28so
47:28what
47:30be
47:31flammable
47:32THAT
47:33it
47:34sounds
47:35like
47:36sir
47:37I
47:38had
47:40one
47:42scene
47:43I
47:43think
47:43that
47:44what
47:44was
47:44I
47:45think
47:45he
47:47made
47:48he
47:48looks
47:48like
47:48he
47:48he
47:49पातिक एहम्द को उसके किर्दार का नाम है वह नहीं बहुत ही सिम्र लगता है दिखने
47:57में और ज्टित भी यहां पर रीक्रीट किया गया है कि में बात यह है कि गुड़ो मुस्लिम और फिर
48:07वहीं
48:08When you were shooting this scene, when you replicate the real incident, how easy it is and how challenging it
48:17is.
48:17No, it's very difficult.
48:19Real sequence is very difficult to replicate the real sequence.
48:23Because the audience has already seen it on the news channels.
48:29In the audience's mind, it was like this.
48:32Everyone has seen it live.
48:34Everyone has seen it live.
48:36To do exactly the challenge, where will the police come from?
48:42Where will the person come from?
48:44How many shots are they going from?
48:47They have to surrender all the time.
48:49Correct.
48:50We had to do everything in the same time.
48:53Although it was in a very short time.
48:55But we also had to do it with the girls.
48:59What the truth?
48:59Yes.
49:00What is the truth?
49:01The shooting is a very short time.
49:03I told you that we had to complete it in half night.
49:05Yes.
49:07Okay.
49:08But since it was a small sequence and we had to keep it in a real way,
49:13Like people, if they were able to do something with the others.
49:14Before the girls, we had to do something with the other people.
49:17The other character that was, the other character was that they also also recreate it.
49:23Okay.
49:24But this is,
49:24This is,
49:25That the same-to-same did some difficulty.
49:27It was a little difficulty.
49:28Because,
49:30You won't become a king in the family.
49:33Such a king.
49:33That you wouldn't become a king.
49:33That you wouldn't become a king.
49:34That you wouldn't become a king.
49:35That you would become a king.
49:36Okay.
49:41I want to know that the whole experience of Dhurandhar, which was the full experience of your actions,
49:52especially when Ranveer Singh is a superstar,
49:56and that means that where the superstar was not seen as the tag,
50:04like the first part of the story of the story,
50:10and then that's where the rise is,
50:14or Arjun Rampal, or Akshay Khanna,
50:20what is your wholesome experience?
50:24The whole experience was very enjoyable,
50:28because I think after the shootout at Lokhandawala,
50:33this was the first film in which I had to do so much action.
50:36Okay.
50:37Because after that, there was a lot of work,
50:39I had to do Istanbul,
50:42one villain,
50:43I mean, the action film was a lot of work,
50:45but the brutality that I wanted to do,
50:48Yes, Ramlapadawana.
50:49Yes, Ramlapadawana.
50:50So, the brutality of that was also my creation.
50:53Yes.
50:54But,
50:55a few years later,
50:57there was a chance that I could create something.
51:01And when I listened to the film's narration,
51:04I started working at that time,
51:07that I could do the same way,
51:09or show the brutality with safety.
51:12and show the preparation for it.
51:14Okay.
51:16And what will happen?
51:16What's the preparation for it?
51:17Yes.
51:18What will happen?
51:21What will happen?
51:22And how will the impact?
51:23How will the camera motion?
51:27How will the camera motion be?
51:28With the camera motion,
51:29you can use fake bodies,
51:33can use it, and where can we use it.
51:37So this was the whole thought process in mind.
51:40From day one, I was thinking that this will be like this,
51:44it will be like this, it will be like this.
51:45And because Aditi has involved some of the people involved in choreography,
51:50so when they were choreographing,
51:53they would have to take it into Indian culture.
51:57Because foreigners are their own culture,
51:59and their own behavior.
52:00We will see that Korean people have to meet us,
52:04but they are not similar.
52:06Okay.
52:07Yes, that's right.
52:08So, when we were choreographing,
52:12we would have to take it into the real and Indian culture,
52:17and match with Indian actors' behavior.
52:21That was very challenging.
52:23No, that's what we see, sir.
52:26We've also seen our hard work.
52:27I mean, when we're talking about Dhurandar 2,
52:30that's what we're talking about.
52:32We're talking about Dhurandar 2.
52:33In this part, we've talked about Dhurandar 2,
52:38and in the next part, we'll talk about Dhurandar 1.
52:40Thank you very much, sir.
52:42Thank you very much, sir.
52:44This part is where we end up.
52:45First part, we end up here.
52:47And if you liked it,
52:50please subscribe to the digital community.
52:52Thank you very much.
52:54Thank you very much.
52:55All life him.
52:55We've talked about Dhurand radicals.
52:55Now, that's love here.
52:55Maybe it just takes легantine,
52:55In the next part, and we maybe talk about Dhurandar 2?
52:55About the Kaira Mars jeweys with things that will exist.
Comments