Niharika Konidela, Sangeeth Shobhan & Crew Of #Rakasa Movie Interview

Mana entertainment

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Transcript

00:00Okay, welcome!

00:12I'm not sure that you're talking about that type of influence in the cinema.

00:16What are the stories that you are telling me about?

00:21I mean, I'm telling you, I'm telling you, I'm telling you, I'm telling you.

00:25I'm telling you, you're not old.

00:29But I think the stories remain the same, right?

00:31Yeah, actually. That's the whole point.

00:33Folklore and folklore are the same.

00:36What are the stories, sir?

00:38I'm telling you.

00:39I don't know if you're talking about Mahabharata.

00:45I remember a lot of other films like Jagadayak Virenkada, Kilgurram.

00:52So, from the very end, I have a lot of inspiration for old cinema.

00:58So, those are the stories that I remember.

01:01Stories are the same in the cinema?

01:03Okay.

01:04Other than, I don't know if you're a fan of Ramayana Mahabharata.

01:08That's not true.

01:09I don't know if you're a bedtime story.

01:13I don't remember many of them.

01:16I actually remember a lot of stories.

01:18Because most of the times, my grandmom used to stay with me.

01:22So, what I'm saying is,

01:23I don't know if I'm a kid.

01:26I don't know if I'm a kid.

01:31I don't know if I'm a kid.

01:34I'm not a kid.

01:34I don't know if I'm a kid.

01:37I'm not a kid.

01:37I don't know if I'm a kid.

01:38I don't know if I'm a kid.

01:41I don't know if I'm a kid.

01:42And then, Jagadayak Virenkada, Balnagamma,

01:45and all those stories.

01:46So, I have like,

01:47Whitlachari movies,

01:48it influenced me a lot.

01:50You've seen the movie in the Kielgurram?

01:52No.

01:55So, it's quite amazing.

01:57I used to see all the movies.

02:00Jagadayak Virenkada and all,

02:02they're very fun.

02:04You know,

02:04two books are made.

02:06Vikram Betal?

02:07No.

02:09Do you have any of your friends?

02:10They're my friends.

02:11They're my friends.

02:12They're my friends.

02:14They're my friends.

02:16They're my friends.

02:17They're my friends.

02:17So, they come and,

02:19I don't know if I'm a kid.

02:21I'm a kid.

02:23I'm a kid.

02:25I'm a kid.

02:26Alladin, I'm a kid.

02:27No, see, this is what we,

02:28our own folklore, not this.

02:30This is a lesson.

02:32Yeah.

02:32Okay, okay.

02:33So, and then,

02:34it's all fun.

02:35To look at and also learn a lot.

02:38Three curriculans,

02:39there is a

02:41So, he asks,

02:43three curriculans,

02:44and then,

02:47he's done with Kili,

02:49and then he removes,

02:49oh, shit.

02:50I just wasted my curriculans.

02:52So, it's all fun.

02:53So, those are the stories that I grew up with,

02:55and, yeah.

02:56Chalikku Madan,

02:56cut away chain.

02:57Sir,

02:57your answer,

02:57in English,

02:58how do you read stories?

03:01English,

03:02even though,

03:02but in cinema,

03:03stories are,

03:04I mean,

03:05Maya Bazaar.

03:05I mean,

03:07Maya Bazaar.

03:08In cinema,

03:08I lined the stories with him.

03:10Hmm.

03:11Maya Bazaar.

03:12Maya Bazaar.

03:13Yes, one of them.

03:15Maya Bazaar.

03:16Vishnu Meiru?

03:16In stories saving,

03:18I used to write on them.

03:22You know,

03:23you're there, dad?

03:23Yeah, you're there.

03:24Like,

03:26it's a lot of scary.

03:27The night,

03:27people,

03:28you know,

03:28what do you say?

03:30It's actually a local horror story.

03:33Yeah, yeah.

03:33Where is it?

03:34Where is it?

03:34Here, Karim.

03:37It's almost there.

03:38Almost there.

03:38I don't know.

03:40I don't know how much we used to play.

03:43So,

03:43I used to play a white towel

03:44and I used to play a white towel.

03:46I used to play a white towel.

03:48I used to play a white towel.

03:50I used to play a white towel.

03:52I used to play a white towel.

03:53Yeah,

03:55yeah,

03:57movies,

03:58you know,

03:59Maya Bazaar, sir,

04:00Meeko?

04:00Yes.

04:00Standard.

04:01For everyone.

04:02I've seen Maya Bazaar.

04:07Even there.

04:08You're supposed to react like that.

04:10If you haven't seen it,

04:10you can't react.

04:12No,

04:13I'm not interested.

04:13You shouldn't hate her.

04:14If you hate my director,

04:16I said that,

04:17I didn't know what it was.

04:17You guessed it.

04:18No,

04:19no.

04:19Sir,

04:20you have a connection, sir.

04:22You have a name on Wikipedia,

04:25but I don't have a name on Wikipedia.

04:26I don't know.

04:26It's like I'm asking.

04:28There's no one.

04:29You know,

04:29I'm telling you.

04:30There's no one.

04:31Oh, nice.

04:31I'm telling you.

04:32You know,

04:33I'm telling you,

04:34you don't know how many people are,

04:35you know,

04:36you're talking about hero,

04:37you're talking about her and you're talking about

04:39But that's why you worked for that film.

04:42Yes.

04:42Sir, are you doing it?

04:44Yes.

04:46That's why I was in the first film.

04:48Oh, okay.

04:49I'm not going to answer.

04:50I'm going to get it.

04:52So tell us, sir, how was that working for a film like Anji?

04:56That's why Mark Delcy is now a generation, Anji, VFX, it's too good.

05:02We didn't have time for a lot of releases, but for us, it was like a...

05:08Basically, the Indian visual effects industry is starting, actually.

05:13And it took a major turn after the film.

05:16The film is still there.

05:20I'm working on a team, and I'm not going to do it.

05:25I'm not going to prove it, but I'm not going to do it.

05:30I'm not going to shoot a lot in dormant, but VFX is only six months.

05:36I'm not going to do it.

05:37Wow.

05:38That's right.

05:39That's almost cinema, VFX.

05:41Yeah, six months.

05:42And literally, we used to...

05:44That's why we used to live in the office.

05:45But at night, we used to study the office, but we used to study the office.

05:50So, we used to live in Hyderabad, and then we used to spend three or four years in the office.

05:54Wow.

05:55Wow.

05:55That's right.

05:56So...

05:57Anji like movie, what would be a very tricky sequence, sir?

06:01So, it's VFX.

06:03Anji cinema, right?

06:05Anji cinema, right?

06:06Anji cinema, right?

06:23Anji cinema, right?

06:25It's truly, an artist's work chase.

06:33That grit to prove something.

06:35Right.

06:36Definitely.

06:37Anji, that movie was something else.

06:39I was sitting like this as a kid while watching Anji.

06:42I think that was...

06:45Because till now, I think it's the best Shiva I saw on screen.

06:49Wow!

06:50Too good goosebumps.

06:52Anji, because of the scale.

06:54Yeah.

06:55Anji, when you show Shiva and Chiranjaya Garu like so tiny, it signifies that you are nothing in front of

07:03the God.

07:04God.

07:05Such a great film.

07:06Anji, like short, anji, knife.

07:09Anji.

07:10It comes to the actor.

07:11So, how did you shoot it?

07:13Anji, shoot completely CGI.

07:15Oh.

07:15Fully.

07:17It's not live.

07:18Even the snake is fully CGI.

07:20So...

07:21That's right.

07:22That's right.

07:22In that time, one of the first fully CGI characters, Snake, was the first full CGI character.

07:29That's right.

07:32That's right.

07:32That movie, a generation of VFX artists created here.

07:37Yeah.

07:38Yeah.

07:38Sir, how did you see it?

07:39You just told that you have CG to the R and R.

07:43Right.

07:43That's right.

07:44So, how did you see it?

07:46How did you see it in this film?

07:48Now, we have to see it in the film.

07:49Now, we have to see it in the film.

07:50Now, there are multiple reasons.

07:51Now, there are multiple reasons, not one reason actually.

07:52The first thing is lack of clarity.

07:57What you really want.

07:59That's right.

08:00Then, most of the people underestimate how much it takes to do certain things.

08:06And then, next is the timelines that...

08:10That's a lot of timelines.

08:13And...

08:14And...

08:14In this small timeline, we have to start a lot of time.

08:19And we will just release half-finished work.

08:23Miserable.

08:26But...

08:26In Indian films, you have really good work.

08:34At par with the Hollywood films.

08:36Is it...

08:36Is this true?

08:37There is a saying...

08:41Is that true?

08:42No.

08:43It's not true.

08:44It's not true.

08:45In VFX, we generally go with three.

08:47You have time, budget, and quality.

08:51Quality.

08:51You can only choose two.

08:54Oh!

08:55Time, budget, and quality.

08:57We're getting all the other.

08:57Oh!

09:02Time and quality, budget and quality.

09:04What is it?

09:05What is the problem?

09:06I don't know.

09:07I don't know.

09:08I don't know.

09:09I don't know.

09:10I don't know.

09:11Oh!

09:12Budget and quality, sir.

09:13Quality, yes.

09:14I don't know.

09:15I don't know, sir.

09:15I don't know.

09:16Time.

09:17Yeah.

09:18That answer, now that we were talking about VFX part and all of that.

09:21I don't have to choose any two.

09:24For me, my film, I think the last 40-45 minutes is what is very crucial in terms of VFX.

09:33I don't know.

09:37That was one of my fears.

09:38Yes.

09:39Because I just did a film like Komitikurralu, Jay, sir.

09:42It had nothing.

09:43You know, Tara, Jubal, Elthun, to VFX.

09:47So, that's the answer.

09:48I don't know.

09:49I don't know.

09:51We didn't do anything else.

09:52I don't know.

09:52But thinking about this, I was like, can we do it?

09:56Frankly, if I was talking about it, it's a misconception.

09:59It's not that much.

10:00It's not that much.

10:02You know, do I want to make that?

10:04Can I make that kind of a film?

10:06Maan, sir.

10:06Did you not have any inhibition?

10:08Did you ask that movie?

10:10No, because I had a little.

10:12I won't say much idea of VFX.

10:14But whatever I wrote, I thought.

10:16I was not going, you know, I'm not telling you about it.

10:22Now, this is the realisation.

10:25Graphics show.

10:26Graphics show.

10:27Graphics show.

10:41Graphics show.

10:43I had it.

10:43How did you have any inhibition?

10:44Do I have any inhibition?

10:45Or after the reaction?

10:46Well, I was talking about the reaction, I didn't know what happened.

10:50The reaction at that moment is how I realized.

10:51Yes, I am too.

10:51Any inhibition?

10:51A good intention.

10:56It is in the context of the reaction.

10:57You have the idea.

11:01The idea that.

11:01Then you'll be able to do it.

11:02Oh, okay.

11:04I don't know.

11:05Then you'll be able to do it.

11:06Yes.

11:07So you'll be able to do it.

11:09Yeah, but

11:11Obviously this is a different genre

11:13Other different genres

11:15Full VFX kind of a film

11:17Full VFX kind of a film

11:18So Mirko, how is it

11:20Sir, Elan, this project should be

11:23Take on, inhibitions, anything

11:25About what you felt about this

11:26The moment Mansagar Chappangan

11:29The first thing I think one of the movies

11:31I keep sleepy hallow

11:33And then the haunt just

11:34I keep watching on now and then

11:37The moment Mansagar Chappangan

11:38I referred her that this is the film

11:40I am looking at that and she said okay

11:43Elan, this is the film I am looking at that

11:44But getting that spooky is one of the

11:47Challenging and especially half

11:49We are going like now we are building

11:51Sets, half sets and half VFX

11:52VFX, that's where I was holding

11:55Okay, how much we can achieve

11:57But we have now, we have good team

11:59That we are going forward really good

12:01Actually

12:04History

12:05Biggest enemies

12:06Low

12:07D.O.P. and VFX

12:10But

12:12Vaan, there is a relationship

12:13No, yes

12:15No

12:18No, only

12:23If we are fighting

12:23We will end up spoiling the film

12:24100%

12:25If we are fighting against each other

12:27We will end up spoiling the film

12:31Yes everyday we are having good conversation

12:33Yes, coming out good

12:35Yeah, but

12:36Here also in this

12:38E-set

12:39Especially

12:40Yes

12:40In the film it is

12:43Going to be huge, humongous

12:46That is the reason why I wanted to do it here

12:48Because

12:48Tell us

12:50Before and after

12:51How do you do it?

12:53How do you do it?

12:54How do you do it?

12:55How do you do it?

12:59How do you do it?

13:01How do you do it?

13:02It is better

13:03It is better

13:04It is better

13:05It is better

13:06It is what 20 feet?

13:08Yes

13:0920 feet

13:10With the blue mat it is 24

13:1224 feet

13:14Yeah

13:14Meeku

13:15What

13:15You felt

13:16To do something

13:17Because

13:18A little part of it

13:20Is

13:22A little bit

13:23Back

13:25In the time

13:26Like

13:27When Ramesh told

13:28We are going to build some sets

13:30Yes, let's do it

13:31Scales

13:32Actually

13:33Scale

13:34Middle class house set

13:36Oh

13:36Okay

13:37Then

13:37At times

13:38Usually

13:39We have sets

13:41Every day

13:41It used to rain

13:46So

13:47Every day

13:47Tension

13:48We built it

13:49It was very challenging

13:51Most challenging was rain

13:53When he said special

13:54Yeah

13:55And for floor

13:56It is like strikes

13:57And here is rain

13:59In the strikes

14:00We are going on

14:01You want to mention

14:02What you built with materials

14:04Most of it

14:05Like fiber only

14:07We used

14:07Secret

14:08Secret

14:09Secret

14:10Secret

14:11Secret

14:12And we had so much discussion

14:14As to what material to use

14:16Especially when we shoot

14:18Which is going to be durable

14:22We did this thing

14:24He did the first coat of paint

14:26Full rain

14:27Paint

14:28Then he is like

14:29Okay

14:29One more

14:30And we had only what seven days

14:32Yeah we had only seven days

14:33Yeah how many days did you take

14:34And if you see this floor

14:35It is like fully grown grass

14:36I don't know it is like grass

14:38It has changed the look of it Vishnu

14:43Kudos to you and production designer

14:46Thank you

14:47For any actor

14:48To shoot a VFX film

14:50Is very challenging

14:52Yeah

14:52Not just the actors also

14:54For us also

14:55For the DOP

14:56For the DOP also

14:56We keep imagining what he is going to build

14:58Yeah

14:59Our concepts

15:00Choosy

15:00Will he get it or not

15:03So

15:04Proportions

15:04Yeah

15:04So

15:06For me

15:07I

15:08I can imagine what the set

15:10Is going to be

15:11After this shot

15:12So

15:16He has to imagine where nothing is there

15:19Yeah

15:20So it is very challenging

15:21Reacting

15:22Oh

15:23Yeah

15:25Yeah

15:27But

15:28But at least I am happy

15:29Choosy

15:30The set

15:30I know

15:31I know

15:32I know

15:35Okay

15:35I have expertise

15:37But

15:38I have

15:39I have

15:40I have

15:41I have

15:42I have

15:43I have

15:44I have

15:45I have

15:50Something to talk about

15:53But

15:54No

15:54You tell

15:56We have

15:57Movies

15:58Which is the best set

15:59That you have

16:00Because

16:00We have

16:01Set

16:02Set

16:03Not

16:03Set

16:04But

16:05No

16:06He

16:07They are

16:07No

16:08The

16:08How

16:09Do you

16:11What sets

16:11Is your favourite

16:12Of

16:12made

16:13Sometimes

16:13I

16:15Should

16:16I

16:22Said

16:23You

16:26I

16:27Oppressed

16:27I

16:29Mean

16:30것처럼

16:30He

16:30explained

16:31And

16:33What part was the set? Because they did shoot in Kolkata. Which part was the set?

16:37Inside. Song set.

16:39Ah, it's not?

16:40It's not.

16:41Society, it's not.

16:42Society, it's not.

16:44It's not set, it's not set, it's not set.

16:46Society, it's not set.

16:48Actually, correct.

16:49Song, they included that.

16:51I didn't get the set.

16:54Okay, meek, meek, sir.

16:56Sir, deathly hallows card.

16:58I don't know.

16:59Sleepy hallows.

17:00Sleepy hallows card, man, meek.

17:03Recently, Kolkata was amazed.

17:04Kolkata was like, too under.

17:06I've been watching any juice, but the one I saw, I couldn't believe it.

17:10Behind the scenes, this is what it done.

17:13So, Kolkata is like the one of the, that is actually mesmerized.

17:17You?

17:18I'll tell you.

17:19I'll tell you about the question.

17:20Oh, yeah.

17:22Naku, Marie.

17:25Oh, wow.

17:26Actually, Invisible Setten, Naku is the setten.

17:29How are you talking about it?

17:33No, I don't know if it's a setta or not, but I can tell you what I like.

17:39I like Arjun Loh, who's your setten?

17:43It was the setten.

17:44Setta?

17:45Setta?

17:46Setta, yeah.

17:48Setta, yeah.

17:49Good morning.

17:50Setta.

17:51Yeah, so I like, I think that is beautiful.

17:54So, that's the song, right?

17:56Exactly.

17:57What did you say?

17:59To, ah, my cinema is the setten.

18:24There's a building.

18:25Is it setta?

18:26It's setta, yeah.

18:28Setta.

18:28Building ondara?

18:29Yeah, that's not it.

18:30It's inside, like everything they built it.

18:32It's not like original one.

18:34It's not like the original one.

18:34They made it, they built it.

18:36Yeah, it's setten.

18:37That's the answer.

18:38I don't know.

18:39I don't know.

18:40I understand again, it's all old school.

18:42You know, all those palaces.

18:48You know, all those palaces.

18:48Patalabhaira.

18:49Patalabhaira.

18:50Guhala, all those.

18:51And the make-believe, I mean, whatever I saw in those movies,

18:56a little bit depends on the set designs, most of it is inspiration and you know, inculcate all those stuff.

19:03Come on, sir.

19:04You can tell me.

19:05First set which I was like really impressed was Arundhati.

19:09And then I used to work in those movies, right?

19:13So, I used to work in those sets.

19:15It's like blown away.

19:16I used to work in those films, right?

19:19I used to work in those movies.

19:21I used to work in those movies.

19:21Arundhati, what was the pasthupati?

19:23Yeah, a staircase, then a pasthupati, a dance hall.

19:28Oh, okay.

19:29I didn't know what was the first set.

19:30And then, I didn't know what was the first set.

19:32And then, Kalki.

19:34Kalki.

19:34Kalki is the recent.

19:36I mean.

19:37Kalki set.

19:37Kalki set, sir, sir.

19:39Yes.

19:39Okay.

19:40But it is, I mean, it's very thick set, sir.

19:43Yeah, most of it.

19:43Meeta, the CG extension.

19:45Yeah, most of it.

19:45Please, tell me about your affection towards Vitla Charayagari movies.

19:50So, I mean, I mean, it's amazing, right?

19:54Like all those chillakalo,

19:56I mean, I don't know what's going on.

19:58All those were very exciting and you know, very nice.

20:01I mean, you know, I mean, that's my favorite is a daya fire.

20:05You remember that shot?

20:07White-kallu daya want, long hair, beddha kallu,

20:10manch-kallu, manch-kallu.

20:16That's a very iconic shot actually. But yeah, the path is in black and white. So those are all rooted

20:28in our culture.

20:29We all have Harry Potter, Game of Thrones or whatever. We all have a lot of things.

20:36So there's a lot of Indiana Jones and other differences. But back then we had all those.

20:42Traps, the action sequences, they're so good.

20:47Hopefully for the next generations it will be rakasa, like that.

20:50Yeah, bits and pieces of it.

20:54Humble, modesty.

20:56No, it's just a tweak of the current generation set data too.

21:01Sir, it's normal now that the DLSI is the first to choose.

21:07Yes.

21:08You're right.

21:08We have the end of the chain, right?

21:10Correct.

21:12There's no representation.

21:14You're afraid we can't do anything.

21:17I'm afraid we can't do anything like VFX.

21:19That's right.

21:20I'm afraid we can't do anything like that.

21:22I'm afraid we can't do anything like that.

21:24I'm afraid we can't do anything like that.

21:25I'm afraid we can't do anything like that.

21:26But is that true, sir?

21:29Not…

21:29And what is the reason that the DLSI is because of that?

21:33You can't say that.

21:36Yes, you are representing, sir.

21:38Basically, there are multiple levels of delays.

21:42First thing is, shoot.

21:46You don't have a VFX supervisor on the shoot.

21:50But they do shoot.

21:51In many films, they don't have a VFX supervisor on the shoot.

21:57Then, they don't have clarity on the shoot.

22:00You can choose options.

22:02You can choose options.

22:04Then, there are many delays.

22:06And then, most of the VFX studios underestimate the amount of effort it goes in.

22:12Projects are done, and many studios bring upon bigger projects.

22:18And they do overspend and they close down.

22:23And this is the phenomenon.

22:25Sir, overspend, sir.

22:26Yeah.

22:27And India and abroad, the same thing.

22:30What…

22:31Like, you bid certain amount of a project, you can bid.

22:36But they go under the losses and shut down.

22:44Mostly, we'll underestimate the amount of work we have.

22:48And then, if you want to create a side,

22:51you don't have to do exactly what they want to do.

22:54You don't have to do a Hollywood movie reference.

23:00But there's also one-tenth budget of time.

23:02Are you making a money?

23:04Yes, it's not.

23:05No.

23:06Original.

23:08You can't see anything.

23:10You can't see anything.

23:11I can't see anything.

23:13You can't see anything.

23:13I can't see anything.

23:14I can't see anything.

23:17I can't see anything.

23:19I can't see anything.

23:19100%.

23:20Nothing is original in this world, sir.

23:21I can't see anything.

23:24Yes.

23:25Yes.

23:25In English cinema, VFX, the difference is double.

23:31Yes.

23:32Money, technology, and time.

23:36Yes.

23:36Technology is software, sir.

23:38Yes.

23:39You can't see anything.

23:39Yes.

23:40There's more gaps in this world.

23:43Yes, there's more of a gap in this world.

23:44There are many people in this world.

23:46Yes.

23:46A lot of rotoscopy work is done from here.

23:48Yes.

23:49Creative work also.

23:50Yes.

23:50In the last grades, there's never been in grades.

23:54No.

23:55There's a 10 years back now.

23:56I don't know.

23:57Yes.

23:58Now, you've been one of the most.

23:59Yes.

24:00Yes.

24:02Representation.

24:02So, we are at, Hollywood works are happening here in Hyderabad, Bangalore, Mumbai and all.

24:13In Indian cinema, we can't spend much money and time.

24:19If our films also reach that global level, then we can get that kind of thing.

24:25But in our resources and story, we are trying to achieve the best.

24:32So, we are born with Indian Jugaad.

24:34We are born with that.

24:36Hello!

24:37Any questions, sir?

24:39Answer with whatever knowledge we have.

24:42But, the Committee is a small budgeted film.

24:47It was a debut production into feature films.

24:49It did super well.

24:51Congrats.

24:51Congratulations.

24:54So, and suddenly you scaled up to Rakasa.

24:57Which obviously, due to income tax reasons, we will not reveal the budgets.

25:03So, what gave you...

25:05You revealed it, right?

25:06If you want to take it, you can take it.

25:12So, what gave you the confidence to scale up?

25:15Suddenly, where...

25:17The second half of VFX work went on.

25:19And also, going with a big budget with a debut on director.

25:23With such VFX work and heavy budget.

25:27I always pretend like I have the confidence.

25:30Till I get it.

25:31So, initially...

25:33It was not...

25:34Story level first...

25:36Anything.

25:37Then, story will demand what it wants.

25:41Actors, music, whatever it is.

25:43VFX or whatever.

25:44Makeup, prosthetic and all of that.

25:46The story will demand.

25:48Story...

25:56I felt like it was a novel point.

26:01And I was very excited just for the point of it.

26:05I said, okay.

26:05It's very nice.

26:06I think.

26:07Now, let's see what the story wants.

26:17But still, as it kept building.

26:20As in, when all the HODs started coming.

26:23Together, Raghani, it felt very good.

26:27That is when my confidence built.

26:30Kadami, obviously, I have confidence on Mansa.

26:32How she wrote and all of that.

26:33But, as in when Murali Garu came, Raj Garu came,

26:36Ramanj, Vishnu came, you joined.

26:39And Anudeep, everyone.

26:40That is when my confidence grew.

26:42Saying, okay.

26:43We are making something good.

26:45Not just, we are doing something good.

26:48We are doing something good.

26:49We are doing something good.

26:50We are doing something good.

26:53I felt like, we are doing something good.

26:55It has to be put in work also.

26:57And, my confidence is my team.

27:00That's it.

27:01Nothing else.

27:02And our confidence is Niharga Garu.

27:06Thank you!

27:07Thanks for getting your confidence.

27:09If you want to leave this to me,

27:09Take it away.

27:11Be ill, get there.

27:16Let's sing!

27:17You

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