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Short filmTranscript
00:00Thank you, so...
00:02Hi, welcome.
00:06All the various...
00:08First of all,
00:10you all are best of luck.
00:12Why is it?
00:14You are a debut director.
00:17And you struggle so hard to make a career.
00:20As Ayswarya Rajesh told now.
00:24So...
00:24And there are a lot of hits.
00:26But there is a lot of hits.
00:28To establish yourself.
00:30Producer and Jeevan.
00:33All of you.
00:33The whole team, I wish you all the very best.
00:36Coming to Ayswarya Rajesh.
00:40Now,
00:43you have seen
00:44a biggest hit in your career.
00:46In Telugu.
00:47I am talking.
00:54That was fulfilled.
00:56That film.
00:57Next film,
00:58I am talking about
00:59you.
00:59You have high expectations.
01:02Ayswarya Rajesh does this character.
01:04You have a feel.
01:06Feel.
01:07Expectations.
01:07How you can really project it to the audience.
01:15This character in your performance.
01:18Let the director say.
01:21What is your experiment in this character?
01:23What is your experiment in this character?
01:26What is your dream?
01:29What is your image?
01:32What is your image?
01:34What is your image?
01:35What is your image?
01:45So, what are you doing?
01:45It is your work.
01:47When the film is done, I am doing the comedy film.
01:51I am doing the comedy film.
01:53I am doing that if I am doing the comedy film, then I am doing a comedy film.
01:57But never I am going to play a comedy film.
01:59When I am very comedy film is in a comedy film, I am putting a comedy film on YouTube.
02:03Why is it like this?
02:04You say, don't talk about it, do you think?
02:06Sir, I am just talking about it.
02:10I'm talking about it.
02:10But I am getting a comedy film.
02:12I'm not talking about it.
02:16So, now, the expectations are for one actor and every actor have a lot of expectations.
02:23Now, if you look at Sankranti, it's a hit.
02:26But you can choose to choose from the cinema.
02:31It's not about one hit, one down, one low.
02:36It's not about one actor's expectations.
02:38Now, in any cinema, it's not a hit.
02:42It's not about one actor's expectations.
02:46It's not about one actor's expectations.
02:48It's not about one actor's expectations.
02:49At least, I've seen a lot of things in Tamil, Teruk, South films,
02:54but it's not about one actor's expectations.
02:58It's a defect.
03:00Now, I've seen a lot of snoring issues in the year.
03:05So, something very unique.
03:07I've seen a lot of scenes.
03:07So, it's hard to say that cinema is out and out entertainment and entertaining films.
03:13So, if you look at the expectations, you will see cinema as well.
03:19I can't say anything, I can't say anything.
03:21I can't say anything.
03:38I can't say anything, I can't say anything, you can say anything.
04:03I will choose to make it.
04:05I will choose to make it.
04:08I will choose to make it.
04:10Yes, definitely.
04:12Thirvir.
04:12Now, there is a
04:17identity
04:18image.
04:19There is a film
04:22that you expect to do
04:25but you did it.
04:26It was a fantastic
04:27film.
04:28Now, if you look at this film,
04:31do you see the title of the hero orientation?
04:36That is not equal.
04:39That is not equal.
04:40That is not equal.
04:41Sorry sir.
04:43It is not equal.
04:46What is your
04:48specialty character?
04:51Sir,
04:52I have never seen the character
04:54as well.
04:54Not the same film as well.
04:57Yes,
04:57but the other film is more
04:58female-centric.
05:00You also have
05:00a poster for the Sangeetha
05:01and Papa.
05:02It is a movie.
05:04It is a movie.
05:07I have never seen the film as well.
05:08My screen is very important.
05:09Then,
05:10It is a film.
05:11When we are looking for
05:12hero-centric,
05:13then it is a film.
05:15It is important.
05:16if you are looking for
05:17a hero-centric,
05:18I would like to be happy.
05:20Okay.
05:21this is out and out comedy
05:22or entertainment?
05:23There is no emotion, sir.
05:25If you look at the second half, you can see a good cinema.
05:30Good.
05:31Director, every director has a new school of thought industry.
05:40They have some influence and impressions.
05:44They have some shadows and films.
05:47Now, when you are doing this first time, what impressions are you?
05:54What influence is your director?
05:56What kind of story telling?
06:00Actually, sir, I am going to talk to you.
06:04In the local theatre, every cinema is missing.
06:08So, I am going to grab my audience pulse.
06:10Okay, you understand this scene.
06:12Generally, you can talk to me, sir.
06:14So, cinema is what my distributors want.
06:18I am going to talk about some quotes, right?
06:20So, Instagram is following me.
06:23I made this scene.
06:25Yes.
06:26So, you are all in that school?
06:29In general, I didn't learn movies like that.
06:32I didn't choose from here.
06:33I was able to grab the theatrical audience response.
06:36I made this scene.
06:38Okay.
06:39So, in this movie, I learned.
06:42Okay.
06:43So, it's completely linear narration.
06:46Yeah.
06:49Oh, fantastic.
06:50All the very best.
06:51God bless you with a super-doper hit.
06:53Yeah, definitely.
06:54Aishwara, where are you?
06:56Tell me, sir.
06:57Go on, sir.
06:58Go on, sir.
06:58Go on, sir.
06:59Go on, sir.
06:59Go on.
07:12Go on.
07:14Wie should I have to go?
07:14You know, who are you?
07:15Where are you going to get a movie in?
07:16Where are you going to?
07:17No.
07:17You're not going to do a lot of things.
07:21I'm going to put a lot of things in this movie.
07:24No.
07:25This movie is so important.
07:29Yes.
07:32Go on, sir.
07:42My last movie, Farana.
07:43a little bit of time to make a good film,
07:46and the reason for that,
07:48is that there are a lot of blockbusters that have a lot of expectations.
07:51Now, in Sankranti, there are a lot of films.
07:54There are a lot of offers that have a lot of blockbusters in the cinema.
07:57That's why,
07:58that's why,
07:59that's why,
08:01that's why,
08:03that's why,
08:03that's why,
08:03that's why,
08:04that's why,
08:06that's why,
08:08you start getting a lot of films.
08:10But,
08:11that's why,
08:14I am an actor,
08:16I am a fan of the first film,
08:18I'm a fan of the first film,
08:20and I am a fan of the female centric cinema,
08:21and I am a fan of the film,
08:26I am a fan of the first film,
08:27and that's why,
08:29I am a fan of the first film,
08:29Plan B,
08:30I don't know how many of you have seen it.
08:31It's one of the fantastic films,
08:33it's like my most favourite.
08:35I am a fan of Rana Singh,
08:37A lot of texts are for driving and driving.
08:40I love so much Getty in the kitchen.
08:44I love Farhana.
08:45In función of the film, there are a lot of gaps for female-centric.
08:49Well, in this film, there are also a lot of money for female-centric film.
08:53You see, when it comes to a film,
08:57We have to take a lot of chemical
09:06The movie has to be on me, and if you slip the cinema, you will be able to make a
09:13film.
09:15So, it has huge responsibility.
09:18You know, it's not easy at all.
09:21Because of that, I made a gap, but still, I am doing a finalized film.
09:30If you want to make a good film, there will be a gap.
09:33And in two years, you will be able to make a great subject?
09:37Sir, we are doing it.
09:38It's a process, right?
09:41We are doing a sign.
09:43We are doing a cinema.
09:44We are doing a hot star.
09:50We are going to release it on July 2nd.
09:54We are doing it now.
09:54I think we are getting a big series.
09:58It's a big series.
09:59So, that's it.
10:01So, now we are doing a cinema.
10:04So, now we are doing a lot of cinema.
10:06So, now we are doing a little bit of a process.
10:08So, that's not the time.
10:10It's a little bit of time.
10:12It's a little bit of time.
10:29You're listening to it.
10:30I think, I think, it's interesting.
10:31I think that I would like to jump in a year.
10:31You are doing a movie here, isn't it?
10:35How much are you doing?
10:36We are looking at the movie.
10:36We are watching a cinema.
10:38He has a movie.
10:40This is what we were shooting at the end of this game.
10:47Mr. Kudlin, I want you to tell me that's the name of the movie.
10:51This movie is the one that is the one who talks about.
10:58Mr. Kudlin, you know, try and think about this very much different thing.
11:09Mr. Kudlin is talking about the story.
11:12When you talk about this movie and it is a very interesting scene.
11:14Mr. You try to think about it andansa.
11:15I don't know why, but I don't know why.
11:16Ok, so we got the same.
11:19Yes.
11:20You did a lot of teamwork.
11:24Thank you, sir.
11:26I don't have to worry about problems.
11:29I don't know if I had a problem.
11:31If I could ask questions, I can't answer it.
11:33Well, it's okay.
11:35I can't answer it.
11:36I can't answer it.
11:38So, we are talking about the narration from the bush for the whole time.
11:48We want to talk about the animals, the animals, not in the sama, but we are not.
11:56So, when we first started out about the animals that when the animals woke up, we started working in a
11:59lot of different ways.
12:00This is a unique issue, a human or emotional emotion, and I have noticed that I was only a kid
12:09that I am doing children's theater theater.
12:13I did work with pork-tails and fairy-tails, and I was trying to do something like that.
12:18I was like, I said, what is the point of time?
12:22I said, what is the point of time?
12:23I said, what is the point of time?
12:26I said, what is the point of time?
12:27So, I said, what is the point of time?
12:29Sir, you know, I am very close people.
12:33I know you are very close people.
12:36You are very difficult.
12:39But, it has no result.
12:41You have done an analysis, or post-release analysis?
12:45So, what do you think went wrong?
12:48Sir, in my process, I've been doing a series of films.
12:55There are a lot of things in the paper.
12:58There are a lot of things like cinemagraphy, editing, music.
13:05There are a lot of things in the paper.
13:09There are a lot of things in the last minute.
13:11There are a lot of things like cinemagraphy.
13:14There are a lot of things like cinemagraphy.
13:17There are a lot of things like cinemagraphy.
13:20There are a lot of things like cinemagraphy.
13:22Before the cinema, I didn't watch the film.
13:23I didn't watch the film.
13:26So, I was just blind to the team.
13:30After choosing the film, I thought it would be a little better.
13:34The problem is to identify the film.
13:39All the best in looking for this.
13:40Aishwarya Rajeshwarya.
14:07Aishwarya Rajeshwarya.
14:10If you saw the film and the name of who was,
14:11like, crowd demand this day.
14:14But, ahead of that moment, why are the changes the moment?
14:17Did you guys think of something?
14:21Aishwarya Rajeshwarya Rajeshwarya.
14:21Anil ka Prakash, aishwarya Rajeshwarya Rajeshwarya Rajeshwarya Rajeshwarya Rajeshwarya Rajeshwarya.
14:39See it's not like that. Maybe he wants to give me a right role. He is a director. Anil Garu,
14:47but he will be very proud.
15:05You are giving any award, give to her. She is the best actress in South. He literally fought. I mean,
15:14he is someone like that.
15:15I think Sankranti 2 is a role. Maybe Sankranti 2 is an intention. But again, he is now doing it
15:25with Venki Garu and Kalyan Garu. It's a different story.
15:28It's a different story. It's a different story. It's a different story. It's a different story. It's a different story.
15:34I'm also hoping Anil Garu is a cinema. It's a different story.
15:38Call the best in it.
15:40I'm sure.
15:42Here.
15:43I'm sure you are doing it. You have a movie in the cinema and you have a heroine and start
15:49with a shot.
15:51But if you are making a film making, you enjoy it, you have a team, what you do.
16:00You are not a heroine. You are not a heroine. I am a heroine.
16:05I have a lot of questions.
16:07I have to ask for questions.
16:11I have to filter out the way that I have not yet.
16:13I have to filter out the way that you are a hero.
16:16I have to say,
16:18I can't say,
16:19I can't say,
16:21I can't say,
16:23but the worst thing,
16:26the most,
16:27I have to go to the caravan.
16:29to get a caravan.
16:30They don't give up all kinds of money.
16:35So, you're not the one we are.
16:36I have a caravan for one set.
16:39They see the director,
16:42and they say,
16:42what is it?
16:43They shot the dead.
16:45But I really love sitting, watching,
16:48and doing whatever I have done in the set.
16:50I am looking for pictures and looking for pictures.
16:52And then,
16:53I'm looking for pictures and I'll show you the one at the corner.
16:56I'm looking for pictures.
16:58You know, I literally do all that. I really like. I enjoy being on the set.
17:04There was a gap in the middle of Sankranti.
17:07I got to go to the cinema for 6-7 months.
17:13I thought, okay.
17:15I had a high point and a low point.
17:19I had a lot of choice.
17:21I got to go to the cinema for 6-8 months.
17:23I had to go to the cinema for 6-8 months.
17:30I had a lot of choice.
17:32I had to go to the set.
17:34I had to go to the caravan.
17:37I had to go to the caravan.
17:39I had to go to the caravan.
17:42It feels very nice.
17:46It's a blessing.
17:55I have become an actor from nowhere.
17:58I have become an actor from nowhere.
17:59I have to go to the cinema.
18:00I have to go to the family.
18:06With no one I have become such a big star.
18:09I have become a big star.
18:11For the only one, I used to play the actors from now.
18:14It gives it great happiness.
18:18Every time I missed it, I learnt the best thing to take me.
18:23Is it that good people, right?
18:25The hero's attitude.
18:27I am the good people.
18:28I am the good people.
18:32I was very proud of you, and I was very proud of you.
18:36I was very proud of you, but I was a very proud producer.
18:42I did a series of many good productions.
18:45The time was just a good feeling of doing it.
18:49The time was just a good feeling of the work.
18:51I had a great feeling of the hero, the director, cameraman, everyone!
18:55If you have a lot of time, you can't go to a dining table.
19:01I've been looking for a lot of time.
19:02But you can't go to a different time.
19:04You can't go to a different time and convenience.
19:08Actually, if we take ourselves to a different time,
19:13if we take ourselves to a different time,
19:16you can't go to a different time.
19:19That's a different feeling.
19:22I'm going to ask you a personal question.
19:24You have also been in Tamil.
19:25The situation is that Vijaygaru, CMI, Ajithgaru is not a film.
19:31There's a lot of people who have been a collection of heroes in Tamil.
19:36And you have to talk about it.
19:39You have to do a lot of heroes.
19:42I don't know.
19:43I'm going to show you a movie.
19:44I'm going to show you a movie.
19:45You have to pay attention to the world.
19:48You have to pay attention to the world.
19:50Just like that, a movie is now that one's obsession.
19:52We've got a movie.
19:53We've learned a lot.
19:55We've got a movie.
19:55For my life, we've got a movie.
19:57It was made with one million,
19:59and he collected about a thousand or a thousand.
20:02I'm not very sure.
20:03But we've collected all the same.
20:05A thousand plus.
20:06We've got everyone in the world.
20:08But the director is...
20:10It's also not a horror movie.
20:11It's not the cinema. It's a small film.
20:14Who knows the actors?
20:16We are like a clowning,
20:18like, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
20:22no, no, no.
20:23There are so many reels.
20:25That's cinema.
20:27It's not about language, Jew, actors, and that.
20:30If you say that,
20:31if you go to the content,
20:32you will be a good person.
20:34If you think about the cinema.
20:36It is nice.
20:38It's nice.
20:40It's a small film.
20:42There is a small film.
20:43It won't be in the reverse.
20:45It won't get a full film.
20:47It won't get a full film.
20:49It will be a shock.
20:50The movie has changed over the 5 years.
20:53It's a small film.
20:56It's a big film.
21:00Tuckloo, he was not.
21:02His hero was terrible.
21:04Still characters who have important roles.
21:08Now he's become a hero, right?
21:10He's been doing a lot of films.
21:12And Thiru's performance is flawless.
21:15Like, some natural actors,
21:17I'm not a natural actor.
21:20I'm not a hero.
21:22If you choose a performance,
21:25it's not a good thing.
21:27But I don't think that's it.
21:28I think Thiru has a very bright future.
21:30I've already said that Mananugaru.
21:33High to personality.
21:36Mananugaru, you choose.
21:38He passed away when I was eight, nine years old.
21:41But high to personality.
21:48Mananugaru, you choose.
21:50You choose Mananugaru.
21:51Thiru, Thiru,
21:52First of all, I've never heard about that.
21:55I've never heard about that.
21:57I've never heard about that.
21:58For years.
21:59It's been a year,
22:01last year.
22:02Me too.
22:02You're taking his doctor at the hospital.
22:03I'm still taking 21 years old.
22:06I've never heard about that fama.
22:09It's better than you did.
22:13It's easier it's easier to try and build on my hands.
22:15When I was a guy in the past, I could also do it again.
22:24When I was a guy in Hyderabad, I was a guy who was a guy who was a guy who
22:33was a guy who was a guy who was a guy.
22:33He told me that I was doing a guy in the past, but I was not going to be a
22:39guy who was a fan.
22:42I am here.
22:44So, I am here.
22:45So, I think that my work is done in the past.
22:50I am here to touch my eyeshwara.
22:54It is one reason to be able to play a cinema.
22:57Because I am here with my abimami.
22:59It is also a character.
23:00That's why he is acting with me today, as a hero, and I am the heroine.
23:16So, this is the best example, no?
23:19I don't know this story.
23:20World famous lover is mostly in aluminum factory.
23:23Do you agree?
23:24Why do you agree?
23:26I'm sorry.
23:29I'm very happy.
23:31The second time I'm going to share the screen.
23:33As a co-actor performer, that's more challenging.
23:37So, that's why I'm doing homework.
23:41So, how old are you?
23:46That's not.
23:48I'm not ready.
23:51I'm not ready.
23:53I'm not ready.
23:55I'm not ready.
23:56I'm not ready.
23:56Why are you doing comedy?
24:02I'm not ready.
24:03I'm not ready.
24:04First of all, I'm not ready.
24:06I'm not ready.
24:08Night shoot, is it?
24:09Night shoot.
24:10A party.
24:11That's it.
24:12You've got to be in a couple of cars.
24:15We've got to be in a little house.
24:17That's it.
24:17I'm not ready.
24:18Now, we're going to play comedy.
24:21You know what?
24:24The thing is, what is the thing?
24:26Yes.
24:27You mean, maybe you run into a family as a police officer?
24:31Yes.
24:32You can't do this work.
24:33You can't do this work.
24:34You are also the reason why you're a police officer.
24:36You don't know what to do with a lot of police officers.
24:41The changes you will see in the changes.
24:46The changes you will see in the changes.
24:49If you decide into mind, you will see it in the changes.
24:52There are a lot of different variations of the director and the compressor in the universe.
24:57It will be similar to the character.
25:02It will also be a very important support for this.
25:04I support people in the city and in the city and in the city and in the city.
25:09Okay sir, that's it. Thank you sir.
25:11Mayesh Kauru, you are a distributor, right?
25:15So, now in the industry, there are some issues in the industry, right?
25:22As a producer, Mikhella, how do you call a distributor to producer?
25:26Bound.
25:34Bound is, no, no, no. Bound is, you are an artist, you are an artist.
25:39You are an artist.
25:40You are an artist.
25:40You are an artist.
25:41If you have a first time producer, you are an artist.
25:45They are an artist.
25:47They are an artist.
25:52So, Aishwara Garu,
25:58So, I would like to sit in the theater.
26:01So, I would like to hear the character,
26:04which is a tough actor.
26:07Doing a theater, in the theater,
26:10taking the film to watch this movie.
26:13Because the movie is a special character.
26:18Yes, the Dhamini character is fun, but now I have to play a lot of comedy films, actually.
26:28I used to play a lot of comedy films.
26:32Next, I also play a lot of films.
26:36First, I have to play a hero in JL's.
26:37I have to play a hero in JL's.
26:40I have to play a hero in JL's.
26:44Like class, entry, high class.
26:49I mean, it's not that I can't look like that.
26:51But the moment that I have to play a hero in JL's,
26:57I have to play a hero in JL's.
27:00I have to play a character in JL's.
27:02Now, I have to play a character in JL's.
27:06I have to play a character in JL's.
27:10I have to play a character in JL's.
27:11It's like, I'm not going to play a character in JL's.
27:18I have to play a character in JL's.
27:20I have to play a character in JL's.
27:23I have to play a character in JL's.
27:28I think it's a great character.
27:32Like, see,
27:37that actors have come in of the scene.
27:39They're playing a character in JL's.
27:39If you look at the dialogue, it's better than the dialogue.
27:43It's better than the dialogue.
27:44It's better than the performance.
27:47In the second half, there's a nice scene.
27:50I'm doing dubbing for the film.
27:53If you look at the film, I have an idea.
27:56If you look at the dubbing, rough edits,
27:58I can't judge a film.
28:00I don't watch it.
28:02If you look at the dubbing, it's a lot better.
28:05So definitely, it's a very...
28:07If you look at the film, it's a very simple, sweet story.
28:17It's entertaining to be told.
28:18If you look at the theatre, we go to the family.
28:21If you look at the young people,
28:24you look at the same time.
28:26Two hours, ten minutes, I think.
28:28Two hours, ten minutes.
28:29I enjoy it.
28:31If you look at the popcorn,
28:32on the bike, on the car,
28:35if you look at the cinema,
28:36I enjoy it.
28:36I'm happy to look at the cinema.
28:42I can't say that.
28:43Because I know it's a very simple, sweet story.
28:45Thirvir, you are a Ferret Hero and Actors.
28:50We are looking at the screen and performing performance.
28:54We are living in Manala.
28:56We are living in Manala, and we are living in performance.
29:00How do you think about the challenge?
29:03First, I think it's a good thing to do with retake.
29:06I think it's a good thing to do with the work.
29:09I think it's a good thing to do with two shots.
29:10We are living in a way.
29:13Same thing.
29:14When we're living in the world,
29:16we have a lot of conscious,
29:17being able to do it, retake.
29:20We have the energy of the take-by-take.
29:22We have the interest in the take-by-take.
29:24We have a lot of conscious.
29:25We have to do more work with our dialogue.
29:29Director,
29:30you have seen this performance as a cool producer.
29:35What is your experience?
29:38I can't explain it.
29:39I always feel overwhelmed till now.
29:42I can't explain it.
29:44Like, you know,
29:45Maheshwari, sir, he trusted the story.
29:47So, he bought everyone inside.
29:49So, I'm very happy.
29:51Maheshwari, sir.
30:07Maheshwari, sir.
30:08Maheshwari, sir.
30:13Maheshwari, sir.
30:16Maheshwari, sir.
30:29Maheshwari, sir.
30:49Maheshwari, sir.
31:02Maheshwari, sir.
31:23Maheshwari, sir.
31:25I was talking about Tamil and Telugu and I was talking about Tamil.
31:33Aishwara Garu, do you want to shift in Tamil and Telugu?
31:39Sir, now I am doing cinema.
31:41I am doing cinema.
31:43Do you want to shift in Telugu?
31:49I am doing cinema.
31:53We don't do anything.
31:55Do you not do anything at all?
31:56No.
31:59I am not feeling it.
32:01I am not feeling it.
32:04I am feeling it.
32:05I am feeling it.
32:07I am feeling it.
32:11I am feeling it.
32:12So, I am feeling it.
32:14I have been focusing on the film Valerie.
32:18I am feeling it.
32:20Are you doing the work now?
32:21I am feeling it.
32:23Please.
32:26Do you know that?
32:28Yes, sir, thank you.
32:31That is the work, so?
32:33You are just the work so many years ago.
32:36Every time, I saw you here, I was conducting the camera.
32:39Do you know the result?
32:40No, sir.
32:43In a film, we could have done a lot of work.
32:47We could have done a lot of work.
32:48We could have done a lot of work.
32:51We could have done a better film.
32:56We could have done a lot of work.
33:00How does that feel?
33:01How does that feel?
33:03Obviously, sir, this cinema has a lot of work.
33:08There are efforts and there are many times.
33:11There are many hopes.
33:14One of the producers and technicians are talking about each other.
33:19The producers are also in risk.
33:21That is painful, sir.
33:24Hi, sir.
33:27This is the last question.
33:29You know what we want to do in our respective Ihrs,
33:32you need to pick cars.
33:35There are examples in the cinema.
33:37Do you want to purchase cars?
33:39Can you sell cars?
33:39No, sir.
33:412 cars?
33:414 cars.
33:42That is the place.
33:44Wow.
33:45This is all!
33:45The producers are in the cinema,
33:46so we can make the original car.
33:48So, do you record this.
33:49Yes, no, sir.
33:51You don't miss anything.
33:54All right.
33:55You've gotta make that sound just so damn.
33:56I'm recording that.
33:59okay thank you thank you thank you so much
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