Buzz Episode - 05 | 28 June 2025 | Feroz Kadri | Marina Khan | Hassan Choudary | ARY Digital
Host: Hassan Choudary
Guest: Marina Khan , Feroz Kadri
Buzz — The Show That Talks!
A brand-new celebrity talk show with a twist — Buzz is where real conversations happen! Join Hassan Choudary as he sits down with your favorite stars for engaging, unfiltered, and fun-filled discussions.
#buzz #ferozkadri #marinakhan #hassanchoudary #buzztalkshow
Host: Hassan Choudary
Guest: Marina Khan , Feroz Kadri
Buzz — The Show That Talks!
A brand-new celebrity talk show with a twist — Buzz is where real conversations happen! Join Hassan Choudary as he sits down with your favorite stars for engaging, unfiltered, and fun-filled discussions.
#buzz #ferozkadri #marinakhan #hassanchoudary #buzztalkshow
Category
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Short filmTranscript
00:08My name is Hassan Chaudhary and this is Buzz!
00:34My name is Hassan Chaudhary and this is my name.
00:45My name is Hassan Chaudhary and this is my name.
00:50We have a lot of people who are DMing on Instagram and are giving me DMs.
01:05My name is Hassan Chaudhary and this is my name.
01:30My name is Hassan Chaudhary and this is my name.
01:56My name is Hassan Chaudhary and this is my name.
02:22And paired alongside Humayun Saeed, whom we are also watching Sajjal Ali.
02:31Story of 212 murders.
02:35Good morning.
02:37Let's go, Mantu.
02:38Let's go, Mantu.
02:39Let's go, Mantu will kill me.
02:42Mantu doesn't hurt anyone.
02:44Please, Ms. Maria, he's not a good guy.
02:46He will kill you.
02:47And if he hits you, he will die.
02:50I'm sorry.
02:51How are you looking at me?
02:53Tell me, I got rid of it.
02:55I got rid of it.
02:56One time in my heart, I got a lot of money.
03:00Then I thought it would be very funny.
03:04I don't want to give any innocent man to the name of God.
03:07You have called me innocent.
03:10Thank you, sir.
03:12You haven't seen anything.
03:14I've seen God.
03:15I know, I mean, you have to forget that you have seen anything today.
03:18By the way, you can listen to me.
03:18Some of the people ask me, other deaths, sex, or murder or murder, whatever.
03:23You're the first of theplays type of professor.
03:26You've tried to become Don.
03:28He's trying to become Don.
03:31He said that there's no problem in the senses.
03:35Yes, I know.
03:36You'd have to hurt immediately and lose.
03:39I'm so sorry.
03:51I hope that you will get to see this drama very soon.
03:55I'm saying that until you have calculated this calculation,
03:59that it will be very soon.
04:02I don't want to meet my mother.
04:05I can't take the risk again.
04:07I can't take the risk again.
04:09Now, Shani wants me to take my home.
04:11How much I feel rejected!
04:13When I see you for Shani,
04:15I can get more guilt than my inside.
04:17Where did Shani come from?
04:20Where did Shani come from?
04:21He told me to take Shani.
04:23If I tried to take my child to take my home,
04:27I won't be able to get the police in my house.
04:29He was crying.
04:31He was crying.
04:32He was crying.
04:33I can't do it!
04:33It has a problem.
04:34I can't do it.
04:38I won't be able to do it again for my son.
04:42And here we have thought about the support of the support of the support.
04:45Before we thought about the support of the support,
04:47we thought that before we end the support of the support,
04:49and the complaints that we have had,
04:53we can address them.
04:55So today we have provided the support of the support of the support.
05:00We will now give a message to them.
05:01We will share some concerns with them.
05:04We will try to answer them all.
05:07We will take all the answers to them.
05:09And not only today we have joined the director of the support,
05:12but also with them,
05:13we have invited the support of the support of the support.
05:16And we will also get you to the opportunity.
05:19Although they have not come in the industry,
05:21but they are still a lot of support.
05:25Ladies and gentlemen,
05:26we are coming to the legendary Marina Khan
05:29and a very versatile Viros Qadri.
05:34Assalamualaikum.
05:34Wa alaykum asaf.
05:35A pleasure to have you.
05:36Assalamualaikum.
05:37Please, please have a seat.
05:39Thank you so much for coming to my show.
05:41Please, please.
05:42Thank you so much for coming to my show.
05:43And to you.
05:43Congratulations.
05:44Dastak has had a wonderful run.
05:46Dastak has had a wonderful run.
05:47Dastak has had a wonderful run.
05:48Dastak has come to you and how did this project start?
05:54Well, Nadeem Beg came from Nadeem.
05:56So Nadeem contacted me.
05:58I was in negotiations at that time with another production company.
06:05And then Dastak came and that one fell through and I just got very lucky to have come across too.
06:14The thing that I really liked about the script is that there was no villain as such.
06:19You know, there was no sass as such.
06:21That was the…
06:21If you look at all the characters, even though the biggest villain is sitting next to me, yet he comes
06:31from a place.
06:32You know, I think the research…
06:35There's a baggage.
06:36No, the research of the character.
06:38You know, all the characters had quite a lot of depth.
06:41And of course, our Mamu was very popular.
06:45Sohail Sameer, which I was very pleasantly very surprised about.
06:49Because my two most positive characters, which were smaller roles, support roles, was the Mamu role and…
06:59The sister.
06:59The sister.
07:00What was her name?
07:01Sara.
07:02Sara.
07:02Sara.
07:03And you know, they got a very good response.
07:06Both of these.
07:07So that was a very good feeling.
07:09Okay.
07:09Viroz, like Marina ji also says, and we've also seen,
07:13The story of a girl's story of a girl's story.
07:17When you came to a script,
07:19And there was a grey character.
07:21It's not a grey character.
07:22It's not a grey character.
07:23So there were some reservations.
07:25Or what did you track this script?
07:28You said, I'll do it.
07:29There was no reservation.
07:31Okay.
07:31I had a meeting with Nadeem Bhai.
07:33He was kind enough.
07:34He said in the first meeting, you have to do it.
07:37I had just done a first serial.
07:39After that, there was a gap.
07:43Yes.
07:43So when it came, when I read the script, it was so sensible.
07:48It was very logical.
07:50It was very logical.
07:50And when I read the character of Saif,
07:53He understood that it's a backstory behind it.
07:57There's a logic behind it.
07:57Whatever he's doing,
07:58He doesn't do it.
07:59That if there's a negative shade behind it,
08:03Then there was a backstory behind it.
08:05There was a girl who liked it.
08:06And I think me and Marina ji worked on it as well.
08:10That we create a backstory.
08:12And we can tell that if it's like this,
08:15Then why is it?
08:16So,
08:17Sarvan Nazir Sahibah's writing is very impressive.
08:19Marira ji,
08:20As the director of Dastak,
08:22You don't think that the other girl's track,
08:27Momina's character,
08:29It has been demonized.
08:31Because if you look at it,
08:33It was one of the other's love.
08:35Nothing wrong with it.
08:37And Saif has cheated,
08:38So she did that.
08:40You forgot about this.
08:41I think you agree with that.
08:43Momina has cheated on her.
08:45Yes, Momina has cheated on her.
08:47She was married with Kiran.
08:48Yes.
08:49I think Firoz will agree with me,
08:50That Momina's character,
08:52We have reduced the amount of friction.
08:54The amount of friction we had had,
08:58We have reduced the amount of friction.
09:00Because,
09:02If a person, a woman,
09:03Is so much love,
09:05How will it end?
09:07It's not going to normalize.
09:09Even though,
09:10We have seen that it's been five years,
09:14Being there, done that,
09:16The amount of friction.
09:17But,
09:18We have toned down.
09:20We have toned down.
09:21And,
09:21If you listen to Momina,
09:24They are very intelligent.
09:26She has an answer for everything.
09:28And,
09:28They are good answers.
09:29Because,
09:30If she is saying something,
09:32Especially when they start talking about the child,
09:35And wanting the child.
09:36She says,
09:36Yes,
09:36You say that she's from one mother,
09:38That the other mother is the child.
09:39But,
09:39It's the way she says that,
09:41Viewers feel that she's doing the same thing.
09:43She's doing the same thing.
09:44Yes.
09:44But,
09:45If she's doing the same thing,
09:46Then,
09:47There would be no conflict,
09:48There would be no friction,
09:49There would be no...
09:50It's actually tons.
09:51It's more tons than bad.
09:53Okay.
09:54As the actor who played Saif,
09:55Now tell us that Saif,
09:57At any point,
09:58At any point,
09:58Kiran's inclination,
10:00It was good,
10:01It was really,
10:02It was really,
10:04I am curiously,
10:05Because,
10:05I think,
10:06Before the play started,
10:07We had so many conversations on this.
10:08On this?
10:09Yes,
10:10I sent him a voice note,
10:12She was kind enough,
10:12Why didn't she?
10:13Marina ji,
10:14You didn't hear a voice note,
10:16It's very rare.
10:17Look,
10:18With them and Sohai,
10:20I have had many conversations.
10:22And,
10:22It's such a joy,
10:24Because,
10:25You know,
10:27Someone has read the script,
10:30The script has read the script,
10:32You know,
10:32I am not the only one,
10:33Who has read the script.
10:35So,
10:36It,
10:36It,
10:36I love it when actors,
10:40Get so passionate about their roles.
10:41I mean,
10:41Even though,
10:42I don't agree with a lot of things,
10:43He said,
10:44I am sure he didn't agree with a lot of things,
10:45I said,
10:46But the fact that you are passionate about it.
10:49For me,
10:50The important thing was that,
10:51When I was giving him voice note first,
10:52I was sending him,
10:53So,
10:53I was getting tension,
10:54I said,
10:55Marina is not here.
10:57I am a nobody,
10:58And,
10:59And,
11:00When it happened,
11:00I said,
11:01I can't delete it,
11:02So,
11:04She was kind enough,
11:06She was receptive,
11:07And,
11:07She is on board with me,
11:10She wants to have a conversation.
11:12It's such a big thing,
11:13Especially,
11:14For a new actor.
11:15Marina ji,
11:16There are some stories,
11:17We see some stories,
11:18On our screens,
11:18On our screens,
11:19Which is the sole purpose,
11:20Entertainment.
11:21There is no such lesson,
11:23As such,
11:24There is no such lesson,
11:24There is no such lesson,
11:25There is no doubt,
11:26So,
11:26Is this the need to tell this story,
11:29That,
11:29As such,
11:29How will we just do something,
11:31For us to do for this year,
11:31To walk in society,
11:33Yes,
11:34I don't think,
11:36When the stories are written,
11:37Then,
11:37Obviously,
11:39You have to think,
11:41That certainly,
11:41That maybe,
11:42For two people,
11:42It is not possible,
11:45In society,
11:45It will not be possible,
11:46You can see our old films,
11:48In the seven and eight,
11:50All of them had amazing themes. All of them.
11:53My society didn't have any difference.
11:55But even if it affects 2 or 3 people or 4 or 5 people, it resonates with people.
12:02So, this story resonated with a lot of people.
12:04But the medium is also different. Film and television, I think both impact is very different.
12:09Television, because people in the house are more easy access,
12:14there is a financial barrier for the film. There is X amount of money that you have to spend.
12:19I think TV does have that kind of impact.
12:22It does. It does. But not to the point that every writer thinks that,
12:28Oh, I am going to write this and this is the change that's going to happen.
12:32But yes, the reason you are writing it is obviously because you are feeling that this is something I want
12:38to talk about.
12:39And I want to put out there. But not necessarily that it's going to change.
12:43But the way it's, I am not a social media person, but through Firoz and Sohai,
12:50I was getting all, because they are reading all the comments and all that and all the discussions and all
12:54that.
12:54And I was very impressed that, you know, it is being discussed.
12:58Firoz, what did you feel the impact of the story of this story?
13:01There was a lot of impact on women. For sure.
13:04It wasn't before, it was a question.
13:06No, it has increased. It has increased. For sure.
13:10Especially because, look, a woman is directing.
13:15And Sohai has performed the same way.
13:17So that's also an impact on you.
13:20And then, the story that I have written.
13:24Usually, you can see the dramas that we watch are sensationalized.
13:29Usually.
13:31The story of this story is about subtlety.
13:36I think this story is about subtlety.
13:37Okay.
13:38Firoz, you have decided that I have to draw a line with Saif's actions.
13:42Or you have decided to draw a line with Saif's actions.
13:45It's just like that.
13:46It's a creative license.
13:47It's a negative character.
13:49Yeah.
13:49As an actor, I try to tone down the scenes as much as I can.
13:54It's my choice.
13:56If the scene is here, I will try to play it here.
13:59Because there were some scenes that were loud,
14:02like that.
14:03Like that.
14:04Like that.
14:06You have to let go.
14:08Yeah.
14:09But you can't let go all the time.
14:11Because if someone is so bad in the real world,
14:13he can't stay at that level every time.
14:17You have thought about this redemption arc.
14:19Marina, because people don't think about it.
14:22No.
14:23The problem.
14:23I feel that if you're bad, you're just bad.
14:28You're bad.
14:29You're bad.
14:29There's no break.
14:30Yeah.
14:31You know, there's just no break.
14:32And there has to be a break.
14:33Because if you're constantly doing bad,
14:36then it becomes run of the mill.
14:37Okay.
14:38You're going to do this again.
14:39Let's go ahead.
14:40But if there's a surprise attack,
14:43and the person is good at once,
14:45you know, there has to be some movement.
14:49Like every scene has a movement.
14:52It's a play.
14:52And the same thing with the character within that scene.
14:55I think it's glorified.
14:58Yeah.
15:00It's a package of negativity.
15:02So I think it's unfortunate.
15:04Are we going to Saif's redemption?
15:06That's it.
15:08Because in this light,
15:09let's go on to Kiran's side,
15:11it wasn't so true.
15:13Shani's side is true.
15:14Yes.
15:16Yes.
15:16Now there's no hidden agenda.
15:18No, no.
15:19So,
15:20I'll tell you that
15:22when Shani came back to his life,
15:24when I saw Shani's motive,
15:27people say,
15:27I read the commentary
15:28that, where was it?
15:29Five years later.
15:30Okay.
15:31The truth is absolutely right.
15:32I won't disagree with this.
15:33Because he didn't answer it.
15:35And if maybe his children get into it.
15:37But you did it, right?
15:39You did it.
15:39Exactly.
15:40This is what I thought.
15:42When there was that scene,
15:43when Shani comes back to her,
15:46and the mother sees Kiran back to her,
15:48I was like,
15:49more than anything else,
15:50he's jealous.
15:50Because the child is connected with his father.
15:53And if the child is connected with his father,
15:56then what is the problem?
15:57No, exactly.
15:58But I think Kiran's angst is that,
16:02I am the one,
16:02you know,
16:03it becomes so much,
16:05like even Shamoon's character.
16:07when Shaman,
16:09Moes' father's character came,
16:11I didn't understand that,
16:13I am the one who loves his wife,
16:15his wife,
16:16his wife,
16:17his wife,
16:18he treated her like the daughter.
16:21They lost a girl child.
16:23You know,
16:24why is he going to hate this woman so much?
16:27So,
16:28a back story,
16:29which was,
16:30his brother died because of this,
16:32blah, blah, blah.
16:32And then after the brother,
16:34the other thing,
16:35he becomes jealous.
16:36And that,
16:37I saw with my mum,
16:38when I was marrying my husband.
16:40I mean,
16:40she and I had a very close relationship,
16:43but
16:43he became jealous.
16:45First,
16:46society won't accept it.
16:48Okay?
16:48When he does it,
16:49your father is not going to accept it.
16:50When he does it,
16:51it was justice.
16:52To the point that my father almost came to my,
16:55my wedding.
16:56Okay.
16:56But because of mummy,
16:57he didn't.
16:58And my mother did exactly this.
16:59She,
16:59she was total Gora,
17:00who married a Pakistani.
17:02Yes.
17:03I just married a Christian,
17:04you know,
17:04who was born and brought up in Pakistan.
17:07So,
17:08she,
17:08and because of her,
17:09he didn't come.
17:10So,
17:10that was in my mind,
17:12that he became jealous.
17:13So,
17:14I think that,
17:15Kiran also,
17:17after a while,
17:17she was scared,
17:19that the child is now going to,
17:20start liking the father,
17:22and you know,
17:23he's giving guns.
17:23All the things she didn't,
17:25you know,
17:25approve of.
17:26Yeah.
17:27And this guy is coming,
17:28and you know,
17:29he's doing all of this.
17:30So,
17:31obviously,
17:32a possessiveness mark,
17:34that is going to come into play.
17:37You know,
17:37it has to come into play.
17:38I think,
17:38the most beautiful thing
17:40that you have talked about,
17:42that Kiran is now jealous.
17:43These are all real emotions.
17:45One person can't be good at all.
17:47Yeah.
17:48And one person can't be bad at all.
17:49That's right.
17:50Okay.
17:51On that note,
17:52let's go to a break.
17:52When we come back to the break,
17:54when we come back to the break,
17:55then I have a lot of questions
17:56that are related.
17:57And also,
17:58generally,
17:59what we have in our industry,
18:00we have to do so much.
18:00That's what we have to do.
18:02So,
18:03when we come back to the break,
18:05when we come back to the break,
18:06we will come back to the break,
18:08and we will come back to the break,
18:08and you will not know where to go.
18:13Welcome back.
18:13Khaatino Azrath,
18:15Marina Khan Sahibah,
18:17and Firoz Qadri.
18:18Okay.
18:18Marina Ji,
18:19you have a criticism.
18:20We have made a lot of criticism.
18:22No, no, no.
18:23We have made a lot of criticism.
18:23We have made a lot of criticism.
18:23We have made a lot of criticism.
18:24No, no.
18:24I have made a lot of criticism.
18:25I have made a lot of criticism.
18:25Yes.
18:26They are saying that people have been dragged.
18:29Why?
18:30We are nearing almost 40 episodes.
18:32We will see that.
18:34Give me the right answer
18:36or the wrong answer.
18:38But when I write it,
18:39it is 26.
18:40Okay.
18:41This is 26.
18:43Marina Ji,
18:43how does it become 40?
18:44Yes, yes, yes.
18:45She knows how many of them are.
18:48So, we always write more.
18:52And when I did my first edit,
18:55I took out 30.
18:57Because I was counting.
18:58I go with pages.
19:00The industry standard is not ours.
19:02But it is a minute of page.
19:04So, you take out 38 minutes.
19:06Make a maximum of 40 minutes.
19:07You can't do less.
19:08You can do more.
19:09You can do more.
19:09Then your screenplay comes.
19:11You have a lot of things.
19:13We don't have a lot of things.
19:16As the writer.
19:18What does it say?
19:19It is not so much that you have time.
19:24You have to do more time.
19:24To do the stairs.
19:25You know,
19:26you have to do slow motion.
19:28So, you do it.
19:29I think the same thing with Muskil,
19:31with Mushkil, it was 26 episodes. We got 49, almost 50 episodes.
19:35So is this a problem?
19:37It's just a problem that you write a lot.
19:41But you have to write it systematically.
19:43You have to break, because what happens?
19:45Our climaxes, they end up.
19:49Abhis Raza was a play, I think, in ARY,
19:52the horror thing that he made, Bandish.
19:56Bandish was short and sweet,
19:58and their climaxes, oh my god.
20:01I thought, when it was being recorded,
20:03I thought, if these climaxes will go,
20:05it will be murder for this script.
20:08But thank god they didn't.
20:09And such amazing climaxes, the gentleman had written.
20:12So here, all our climaxes are finished.
20:14So the thing is that, if it's a 39 minutes content
20:19that we have to provide to a channel,
20:21then you should write 39 pages
20:23and one or two more pages,
20:25which you can edit later.
20:28So that's it.
20:29But you have to write 60 pages,
20:31that's not one episode.
20:32That's a film.
20:34As a director, you don't have that call on set,
20:36that, for example,
20:39when I was watching it,
20:40I thought that Fiza Khala is now
20:42after the 30th episode,
20:44and Mamu was not in full time,
20:46so why do we get it?
20:50I'm not even sure,
20:51because the scenes are very long,
20:53and I'm not 100% sure
20:55whether it was Sarvat,
20:57or it was also,
20:59because when the script goes through
21:00two, three hands,
21:01then you get a little confused,
21:04where the story is coming,
21:06where the story is coming.
21:07So I'm not sure,
21:09I don't really want to take any names,
21:12because I wouldn't be sure that
21:13where this thing went wrong.
21:16But yes,
21:17When a main character is introduced in the 16th episode,
21:20in the movies,
21:20then Fiza Khala is coming,
21:22then he will go to the supporting character.
21:25How critical are you,
21:27about your dramas,
21:28stories, characters,
21:30and performances?
21:31Do you have self-analysis?
21:32A lot.
21:33Because a lot of people don't have it?
21:35No, it's a lot.
21:37I've seen every scene,
21:38every scene three times.
21:40Okay.
21:41And you will also watch your drama?
21:42Yes.
21:44I watch it.
21:46My family is sitting behind me,
21:48my wife calls me.
21:49For instance,
21:50if there is a problem in any pronunciation.
21:52Okay.
21:53It's so critical,
21:53you can sit and watch it.
21:54The English is fine.
21:56Yes, the English is fine.
21:57The English is fine.
21:57And the English is fine.
21:57And they always say,
21:59you are going to become Fawad Khan.
22:01Where will you become?
22:02You can see,
22:03you have spoken a little bit like this.
22:05So it's a lot.
22:06And that's why,
22:07when I'm on set as well,
22:09if I think it's an English language,
22:11it's probably not coming.
22:12Or the English.
22:13It's crazy.
22:14I google it in foreign.
22:17I don't want to go to it.
22:18I say that if someone else is doing it,
22:20then you should listen to it.
22:21Yeah.
22:22And it's very important.
22:23It's very important.
22:24Very important.
22:25When you're playing a character,
22:28the problem is that we don't play characters.
22:30If you're a character and you're playing a character,
22:33then you need to be true to that character.
22:35Then you need to be true to that character.
22:36Then from the side of the actor,
22:37a little research.
22:38Yeah.
22:39That's an angle.
22:40That should come.
22:41Because there is also a frequency of the scene.
22:44And if there are two actors,
22:45then the action-reaction is running.
22:46So you need to be in equilibrium.
22:48If it's a little balance out,
22:50then it will be bad on the screen.
22:52And then you will see it later.
22:54And I think it will be like a human being.
22:56What do I do?
22:57Okay.
22:58Marina Ji,
22:59it's a little hurt.
23:01Mashallah,
23:01you being a national icon,
23:03at one point also,
23:05the national crush also.
23:07When and why did you decide to become a director?
23:11Oh,
23:13I think
23:15ever since Tanhaya.
23:17Okay.
23:18Actually,
23:18I was fascinated by my director,
23:20Shizat Khalil.
23:21I mean,
23:21I think he was one of the most
23:23amazing human beings I've ever met in my life.
23:26And I was fascinated with the way he used to work.
23:30I mean,
23:31because we,
23:32while we were recording,
23:34we were on air,
23:34you know,
23:35but we had obviously the luxury of
23:37the entire week to record an episode
23:40or an episode and a half.
23:43But the way
23:44I saw
23:45how he handled people,
23:47which I don't at all.
23:48You can ask my crew.
23:50They hate me.
23:50I will ask everyone else.
23:52Crew.
23:53No actor.
23:54Crew hates me.
23:55Yeah.
23:56Ask them.
23:57They have a big deal in the set.
24:00The way he handles people,
24:02even us as actors,
24:03the way he,
24:04you know,
24:04and also,
24:05I think,
24:05when we came to the television,
24:07the director was the person.
24:10The real captain.
24:11Yes.
24:12Yes.
24:12I mean,
24:12if they said,
24:13that no,
24:13that doesn't mean that.
24:16And
24:17how he respected everyone around,
24:19how he managed to get
24:21that whole serial done,
24:23that he edited at night,
24:24at night.
24:25You know,
24:25I just saw how he managed
24:27and I just loved that
24:29environment of
24:31that creativity
24:33that a director goes through
24:35from script to,
24:36you know,
24:37I was fascinated by that.
24:39Always.
24:39Always.
24:39And I said,
24:40at one point,
24:41I want to be him.
24:42So,
24:42is this a difficult job?
24:43To be a director,
24:43to be a director?
24:45It doesn't need to be a difficult job.
24:47It is.
24:47But it is.
24:48Is it our job?
24:49It is our job.
24:50Because we,
24:51in our fields,
24:54the different departments,
24:56there is no good training.
24:58With learning,
25:00there is also a little bit of study.
25:01Whatever is available to you.
25:05Every job has a responsibility.
25:08Every job has a responsibility.
25:09I think that those responsibilities
25:13have faded in all of the different departments.
25:17How do you think
25:18things have changed?
25:19Because you were,
25:20you were not,
25:21you are the golden era.
25:23And now today,
25:24MashaAllah,
25:25our drama is popular too.
25:26Oh my God.
25:27Oh my God.
25:28I didn't know how many of them.
25:30What is your assessment?
25:32What has changed?
25:33I mean,
25:34the good drama in television,
25:36I want to forgive me,
25:37the bad drama is,
25:37but the good drama is,
25:39you see the level of acting.
25:41It is at par with anything,
25:43anywhere in the world.
25:45Anyway,
25:45I mean,
25:45I feel there are five or six players
25:47that are now,
25:49that are on,
25:49that can go to any platform in the world
25:51and they will be revered.
25:54And you know that,
25:55like that,
25:55like you say,
25:56when you open the performance,
25:58I didn't say that,
26:00because obviously,
26:01it was a different era.
26:02There was a different style.
26:03There was,
26:05maybe the scripts
26:06were slightly different.
26:07Now,
26:07we have more bold scripts
26:08even though we had bold scripts then.
26:10But,
26:11like if you look at,
26:13there is,
26:13again,
26:14there is a drama on right now,
26:15called Parvishy AI.
26:17Thank God.
26:19It is awesome.
26:20I mean,
26:20you look at those kids.
26:21They are kids.
26:22They are kids.
26:23And,
26:23I say,
26:25because,
26:26when you shoot,
26:27there is everything around you.
26:29And,
26:30for,
26:32it,
26:33it,
26:33you do get little conscious,
26:35that,
26:35if I do this,
26:36I will not be afraid of it.
26:37If I do this,
26:37I will not be afraid of it.
26:38I will not be afraid of it.
26:38I will not be afraid of it.
26:40But,
26:40you,
26:40you,
26:41you,
26:44that kind of stuff
26:46that is happening right now,
26:47I feel,
26:48which is fantastic.
26:50The,
26:51the main thing that has gone wrong,
26:53the main thing is punctuality,
26:56zero punctuality.
26:58From the actors?
26:59From,
27:00now,
27:00everyone.
27:01I mean,
27:01sometimes,
27:01you have reached the crew,
27:04and sometimes,
27:04you have reached the crew,
27:05but,
27:06actors,
27:07for sure,
27:08definitely,
27:08punctuality.
27:09If you have 10 o'clock,
27:10then no,
27:11punctuality.
27:12If you have 10 o'clock call time,
27:15it is a pick-up time or a call time.
27:18If it is pick-up time,
27:19you should be in that car at 10 o'clock.
27:21Because,
27:21an actor has two things to do,
27:24get to set on time and know their lines.
27:27There are two things missing.
27:29That's it.
27:30That's it.
27:30That's your job.
27:31That's literally your job.
27:32And a production,
27:34for sure,
27:35tries to make them as comfortable as possible.
27:38Sometimes,
27:38yes,
27:40certain production people may not,
27:42because,
27:42you know,
27:43we hear a lot of complaints also.
27:45But,
27:46they have to try and make them as comfortable as possible.
27:49So, there is no reason for that.
27:51And,
27:52that's why your timelines are disturbed.
27:55Then,
27:55the other thing is that,
27:57I feel that channels, production houses,
28:00and,
28:01they are not in sync.
28:03Okay?
28:04A channel needs to put a show on air.
28:07If it needs to put a show on air,
28:09it needs to tell the production house,
28:11that you have only this much time.
28:13Yeah.
28:13Then,
28:13that director needs to know,
28:15that we have so much time.
28:17Because,
28:17when you are only 30% in production,
28:23and you have been put on air,
28:25then you are scramble,
28:26then you don't do direct.
28:28Firoz,
28:29I am sure,
28:30you will be getting the script,
28:31you will be getting the director,
28:32you will be getting the director.
28:33Do you think that,
28:33there is no choice,
28:34that the director can write the director for the people?
28:37A hundred percent,
28:38I agree.
28:38I agree with you.
28:39Especially after my first serial,
28:41because that was so hard,
28:42so,
28:42after that I was so spoiled,
28:43after that.
28:44Now, the work is regular,
28:46that is the same.
28:47And,
28:48some offers have come here,
28:49I have studied,
28:50I have said,
28:50this is how it will be done.
28:53So,
28:54this is true.
28:55I really think that,
28:56the writers actually have reduced.
28:57I really think that,
28:58I think that,
28:59I think that,
29:00I think that,
29:02they are all writing on one tangent.
29:04But,
29:04they are being dictated to also,
29:06that,
29:07the main slot is 8 o'clock,
29:09but if you look at the 7 o'clock
29:11and the 9 o'clock,
29:12they are all soaps,
29:12I mean,
29:13they are the same stories,
29:14that we are,
29:15just,
29:16Marina Ji,
29:17do you think that,
29:19actors have become more difficult,
29:21or,
29:21when you made your debut,
29:25do you think that,
29:26because actors' pool also increased,
29:28competition increased,
29:29you think,
29:30it was easier back then,
29:31to become an actor,
29:33compared to now,
29:33or,
29:33now it is easier,
29:34because mediums,
29:35and channels are more,
29:36I am not sure,
29:37I am not sure,
29:38I am not sure,
29:38but I do remember,
29:39that Shizad sahab,
29:39used to struggle also,
29:41because,
29:41people would come a lot,
29:42for auditions,
29:44because,
29:44a lot of people,
29:45are coming in for acting,
29:46because,
29:46he is a star,
29:47and,
29:48he is not,
29:49acting,
29:50acting,
29:52acting,
29:52acting,
29:54you know,
29:55you know,
29:55you know,
29:57that this person,
29:58you know,
29:59has got the job,
29:59and I think,
29:59that platform,
30:00that way,
30:01there are no schools,
30:04there are no schools,
30:05there are no training,
30:05this is very necessary,
30:07there is a connection,
30:09I think,
30:10yes,
30:10there is a connection,
30:11that way,
30:12you get a number,
30:12or get a number,
30:13because,
30:14I think,
30:14walk-in,
30:15I don't think,
30:16you will get anywhere,
30:17you have a small,
30:19extra type role,
30:21but,
30:23lead role,
30:23or major supporting role,
30:25I think,
30:26you need to have,
30:27some sort of connection,
30:28but,
30:29you have an additional,
30:31because,
30:31you are watching,
30:32a lot of content,
30:33because,
30:33you review,
30:35content on another platform,
30:37by the way,
30:37is this not a conflict of interest,
30:41because,
30:41conflict of interest,
30:43because,
30:43you direct,
30:44and you work with all these people,
30:45and then,
30:45you are reviewing their content,
30:46so,
30:47when,
30:47when they are,
30:48reviewing Dastak,
30:49I am sitting there,
30:50but,
30:51aren't they,
30:52your colleagues,
30:53yeah,
30:54Nadia,
30:55she said,
31:00that's your view,
31:02that is your view,
31:03of how you saw something,
31:05Atika,
31:05but,
31:07I don't say a word,
31:08I can't say a word,
31:09because,
31:10when we are reviewing,
31:12the other people,
31:13don't have,
31:13the opportunity,
31:14to say anything,
31:15back to us,
31:16the thing that I,
31:17the way I see it,
31:18when you talk about,
31:19not criticism,
31:20but a critique,
31:22a critique,
31:22is,
31:23just the play,
31:24what we see,
31:26but,
31:27I think,
31:27initially,
31:28what a lot of people,
31:29were thinking,
31:29that we were going to come,
31:31and,
31:31we were going to,
31:32start talking about the,
31:34all the gossip,
31:36all the gossip,
31:36that happens,
31:37and, you know,
31:37I think that is,
31:38what a lot of people,
31:39were scared about,
31:39initially,
31:40and I think,
31:40slowly,
31:41slowly,
31:41slowly,
31:42there has been,
31:43an acceptability,
31:45you know,
31:45I've heard some,
31:46very interesting things,
31:47and I've heard some,
31:49you know,
31:49things that,
31:50you know,
31:50we get,
31:50we get,
31:52but,
31:53we get positive things,
31:54through the fraternity,
31:55and,
31:56because,
31:56you are watching so much,
31:57how do you rate,
31:59the current,
31:59state of,
32:00Pakistani dramas,
32:02are you happy?
32:03I am happy,
32:04that,
32:05what I feel,
32:06personally,
32:07is that,
32:07our narrative,
32:08is changing,
32:09very slow,
32:10and slow steps,
32:12you can't suddenly say,
32:14that I am going to,
32:15for a play like,
32:16Parwarish to work,
32:18that's a proud moment,
32:20because,
32:21it is so off,
32:23charts,
32:24it's so off,
32:25the main band,
32:27exactly,
32:28exactly,
32:30and here are,
32:30these youngsters,
32:32who are,
32:32at par with,
32:34Savera,
32:35and Noman,
32:36and you know,
32:36and they are just,
32:37killing it,
32:38they are killing it,
32:39the story is killing it,
32:40the direction is killing it,
32:42I think even share,
32:43in one way,
32:43I am enjoying it,
32:44for the,
32:45kind of play it is,
32:47it is a little louder,
32:48it is a little larger than life,
32:49but,
32:50there is an interesting story,
32:51so the stories,
32:52I feel,
32:53are getting much more interesting,
32:54not all of our,
32:55eight o'clock content,
32:57is,
32:57you know,
32:59catering towards,
33:00and there is a pace,
33:01I think Parwarish,
33:01this is a little miss,
33:02that if you are stars,
33:03if you are people,
33:04it will be a project,
33:05I mean,
33:06those two have become stars now,
33:07Masha Allah,
33:09I mean,
33:10I think Meesum is the star,
33:11I remember,
33:12I had a discussion with,
33:13with,
33:13one of the,
33:15production houses,
33:16I had to meet them,
33:17so,
33:17I was telling them,
33:18that you give me an opportunity,
33:20but,
33:20I didn't know,
33:22they said,
33:23no,
33:23there is a time,
33:24so,
33:24I told them,
33:25that this is not a film,
33:27because,
33:27in the film,
33:28you have to have a star,
33:30that,
33:30a person has to get out of the car,
33:33and,
33:33to go to the cinema,
33:35to see that person,
33:36in India,
33:37for example,
33:37these stars,
33:38are made like this,
33:40Pakistan,
33:41is,
33:42that,
33:42the content is important,
33:44what's next,
33:45for Firoz Qadri now,
33:45I am doing something,
33:52I am doing something,
33:52a great serial,
33:55I am doing something,
33:56I am doing something,
33:56a great serial,
33:57I can't even talk about it,
33:58but,
33:59the role,
34:00is it like,
34:00is it like,
34:01no,
34:01positive,
34:03out and out positive,
34:05and,
34:05again,
34:07it is very good,
34:09and,
34:09I am happy,
34:10because,
34:11as an actor,
34:15views,
34:16and ratings,
34:16this is a by product,
34:17I think,
34:18your work should be good,
34:19and,
34:20end of the day,
34:21work should be good,
34:22and,
34:22the work should be good,
34:23when,
34:24the content is sensible,
34:26the character is sensible,
34:29in it,
34:30in it,
34:30there is sensitivity,
34:31otherwise,
34:32you know,
34:33there is a lot of drama,
34:34in it,
34:34there are very over the top things,
34:35and people are enjoying it,
34:37so,
34:37I think,
34:38you should be slow and steady,
34:40slow and steady wins the race,
34:42and,
34:42Marina ji,
34:43what about you,
34:44in the time,
34:45more direction,
34:46more acting,
34:47sleep,
34:49I want to sleep,
34:52Does the drama shoot,
34:53not even,
34:55this one,
34:55but one thing,
34:56I loved about,
34:59Dastak was also,
35:00that you actually,
35:01went to the airport,
35:02and shoot scenes,
35:03how difficult,
35:04in our drama,
35:05to go to the airport,
35:05and shoot,
35:06because,
35:06you were multiple shots,
35:08in the airport,
35:08yeah,
35:09we had about,
35:09one, two, three,
35:11four scenes,
35:12we never see,
35:13airport,
35:14the actual airport,
35:15being shown in dramas,
35:16how did,
35:17is it difficult?
35:18Apparently,
35:20they said,
35:20that you have to,
35:21you have to give,
35:22the date,
35:23a month in advance,
35:24you have to give,
35:24everyone's name,
35:25so,
35:25I think,
35:26that process,
35:27just so much,
35:28it happened,
35:30and,
35:31I think,
35:32one of the actors,
35:33couldn't make,
35:33I can't remember,
35:34then,
35:34we had to delay,
35:37but,
35:37we got,
35:38because,
35:39otherwise,
35:39I won't say it,
35:42but,
35:43there was,
35:44an important scene,
35:45that had to be done,
35:45and,
35:46it could only be done,
35:47at the airport,
35:47so,
35:48we were thinking,
35:48so,
35:50they got me the airport,
35:51I would encourage,
35:52more directors,
35:53to do this,
35:54please,
35:55if you have permission,
35:57and actually,
35:58shoot at the airport,
35:59because,
35:59it adds,
36:00so much more impact,
36:01and,
36:02there was just,
36:02one scene,
36:02where he is just,
36:03going down the escalator,
36:04going up,
36:05and,
36:05so,
36:08it's the effort that counts,
36:08thank you so much,
36:10Marina ji,
36:10thank you so much,
36:11Firoz,
36:11it was a pleasure,
36:13I am sure,
36:13you got to learn something,
36:14from this conversation,
36:16I am sure,
36:16our viewers,
36:17will get to know,
36:18some of their concerns,
36:20I am sure,
36:20they will be addressed,
36:21I wish you both,
36:22all the very best,
36:23thank you so much,
36:24for your upcoming projects,
36:25ladies and gentlemen,
36:26today's quiz,
36:27is a great opportunity,
36:28Inshallah,
36:29you will be again,
36:30until you,
36:31remember your thoughts,
36:32and remember your thoughts,
36:33God bless you,
36:34God bless you,
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