बोल बोल राणीच्या टीमचा सेटवर राडा? पाहा काय घडलं नक्की? Bol Bol Rani Team Exclusive Interview

Lokmat Filmy

Bol Bol Rani: Team’s Unfiltered Fun & Chaos! Chinmay Mandlekar & Sai Tamhankar's Dream Roles? Set Pe Rada! Bol Bol Rani Team Exclusive  #BolBolRani #MarathiMovie #SaiTamhankar #ChinmayMandlekar #SubodhBhave #LokmatFilmy #MarathiCinema #Entertainment #MovieUpdate #BehindTheScenes #MarathiActors #ViralVideo #MarathiEntertainment #Shorts #NewRelease  'बोल बोल राणी' चित्रपटाच्या टीमसोबत सेटवर झालेली ही खास मस्ती नक्की पाहा! चिन्मय मांडलेकर, सई ताम्हणकर आणि सुबोध भावे यांनी उलगडले अनेक रंजक किस्से. चित्रपटाच्या सेटवर नक्की काय घडलं? पाहा हा खास व्हिडिओ.  आमचा video आवडल्यास धन्यवाद. Like, Share and Subscribe करायला विसरू नका! सबस्क्राईब करायला क्लिक करा -  https://www.youtube.com/channel/UCC_aEK1jUpUPaa_N1aamvlA?view_as=subscriber

Transcript

00:00I think that the thriller zone in Marathit is very low in Marathit, very low in the film.

00:05What is the dream role?

00:07I don't know if I was a father or a mother, but I don't know if I was a dream

00:13role.

00:14I think that I have a great choice in this cinema.

00:18I don't know if I have any questions, but I don't know if I have any questions.

00:22I don't know how to do it.

00:24And I ask a question,

00:26what do you do with my wife?

00:30What do you do with my wife?

00:31But,

00:31you have such a big actor

00:34in India.

00:35And you have to do it like that.

00:37But you don't have to trust me.

00:40I mean, it's a great song.

00:41It's a great song in the 1960s,

00:42it's a great song.

00:44It's a great song, unfortunately.

00:59It's a great song.

01:05I'm a bit confused.

01:08Because I think

01:09if I have a trailer

01:11and we don't have a trailer anymore.

01:16But I have not been sure

01:19I was just confused.

01:19Because

01:20I think

01:20I can find your trailer.

01:22I am going to get into the conversation with you.

01:25Today, I am going to talk to you with Bol Bol Rani's team.

01:28So, Namaskar Mitra, I am going to film you with the friends of Sagar.

01:31You are going to take a look at the world's film.

01:33I am going to talk to you with Bol Bol Rani's team today.

01:36And you are going to confuse me now.

01:39I am not going to talk to you about this trailer.

01:42It is going to be 17 times.

01:44But, I am going to talk to you very well.

01:48I am going to talk to you very well.

01:49You are going to talk to me very well.

01:50You are going to talk to me with your partner.

01:53Why would you like to talk to him with someone who is not?

01:59The question is not going to talk to me with someone.

02:02Everyone is...

02:04I mean sometimes I feel insecure.

02:06I feel like I am not.

02:09Once again, I am by myself as an actor on set.

02:15I am very underestimated.

02:17I was able to do a lot of things, and I was able to do a lot of things, and

02:21I was able to do a lot of things.

02:22But there was a lot of atmosphere here, and there was a lot of things that I was able to

02:31do.

02:31But my teacher and my supervisor were very busy.

02:35They were able to help me.

02:37And my students, I was able to do a lot of things in my class.

02:40And I was able to do a lot of work with my student.

02:42I think that it took a lot of work with me, and I was able to take care of myself.

02:52And I just wanted to ask you about your attention.

02:55You are able to help me, and be able to help me help me.

03:02I think there is a lot of work in this film.

03:06I think it's a lot of work in this film.

03:09But, today, the film is not going to be played in the cinema.

03:13So, why do you think of this film?

03:16Why do you think of this film?

03:18I think it's important to me.

03:20I think that the younger generation will attract the film a lot.

03:26I think that the thriller zone in Marathi is less.

03:31It's not a good film.

03:34But, it's a good feeling.

03:36And, there is a strong cast.

03:39I mean, that the cast is not a expected cast.

03:44It's a plus point in cinema.

03:47I think that's why you think of this cast?

03:51Because you have to get this cast?

03:54I think that the timing of cinema will never release.

03:57I don't know how to do this, but I don't know how to do it.

03:59I thought that if you don't know how to do it,

04:02then if you have a line-up, it's perfect.

04:05I don't know how to do it.

04:09Manjura is a great yoga yoga.

04:12Manjura is a great shooting at the cinema.

04:15These two years are shooting at the cinema.

04:17But I am amazed at the timing.

04:20He is wearing Rune Ali.

04:23Yes.

04:23He is wearing Rune Ali.

04:24I was making a film of Bajula.

04:27I am giving a film of the cinema.

04:31Yes.

04:34I am a fan of the film.

04:38I am a fan of the artist.

04:39I am a fan of the art,

04:40and I am a fan of the cinema.

04:42In the cinema, I am a part of the film.

04:46I am a true man,

04:50I was a very proud man, and I was a very proud man.

04:54You should say, I was just saying,

04:57that when you're in line-up,

05:01you don't get happy with that line-up.

05:04So, what about you,

05:05you are very unplanned.

05:09You are not going to go far away,

05:11you are not going to be able to see the picture,

05:14you are going to do something,

05:16you are going to do something,

05:19I don't know if I am a father or a mother, but I think it's a dream role.

05:27Because I've been talking about this one, Sydney,

05:32that I have been talking about three groups.

05:36I've been talking about this one.

05:38That's my dream role.

05:40Another, a very high team and a very hungry team.

05:46Some of the things I've been talking about,

05:48some of the things I've been talking about,

05:51but I think I've been talking about these two groups,

05:53and I've been talking about this one.

05:53Instead, Sid and Apoorva,

05:56I'm an expert in Sid's leadership,

05:59and the rest of the technical team,

06:00I'm a cast.

06:02It really comes, I'm a sump,

06:04despite of doing so much work,

06:06I don't have the hunger that I've been talking about.

06:10The sump,

06:11I don't know what this is,

06:13Because we are all nerds. You are a promising nerd.

06:17We are in the picture of Rubab.

06:21Subodh is like the face of our generation.

06:24I mean, who is our generation?

06:26Who is Subodh?

06:28You are your beauty.

06:29No, we are all generation.

06:31So, people are like,

06:34when we are doing something like this,

06:38you are very receptive.

06:39You are like, okay,

06:41let's do that.

06:42We will do that.

06:43But as a writer,

06:45when he wrote the script,

06:47I thought,

06:49if I was a fan of the cinema,

06:51I would like to read it.

06:53Is that a good idea?

06:54Is there any suggestions?

06:56No.

06:57I don't want to take a look at this morning.

06:59I don't want to make money.

07:01I don't want to make money.

07:04So, as a writer,

07:05do you have any suggestions?

07:06What is the suggestion?

07:08No.

07:09No suggestion.

07:12Because the writer and the director

07:14are very good at the time,

07:16you have to put the set or pallet

07:17on the set.

07:17So, you have to give a suggestion,

07:20you have to give a suggestion.

07:23You have to do that.

07:23You can do that for performance.

07:24You have to do that for the enhancement.

07:27You have to be as a co-actor.

07:28No.

07:29It's a good idea.

07:34It's not a good idea.

07:34You have to do it for yourself.

07:35You have to come to the point of the film.

07:37You have to do it for yourself.

07:38You have to do it for yourself.

07:40You have to do it for yourself.

07:42You have to do it for yourself.

07:42And Sid has an open-minded director.

07:45That's exactly what I thought.

07:47So, that's a good collaborative effort.

07:49But what's the point of view of cinema?

07:56How does this film look like?

07:58How does the visual look like that?

08:01How do we look like cinema when we look like cinema?

08:04Who do we look like cinema?

08:08This cinema is completely sad.

08:12And we don't want to fit in our vision.

08:15We don't want to fit in our own.

08:17I think the vision of this cinema is just, there is no one else.

08:21I have a question in the morning, when I first came to the cinema,

08:26when I saw the character, I would like to think about it.

08:31I would like to think about it, because if you were a biopic,

08:38you would like to think about it,

08:40and you would like to think about it,

08:43and I would like to think about it,

08:44and I would like to think about it.

08:47Please take your attention, please.

08:50Please be calm.

08:53Please be calm.

08:54I have no question about this.

09:03Because of your mind,

09:04I would like to think about it,

09:10and I would like to think about it,

09:13and I would like to think about it,

09:14and I would like to think about it.

09:16I think the school was like one thing.

09:18When I am a question,

09:23and one question was like,

09:25I thought, what is happening in my life like this?

09:31I thought, what is happening in my life?

09:33That's the number of questions.

09:36But Ayusha came to a cinema,

09:38where I wanted to show a character in the cinema.

09:43I don't know how much I am,

09:46but I have a lot of work.

09:48I have to tell you a story.

09:50Sometimes you have a trigger point,

09:52and you have to change your perspective.

09:56This cinema is called Ketan Dessai,

09:58Manmohan Dessai, Chiranjeev.

10:00And he was the first film.

10:04Ketan Dessai, Amitabh Bachchan,

10:06was the first film.

10:10When we were shooting,

10:13there were a lot of questions.

10:15I was thinking about it.

10:16In the film,

10:18there was a story about Bachchan Saeva.

10:22That,

10:23in the film,

10:27there was a lot of white cinema.

10:27In the film,

10:28there was a lot of white cinema.

10:31So,

10:31there was a question,

10:32when I was thinking about Bachchan Saeva,

10:34you are such a big actor in the world.

10:38And if you are such a big actor,

10:40then you don't have a trust in the world.

10:44So,

10:44I was thinking about Bachchan Saeva,

10:45yes, of course.

10:47I was thinking about it,

10:50but I was thinking about it.

10:52that yes,

10:53I am not convinced with the idea.

10:55But my director is convinced with the idea.

10:58And I am convinced with my director.

11:01So,

11:02I thought,

11:02that this is so much of the existence,

11:06I have no idea.

11:08That means,

11:08there are many things,

11:09that I don't know the actor.

11:11There are many scenes,

11:14there are many scenes,

11:15that I don't know the actor.

11:17But,

11:17I don't know the actor,

11:18that I don't know the actor.

11:21Those of you have to read the story.

11:23For this.

11:25And

11:26Because he is a question.

11:28They don't want to study the family new.

11:31Butong

11:32don't need to to observe that. They

11:33should not have a question. Precisely,

11:39it should not

11:44show about their lives, because they don't

11:47have the questions. They should also enjoy

11:48the challenges. Of course, their

11:50rules, debes

11:50That is it.

11:55What is the work that we have to do?

11:59I am proud of that our work is to do a good job with the drainage.

12:04But you cannot do that.

12:06Our work is to work with 2 mm,

12:08we will have a good question.

12:10We will work with drainage and we will work with another drainage.

12:16This means that your work is to work with water.

12:35...

12:37I don't have a script, I don't have a question.

12:42I don't have a question.

12:42I'm thinking about what happened to you.

12:46I'm sure you have the message that you have.

12:48If you don't have the message, it is...

12:51What is it?

12:53I don't have the message that you have to do.

12:54I'm sure you have the message that you have to do.

12:58I think it's a very good message.

13:00There are so many people in the forest,

13:03there are so many people in the forest.

13:05There are so many people in the forest.

13:07No question asked.

13:10What is this?

13:11Guys,

13:13I'm sure it's direct.

13:16One thing I wanted to ask is that

13:20if you have a question,

13:23you have to ask yourself,

13:25how do you look at it?

13:27There are so many people in the cinema.

13:30There are so many people on the screen.

13:31I've seen this, right?

13:33How do you feel about your profile?

13:35So,

13:35let me ask you to ask yourself.

13:38One second.

13:39Sorry.

13:40I'm going to...

13:40I don't think that this is a good question.

13:43I think...

13:47As an actor,

13:49its own looks,

13:51its presentable in the scene,

13:53its just not presentable.

13:54It is not aware that it is a good question.

13:56And the issue of your experience,

13:59it is a good question.

14:09I have a question, do you want to action in this cinema, and do you know the action, and do

14:17you know the action in this action?

14:20What is your character in this cinema?

14:24This action is not choreographed for us. This action is not choreographed for us.

14:31We don't have choreographed for us. This is instinctive action.

14:36We don't have to do this.

14:40Actually, this is a big one.

14:45I'm sorry, what's your name?

14:47And I'm not sure if I'm not going to be alone, but I'm not sure if I'm alone.

14:54I'm not alone, but I'm not alone, but I'm not alone.

15:00I'm not alone, but I'm not alone.

15:04I don't think I'm alone, but I'm not alone.

15:06There are three mandalins.

15:08These mandalins have a lot of time.

15:13They have a lot of time.

15:14If you have a lot of time, you will have a lot of time.

15:19You will have a lot of time in the shooting of the cinema.

15:23What do you think of Gochizhali or Maja Ali?

15:25I think I am doing it all the time.

15:27I don't trust the mandalins.

15:29I am going to go away.

15:30I am going to go away.

15:32Is this the only thing for the pathans?

15:33No, I don't understand.

15:35Because, Sid, we are a friend who is a very good friend of mine.

15:41He is a friend of mine.

15:45So, I thought, let's take a look at you.

15:49I didn't take a look at you.

15:53And I thought, I don't want to open the door.

15:56I thought, I'm going to open the door.

15:59And I thought, I'm going to open the door.

16:00I'm going to open the door.

16:01I said, what are you doing?

16:07They take it from all sides.

16:07I thought, that's why I was doing this.

16:07And, if you're going to do another sip,

16:12the most painful is being exposed.

16:14And, when you're at that,

16:16like, if you're going to end the door,

16:18I was going to have to go out.

16:20And, I was like, ah.

16:22Did you even open the door?

16:25You're still not open?

16:27You're notAKA out.

16:30I actually was looking for a while, and you were sitting standing in the chair and getting the seat.

16:36Well put.

16:40How do you do your job to do the same thing, Anubha?

16:44Who is the same?

16:45You are just being the same thing.

16:55My job is fantastic.

16:56I was just like, I don't know. I was just like doing this TV.

17:01Oh my God!

17:01I am sorry.

17:05So, if we have to work on this video.

17:09I will tell you something about Mitula.

17:11If you talk about that, then what do you want to talk about?

17:14I will tell you something about it.

17:15Sayi Baro Rachel, Chinmai Dada Baro Rachel.

17:18Off skill.

17:18But I am not sure what I will do now.

17:20I'm not a

17:22I'm not a

17:33This is crazy

17:36I'm not a

17:37Oh my god

17:40Oh my god

17:42Wow

17:44I'm not a

17:46I'm not a

17:47I'm not a

17:49I'm not a

17:50I'm not a

17:51I'm not a

17:53I'm not a

18:00So

18:01Sir

18:04Captain

18:05You

18:07And

18:09You

18:10I'm not a

18:12I'm not a

18:13But

18:13I'm not

18:18Starfish

18:21I'm not

18:23You

18:23Don't know

18:24If you're

18:26So

18:26in the cinema, that would be so good for you.

18:30No, it's so good for you.

18:31When we read it,

18:34there was a character who was apt in that role.

18:42So, it doesn't matter how much it is.

18:44It doesn't matter how much it is.

18:46And it doesn't matter how much it is.

18:49It's very good.

18:50So, you have to do it for COVID.

18:52If you have to do it for COVID,

18:55it doesn't matter how much it is.

18:58Who did you have to do it?

19:02Oh my God!

19:03Oh my God!

19:05Oh my God!

19:06What up?

19:07What up?

19:10Oh boy!

19:12Oh boy!

19:14No, man.

19:14Mr. Sir, I would like to speak to this question.

19:17I would like to speak to this question.

19:19I would like to speak to this question.

19:20Why would you like to ask me to ask me to ask me?

19:23Please, Sidhe has said to ask me to ask me.

19:27Please, Sidhe has said to ask me to ask me.

19:28How are you doing this question?

19:28Sidhe has said to ask me.

19:29Was it one of the things I think?

19:33One of the things I thought was.

19:34One of the things I thought was wrong?

19:37One of the things you have been wrong with.

19:39What?

19:39We have various schedules for shooting.

19:42But I don't want to tell you, who has a trust?

19:45It's not because...

19:47I don't want to tell you.

19:51I don't want to tell you,

19:53anyone who has a trust in the world.

19:57There are professionals who have a good job,

20:01and a good job.

20:02Absolutely.

20:05Sorry, sir.

20:09That's why I don't know what to do.

20:13I don't know what to do.

20:16Oh, God.

20:17How did you think about this concept?

20:19And I think that there is a difference in this cinema?

20:24I mean, if you want to picture it, I don't want to picture it.

20:27I mean, it's a great question.

20:29Because it's a big question as a filmmaker.

20:33It's a decisive moment.

20:38I mean, it's a big question.

20:39Because you have 10 ideas, 4-5.

20:42When we decide, we have 3-4 scripts.

20:46But it's not a decisive moment.

20:49But it's a very critical.

20:51When you choose, it's not the one that's done.

20:55And you don't know how to respond to the response.

20:58And how to receive it.

21:01So, that's a very important moment.

21:04And I can answer.

21:08Because in college, there's only a dance.

21:12It's a dance.

21:14It's a dance.

21:15It's a dance.

21:20It's a dance.

21:26I'm a backstage role mostly.

21:29But it was there on the back of my mind.

21:31For a very long time.

21:32And I have to play copyrights.

21:34I play cinematic adaptation.

21:36But I think that I can do it because it's a non-linear film.

21:41Normally, we have scripts.

21:44They're very linear.

21:45Maybe it's a complicated love story.

21:49It's a period.

21:51But it's a little non-linear drama.

21:54So, as a director, it's an experiment.

21:58So, it's an experiment.

22:02So, it's an experiment.

22:02But it's an experiment.

22:05So, it's an experiment.

22:07So, it's an experiment.

22:08So, it's an experiment.

22:15So, it's an experiment.

22:16So, it's an experiment.

22:17So, it's a mind-blowing editing.

22:20And you've made such a series.

22:24I've made such a series of videos when you've published this video.

22:26I've opened this video.

22:28I've made a video.

22:29And you have a nirama,

22:30and a nightmare.

22:31So, it's a nightmare.

22:32It's a nightmare.

22:33It's a nightmare.

22:35It's a nightmare.

22:36It's a nightmare.

22:38I don't have a good luck.

22:38No.

22:39I don't know.

22:40Because everyone calls are not.

22:42It's a collective call.

22:45It's not just about production, writing, but even on the set.

22:51There is a twist, but there is one twist.

22:58On the set, it's a good idea.

23:00When we thought about what's going on, what's going on as a next.

23:05Then we thought about what's going on.

23:08We thought about what's going on.

23:11There are a lot of moments.

23:18Inputs are a lot of collective.

23:20Not just in production, but in post-production.

23:24I don't want to talk about the director versus producer,

23:28but I don't want to talk about the ideologies.

23:31Because we have clarity about what's going on before the shoot.

23:36But as a producer and as a director,

23:40there is a common ground that technically,

23:44we could have a little strong asylas.

23:46I mean, we could have made a cinema circus.

23:49We could have made a magnum opus.

23:52Then we had some hard, tough decisions.

23:54I mean, in our industry, technically not.

24:00I mean, that's why we were DOP.

24:02So, New York and Nala.

24:03He flew down for the shoot for the movie.

24:06I mean, he did a pre-production for the movie.

24:08I mean, he did a pre-production for a couple of months.

24:09There was a grading.

24:10There was a grading.

24:11There was a grading.

24:13There was a grading.

24:14There was a grading.

24:16There was a grading.

24:18There was a grading.

24:19There was a googled.

24:23There was a grading.

24:23But it was illegal.

24:26It was a grading.

24:27It was a grading.

24:28It was a skill.

24:28Sound design, Bhabin Dev.

24:29National Award winner.

24:30Rasul Pakatti's right hand.

24:32It was nomination.

24:34So we have a lot of good people in post-production, but there are so many calls, what should we

24:40do, should we go full throttle to compromise?

24:47But the direction, production and vice is a common ground, so we are fine.

24:54So we don't have any class in the decision.

24:57Do you have the first cinema?

24:59Yes, it's the first cinema.

25:01So, the first thing I would like to say is that you have the first six-year-old.

25:05If you have seen this film in the Martavgarh Mandail,

25:10or if you have seen this film in New Zealand,

25:12or if you have seen this film in New Zealand,

25:16what would you say?

25:16Or if you have seen this film in New Zealand,

25:17what would you say about this film?

25:21That's for Tetch Asadis.

25:25Tetch Asadis of the film.

25:28Who can you tell me that?

25:32Say it for Homan.

25:34Seconds are Homan.

25:36First thing that comes to the first six-year-old,

25:38I think that I am speaking to Mr. Dodge for Mr. Doge.

25:41Because I am still observing.

25:42So, in Marathi and Chitrapat, there is a lot of remakes in this film.

25:50So, do you think the remake of this film is very interesting in many languages?

25:54I have one question.

25:57Telugu.

26:00I was born in Bojjpuri.

26:05And in Bojjpuri, who is also in Bojjpuri?

26:07Who is still there?

26:09Who is still there?

26:10But even in Bojjpuri, I don't know.

26:14Telugu, I don't know.

26:16What is it?

26:17It's a film.

26:21Wow, wow.

26:22It's a film.

26:25It's a film.

26:30It's exclusive.

26:32It's exclusive.

26:36It's also a film.

26:36It's just a film.

26:37Wow, wow.

26:37It's a film.

26:40Yes, it's my film.

26:41So, and my background is that,

26:43first of all, I'm going to make a movie in the movie.

26:45So, I'm going to make a movie in Hindi.

26:46No, no.

26:48I'm going to tell you.

26:49I'm going to tell you English.

26:50I'm going to tell you English.

26:52I'm going to tell you.

26:53I'm going to tell you that the Japanese language is different.

26:56Please don't tell me, I am going to tell you.

26:58the original meaning of this language.

27:01It's a poem that is called the beginning of this language.

27:03Well, we really think that it's to become such a beautiful beautiful

27:07kunpad and to become such a greatивается,

27:09we don't want to become our vorstellen,

27:10we don't want to come to our own language.

27:15Do you tell me about this show about this film?

27:18Everything?

27:19Everything?

27:20As I always think about this film,

27:21if everything, I just feel like this,

27:23I think that's the same thing in cinema.

27:25I think that's the same thing.

27:27She's a good one.

27:28It's the same thing.

27:32That's correct.

27:33Same answer.

27:36Some people think you're not sure.

27:38Same answer.

27:39I think, what's the answer?

27:42I mean,

27:44I think, what's your observation?

27:45I don't think you're a good question.

27:47I don't think you're a good question.

27:49That's not true.

27:50When you get to the Khandongar,

27:52the Khandongar was really known as the Kavita

27:57and the Kavita was really known as the Kavita

27:58and the Ramy of Gresham and Gresham.

28:01One big thing...

28:03one big thing is cyber kill,

28:04but it's the same thing.

28:07So, in this case,

28:11how do you understand

28:12that the Kavita has given us only

28:14a week and a week?

28:15I think Kavita doesn't do it.

28:17I don't know.

28:19I think that's more of a film.

28:21Yes, I'm sure.

28:23I don't know, but I was not mad at you.

28:24It's just that you don't know.

28:25I'm talking about 17 July.

28:28Yes, I'm talking about it.

28:29One, this is a great section.

28:32I'm just talking about the conversation.

28:34I'm talking about the reason I am with Kaithari Kavita,

28:36I'm not performing with the part bit,

28:39I'm not performing, I don't know.

28:40I don't know about that.

28:41But, I think that's a great, nice to see the video.

28:46I think I am a good guy. I think I am a good guy.

28:49But I am the man, you are an instant writer. So, 4 more sizes.

28:53I am a man.

28:54I am a man.

28:57I am a man.

28:58I am a man.

29:01I am a man.

29:02I am a man.

29:04I am a man.

29:05I am a man.

29:09Please tell me.

29:11I will show you the picture.

29:12And a very big film,

29:14and it's a very good movie for you.

29:18And that will be a real treat.

29:20I mean, this film is the only way I can find the best.

29:26But it's the landmark performance of the Sait.

29:29So, that's the best.

29:30In fact, this cinema is a character,

29:35one filmmaker, one director and the other.

29:37If you think about it,

29:40who would like to say,

29:42that, Baba, you're going to do it?

29:43You're going to do it?

29:44I don't think I would like to do it.

29:47Who would like to do it?

29:48Because if I was a actor,

29:50I would like to do it.

29:52Because if I didn't do it,

29:53I would like to do it.

29:56In my Sydney film,

29:59when I started,

30:00when you were doing it,

30:02you would like to talk about it.

30:03If I didn't do it,

30:05if I didn't do it,

30:07I would like to say,

30:09I would like to talk about it.

30:12That's what I would like to do.

30:14And if you were a co-actor,

30:17then I'd like to talk about it.

30:19I was interested in that,

30:22that you guys are a little confused by the show.

30:25I mean,

30:26you guys are a little confused.

30:29Yeah, I'm sorry.

30:30I can tell you later.

30:33I'm sorry.

30:33You're serious, sir?

30:35Yes.

30:35You're serious, sir?

30:37Yeah, okay.

30:37We're at home.

30:39I'm sorry.

30:40I'm sorry, sir.

30:41Because we're working together, two decades ago, one.

30:44One.

30:45One.

30:46One.

30:49One.

30:51One.

30:52One.

30:54One.

31:01So, that's not what you said.

31:03So, Nauru is a bad guy.

31:06You can't get mad at all.

31:08You can't get mad at all.

31:10You can't get mad at all.

31:12You can't get mad at all.

31:14I have a character named Nara and Nikam.

31:25I don't have any swapper in the film.

31:29You know what?

31:30I'm going to show Narayan.

31:34I'm going to show Narayan.

31:35It won't show anyone.

31:39And the character's name is the right character.

31:43And the character's name is Dravya.

31:46And...

31:47What's the name?

31:48Dravya.

31:49Dravya.

31:50Where is Dravya?

31:51Where is it?

31:52Dravya.

31:53Dravya.

31:54Dravya.

31:55Dravya.

31:56Dravya.

31:59And...

31:59I think the character's name is Dravya.

32:04And...

32:04What's the character's name is Abhas.

32:08I mean, it's also called Nava Mage.

32:11The character's name is Nara Ndikam.

32:16It's fixed.

32:17I mean, it's not called Nava Mage.

32:20I mean, it's not called Nava Mage.

32:22But we...

32:24How many characters do that?

32:26How many characters do that?

32:27Do that come to the film?

32:29I mean, if the character's narrative comes to the cast,

32:31then when they're not a film by the Mage,

32:33they have no idea.

32:35That's why.

32:36You can see that thing.

32:39I don't think everyone turns into the role of their character now...

32:42But I never thought that we could.

32:43The character always seems to live in a film by a dinner,

32:45and what I am looking for in a movie.

32:46That's the opportunity to live.

32:49that in this cinema, in this genre,

32:52there are so many challenges in Marathi.

32:57So what do you think that in this film,

33:00would you like to see the children of Preekshagan's son?

33:02Of course, that is all.

33:03We can see the children of Preekshagan's son.

33:06We have to give it, we have to give it.

33:09And we grow all the way.

33:10Because if we have one love story,

33:13and I think we have 10 love stories,

33:14so we can learn the truth.

33:16If we have one love story,

33:16then we can see one thriller,

33:17So it was fun.

33:19It was a thriller with an Aitiasik Chitrapatt.

33:21It was a film called Gawa Karchi.

33:24It was a social film.

33:25It was fun.

33:26It was fun.

33:27It was fun.

33:29But the rest of it was fun.

33:32What's your question?

33:34Do you have two Chitrapattas in Hindi?

33:36Do you have a cinema in China?

33:40Do you like it?

33:42Yes.

33:42Yes, I think.

33:46You are a part of it.

33:48When?

33:49When?

33:50I think.

33:51I think it's a lot of years.

33:53I think it's good.

33:54It's good.

33:56It's good.

33:57It's good.

33:59The truth is that

34:03the people like cinema

34:05and the people like.

34:07and Christians out of Europe

34:07and the people like it

34:08and the people like it

34:10and the people like it

34:12and the people like it

34:13and the people like it

34:13cross the 100 crores

34:15So this is one issue.

34:20What is a problem?

34:21Talk about the failure.

34:22What's the problem?

34:36We had been in the 2000-2003 years and we had a new project to do it.

34:43It was not just an issue.

34:44We had COVID setbacks, we had a bounce back.

34:49So, we started the beginning of the year in the year.

34:54I was in the year 2000,

34:58we had a great cinema in the year 2000.

34:59We had a great film.

35:00We had a great film,

35:00we had a great film.

35:02We had a great film.

35:04This year, in the last month, we had to cross two films.

35:10So, I am sure that the story of the story is coming from Maradi.

35:16So, Buddha, I have a question.

35:18How is Maradi cinema a drawback?

35:21What do you think? Just let me know.

35:23When Maradi cinema is released, it is not released.

35:27It is not released.

35:27There are 4-5 films.

35:30And then we have the audience.

35:31So, it is divided.

35:33So, in Hindi, there is one thing that we have to do in the cinema.

35:37So, they have to say,

35:40I have to say,

35:41I have to say,

35:42I have to say,

35:45What are the benefits of Maradi cinema?

35:49When it is a business,

35:53when it is a business,

35:54it is a business.

35:58The business is a business.

36:01It is a business.

36:01What is the business?

36:04The business is a business.

36:04The business is in existence.

36:08It is a business.

36:09I will continue to my life so that the reason

36:12that I am a business would try to do.

36:15That's the most important thing.

36:16Every day, it's less than 2 rupees per day.

36:19Therefore, I don't have this thought,

36:21but I think it's 100 rupees per day.

36:24If you have 10 rupees per day,

36:26if you have 10 rupees per day,

36:28you'll have to pay for 2 rupees per day.

36:30That's so much of a thought.

36:31That's the thought that I thought about it.

36:35That's the thought that we have learned

36:36that we want to make sure that our market is better.

36:39If we have all the problems in the world,

36:42we don't have to worry about it.

36:43is that people who believe it is 15 or 20 years.

36:47So, when the Non-Satatyah is a disapproval,

36:49they are brave.

36:50They are a new Agamberian,

36:51they are a new agamberian people.

36:53They're only a man that can't.

36:55They don't believe what they should do,

36:57don't believe what they should do,

36:59not who they should.

37:01So, when the Non-Satatyah did something,

37:03people brought the people with these people of Gagamberian,

37:06they are a new Agamberian,

37:08and they are a new agamberian people.

37:10So they may not believe them.

37:11There is no reason for it.

37:13In this situation, there is no reason for it.

37:18There is no reason for it.

37:19There is no reason for it.

37:22There is no reason for it.

37:24Do you have any benefit from the Marathi Chitrapat?

37:28Do you think you have any individual producers?

37:30Of course, you have to.

37:31I don't know why.

37:32I don't know why.

37:33There are many Marathi Chitrapat.

37:40Do you think you should have released a film in 4 years or not?

37:44No.

37:45There is no reason for it.

37:46There is no reason for it.

37:48There is no reason for it.

37:53In the city of Pune, in our city of Sanipara,

37:58the city of Kakaaloi and J.J. are living in the city of Kakaaloi,

38:01the city of Kakaaloi is a place for the city of Kakaaloi.

38:03The city of Kakaaloi is a place for the city of Kakaaloi.

38:06In the city of Kakaaloi,

38:17That's why it's not happening today, but it's not happening today, but it's not happening today, but it's happening today,

38:28but it's happening today.

38:29One more question, sir.

38:33Just add one more question.

38:35As for our cinema, we have 10 years of original film,

38:40but the Tarly announced that we have a film called Mayura Pradhan.

38:49We have 10 years of original film.

38:52But we decided that it was a very mutual thing.

39:05So I think that, like Dada Nipand sangit,

39:08that there are 4-5 years of cinema instead of coming.

39:11If you have 10 years of original film,

39:15then it will be properly divided.

39:17So it's better.

39:19I would say that we have a great decision.

39:23I would say that we have a great suggestion from the distributor.

39:27What is the beginning of the film?

39:30The beginning of the film.

39:32I think we have seen a lot of stories.

39:35We have about one year,

39:37the junior NPR,

39:39the president of the South,

39:40and the senior NPR.

39:40and the president is the president.

39:46The president is the president of the South.

39:47The president is the president of the South.

39:48They are the president of the South.

39:58I think it's a good thing to do.

40:00It's a good thing to do.

40:01It's a good thing to do.

40:02It's a good thing to do.

40:05It's a good thing to do.

40:07It's a good thing to do.

40:09What a question.

40:12First of all,

40:13I have a question about Marathi Chitrabat

40:14and I have asked

40:18one question.

40:19In the cinema,

40:21there are a lot of characters

40:22and characters.

40:24It's a good character.

40:25It's a good character.

40:28Do you have any questions

40:29that you have to ask?

40:32I said,

40:33I don't have to ask

40:36a question.

40:37I have to ask a question.

40:38In the evening,

40:39we have to ask the police,

40:42I have to ask a license.

40:45I have to ask a question.

40:48I said,

40:51I said,

40:52I have to ask a question.

40:52If you have any police,

40:53if you have any license,

40:54you have to ask them.

40:58I thought,

40:59that we have to ask a question.

41:03I don't understand it.

41:05It's a good thing.

41:07I'm not doing any work Arandir.

41:09But now, as soon as I want to speak about that,

41:11it's not about the sidewalk of that sidewalk.

41:14I don't need to make an onion.

41:16I'll take a village, I'll take a license,

41:19and I'll take a new one.

41:21I'll take a new one.

41:22That's why the sidewalk of a sidewalk is made.

41:23In this restaurant,

41:24when it's a junior artist collab,

41:27I'm an agent,

41:29but I'm saying,

41:30I've seen something nice.

41:31You have a very good promise.

41:35I would like to get into the building and come to the city and I thought that I would

41:42come to the bus and then come to the bus and then I would get a bus and get to

41:46the bus.

41:48There are a lot of people. There are a lot of people in the line and there were people who

41:53came to the street and they said, I'm a kid. I said, What the name is? They said,

41:57When the mentor said, who did he?

42:00He said, yes.

42:01I saw the line.

42:03He said, hey!

42:05He said, hey!

42:07He said, hey!

42:07He said, where are you?

42:09He said, you look good.

42:09He said, he said,

42:11you look good.

42:13You look good.

42:14He said, hey!

42:19I never thought of this.

42:22He said, hey!

42:25If you want to check the restaurant in the restaurant, you can check it out, right?

42:29I mean, one thing I've said is that there is a place to go, right?

42:33There is a place to go, right?

42:34There is a place to go, right?

42:36There is no place to go, right?

42:39I don't know.

42:39What is that? What is that?

42:41There is no place to go as an agent.

42:45I don't want to go to Marga New World.

42:46I want to go to an audition.

42:48I want to go to Aramnagar.

42:49I want to go to Prithvi Theater.

42:51I want to go to an audition.

42:56I think that is the right way.

42:57I want to go to Marga New World.

42:59Superb.

42:59Sir, Prithvi, what are you talking about?

43:02When I look at the production as a producer,

43:05it's happening.

43:06It's not new, but it's part and parcel of it.

43:10Every day is a new day.

43:11And there is no place to go.

43:14So, it's part and parcel.

43:17There is no place to go.

43:18I don't know if it's a good job.

43:20I mean, I don't have to go to a concert.

43:22But sometimes, we are thinking about

43:28the director of the director.

43:29What does he meet?

43:31But he is a great actor.

43:33He is a great actor.

43:34He is a great actor.

43:35He is a great actor.

43:36And he is a great actor.

43:42He is a great actor.

43:43Second choice, if we don't have a date available, if we don't have an actor back out.

43:49But for those reasons, why me?

43:52I think it's a good thing to do with the work.

43:57And I think it's a good thing to do with the cast.

44:01How sweet, how sweet.

44:04Sinmada?

44:05It's a good thing to do with the cast.

44:09Especially if you're doing it, some people...

44:13Yes, some people are doing it.

44:17But I think that's not my cup of tea.

44:22And I don't want to do it with the cast.

44:26I don't want to do it with the cast.

44:28I don't want to do it with the cast.

44:30I don't.

44:33It's a very beautiful person.

44:34How do you sing and singing?

44:36This is the one of the pop simple singing.

44:38And you have a song for this song to play in that song?

44:43From the comics to play, you will stop writing.

44:46You just can write this song.

44:49No one says, I promise.

44:52Let's go.

44:53You think it's the punching thing?

44:53No.

44:56No.

44:57So, let's talk about it.

44:59Whatever you think about it.

45:01The virus has a problem.

45:04The virus has a problem.

45:05The virus has a problem.

45:06The virus has a problem.

45:09So, Mitra and Bol Bol Rani

45:11Do you want to comment on this video?

45:14If you want to comment on this video,

45:15please comment on this video.

45:16And please comment on this video.

45:18Please don't film this video.

45:26.

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