Director Pritam SK Patil | छोट्या गावातून सुरू झालेला प्रवास...आज मराठीचं Horror Universe घडवणारा दिग्दर्शक! | Alyad Palyad Movie | Ghabadkund Movie | Lokmat Filmy | Marathi Entertainment News
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00:00A lot of people do not have a lot of work in the world.
00:04They do not have a lot of film making in Marathi.
00:06But one observation was that Marathi is a university.
00:11I would like to say that Marathi is the first university.
00:16First of all, Marathi is a place where Marathi is a place where they are.
00:23Because in Maharashtra, it is not a place where Marathi is a place where they are.
00:28It is a place where Marathi is a place where Marathi is a place where they are.
00:37Hello, my friends. I am your host, Sagar.
00:41Welcome to Lokmat film.
00:42My friends say that Marathi is a place where Marathi is a place where Marathi is a place where Marathi
00:54is a place where they are.
00:58So, this is a place where this is a place where you are.
01:06So, we are creating the place where Marathi is.
01:10We are creating the place where they are.
01:11So, you are seeing a place where Marathi is an opening point of the title,
01:13the movie will come and celebrate the first painting.
01:14And we are in front of the movie.
01:15And we are seeing a place where you are within this place.
01:17It was a great pleasure to be able to find a horror universe in Marathi, which is a horror universe
01:33in Marathi.
01:33I thought, we had a dream that I want to hear about the song from the beginning.
01:42And we can hear about the song from the beginning of the year.
01:46I was surprised that I was happy about this.
01:48Why would I do it?
01:50I would not understand when I would think about it.
01:53I thought, what is the thing that I was going to do with the song?
01:56What is the song? What is the song? What is the song?
02:00But I think I have to talk a little bit about what's going on, what's going on in Bollywood, what's
02:08going on in Hollywood, what's going on in the rest of the language.
02:10But in one observation, I think that there is no Maratis universe.
02:16And we are going to frame Koshala.
02:18We are going to frame Koshala.
02:20We are going to frame Captain America, Spider-Man.
02:22We are so crazy.
02:24We have a composed person in the back of the photos.
02:27Now I am following.
02:29I am wondering.
02:30I thought for a question.
02:33I thought that in Maratis, you know, what is a life of any Maratis world?
02:36And now that you have to take a look at them.
02:37But why do we have to take a look at them?
02:39You get to try to take a look at them.
02:40I said, Maratis is not a universe.
02:43Because it is a universe that is not a difficult time for me.
02:45We are not a human being.
02:46We are not a human being.
02:47We are able to share the stories and get connections with the world.
02:52I think I was wondering why we can be a universe that is a maratis universe.
02:54But I was like, I thought, I knew that we were going to be a leader in the world.
02:58I thought it was a good thing to say.
03:03I thought that it was a good thing.
03:06I was like, I am sorry to say that a few people who were in the world who were at
03:09the world were not a good thing.
03:12So I thought I was a great thing to say that the first universe was a great thing to say.
03:22But I think that you have to have a house full of people in Gabbad Kundach,
03:26how old are you?
03:287th year old.
03:298th year old.
03:31And the percentage of people have come from the city.
03:34And we think that people don't have to go to the city.
03:37What do you think?
03:38I think that the first time I think I think that we have to be a lot of knowledge,
03:46we have to be a lot of money.
03:46I am obsessed with this.
03:48We might not know that many of you are busy, but we don't have to worry about that.
03:54But the fact is that people have been able to get the role of different people.
04:00Ouraja is also changing the role of different people.
04:02We don't need to have the role of different people.
04:04We need to learn to get the role of different people.
04:05Because the role of the work can do the role of different people.
04:09So, for me, I think it's a great story.
04:13I remember that in 2021, Rajashevaji came to the film and Manjula came to the film and there were a
04:19continue film.
04:20Two years ago, it was a great story.
04:23Two years ago, it was a great story in Marathi, but it was a great story.
04:28I didn't think it was a great story.
04:30I think it's a great story, and I think it's a great story, and I think it's a great story.
04:37So, I think that if you want to make ghosts, that's all you have to do.
04:42I think this is a very interesting thing.
04:46I don't want to think about that.
04:49What do you think about the cinema?
04:52That there are theaters.
04:55That's why there are many great ghosts.
04:57That's why I think that in the season of cinema,
05:02I think that there are no theaters in this cinema.
05:05That's what I mean.
05:08First of all, Marathi and Chitraputa are the best of the time.
05:16I mean, when you are the best of the time, Marathi is the best of the time.
05:22I think Marathi and Chitraputa are the best of the time.
05:27When you go to the other, you appreciate how beautiful you are, how beautiful you are.
05:36Even when I go to the meeting, when you have a different language.
05:39Then I tell you, tell your story.
05:43You tell your story, and your story is very beautiful.
05:47I don't care about the money in Marathi.
05:51It's about creativity.
05:52It's about creativity.
05:54That's what I think.
05:56And the question is,
05:58Maharashtra is one of the most important things in the language.
06:03And that's what I think.
06:08It's a great language.
06:08And in our Hindi language,
06:10it's a great thing.
06:12In the region, Maharashtra speaks a lot of Hindi language.
06:16And I think it's about Hindi.
06:18I think it's about Hindi language.
06:19And I think it's about your own language.
06:23I think that the distribution and language is obvious.
06:30It's about the language of the language.
06:31So, I think it's about the problem.
06:34But I think that if you have a language,
06:36I think it's about the priority.
06:38I think that the priority is about the Marathi.
06:48I think it's about the priority.
06:49But in Marathi,
06:52the platform,
06:54the theatres are available in Marathi cinema.
06:57Because,
06:58you know,
06:59one of the horror universe of Marathi,
07:02and Hollywood's universe,
07:04the cinema came from Spider-Man.
07:06So, I think that Marathi,
07:07the theatres are not available in Marathi.
07:18So, what are the things that are available?
07:20I think that we have to mix these things.
07:23I think that the things that we have to do
07:25is mix these things.
07:25I think that the things that we have to do is,
07:27obviously,
07:28that there is a Hollywood film,
07:31and that there is a good thing.
07:34I think that the priority is the Dili.
07:36Because,
07:37when you have the story of Marathi,
07:40the person who does not want to play Marathi,
07:40then why should you play the role of Marathi.
07:43So,
07:46I think that the priority is the first priority to be in Delhi.
07:48Because these people are very important in the home,
07:51that there is a number of films,
07:54and there's no one that you can judge for Marathi,
07:57and there's no priority to be in Delhi.
07:59I think that the priority is the priority to be in Delhi.
08:00I think that there is a lot of questions.
08:02But I don't think it's a Marathi language, but I've seen this film. Have you seen this Marathi's film?
08:11We don't watch Marathi films. But one thing I want to ask is,
08:16if you go to Marathi's film in the cinema,
08:22you can't go to the theater.
08:25But the audience of Marathi,
08:28do you have any interest in Marathi's cinema?
08:33Let's talk about it.
08:35If you have the OTT channel,
08:38the satellite,
08:40you have the same.
08:43If you have the same,
08:44you have the same.
08:46I think we have the same.
08:48We have the same.
08:50We have the same.
08:51What is the ratio of Marathi's film?
08:54How much is the ratio?
08:58The ratio is very, very high.
09:01We have the same.
09:02We have to purchase this ad for 4.
09:03We have to purchase this.
09:05We have the same.
09:08I think,
09:09as of this,
09:10all that is in my own language.
09:13You have to purchase this video.
09:14We have to purchase this video.
09:15And as of this,
09:15it will be a big execution.
09:18We don't think that it will be a big part of this work.
09:25Also how nice do Marathi's film comes up?
09:27Let me ask,
09:29howhey will you roundup Hindi?
09:31Not even.
09:32In this film, there are a lot of films such as Daghdi Chada, Aayna Kabaayna, Hindi Mare Dhabzale and Zunapala
09:42Jhapat Lela.
09:43In these films, we have seen the films of Hindi Mare Dhabhun.
09:48Exactly.
09:48So, we need a film of the film.
09:50We need a film of Chiranjeeva.
09:53You mean South-Chair?
09:54Yes, South-Chair film.
09:56We have seen a film of the film.
09:57I mean, White White is a film of the film.
10:00We have seen some other films as well.
10:01We have seen some other films as well.
10:04The first thing, we have seen the film of The Vos Bar, a South-Chair film.
10:07Because they have seen the films as well.
10:11And then, they have seen all these films.
10:13And then, they have seen the films that are fast.
10:17And, the point is, the film is not that.
10:19I mean, they have seen the films that are all the way up.
10:23Because of Marathi movies, it is public.
10:27It is also published in a house.
10:28First of all, we have to be able to find out more about the film.
10:33I think that we have to find out more about the film.
10:40That film is more likely to be able to find out more about the film.
10:53I was surprised that when I was going to film a cinema, I was surprised that there was no cinema
11:01here.
11:02The cinema has been a lot of publicity. But there was a lot of cinema.
11:07I was like, I'm a family and I was like, I'm a cinema.
11:11And I was like, I'm not a screenplay.
11:15I was like, I'm going to film a story.
11:17But I was like, you know, the stars were going to film a cinema.
11:20I'm like, I'm not like that.
11:23I don't think it's a good thing, it's a good thing.
11:27One thing I really like to say is that the film doesn't become a short film.
11:36I think there are no number of films.
11:39For example, it's called Mahinatna Daah film in Marathi.
11:44I think that the film is the best to make a film.
11:47The last film is very important that you have to believe and believe in your faith that the makers are
11:53beautiful.
11:54In the context of that, the makers of the makers can understand that there is a good idea,
12:00how many films are in the same way, how many other films are in the same way,
12:05how many films are in Hindi, how many films are in the same way,
12:07how many films are in the same way, and how many films do they come up,
12:11and we are here to think about it.
12:13When we started 20 years ago, our film making style is the same.
12:17No, there is no change.
12:20There is no change in one screen.
12:23There is a little change in the world.
12:25But in the world, we cannot do anything to make a film.
12:28I think we have to do anything to make a film.
12:32We will not be able to make a film.
12:35We will not be able to make a film.
12:36There is a lot of people who are able to make a film.
12:42But the rest of us is not a change.
12:43For example, the makers are less.
12:49We will not be able to make a film.
12:52We will not be able to make a film.
12:54We have to make the film more than we have.
12:56I was able to make the film more than we have to do it.
12:59When we visited the theatre,
13:02we will not be able to make the film more.
13:06I think we are going to be a friend of mine, that we are going to be more than a
13:10child.
13:12That's the feeling of joy.
13:14I don't know if I tell anyone else, I am going to be watching a third film and you are
13:20watching a second film.
13:21That's a lot of joy.
13:23So if we want to be able to practice for a few minutes, we have executed it.
13:29I think that the film is very beautiful and the film is very beautiful.
13:37So, we are very careful.
13:39What is the question?
13:41I think that the makers have a problem.
13:45What is it?
13:46Budget.
13:47When you were reading a cinema,
13:50you were saying,
13:51I think that this is my visual, I think that every maker in this cinema is going to shoot that
13:58cinema in Hollywood, but the cinema is going to be dead.
14:03And there is a problem with the budget. So the makers have a problem with the ideal budget for the
14:09cinema.
14:10And if you look at the cinema or the producer, what do you think about it?
14:21I don't know what I'm talking about, but I'm talking about one thing.
14:27A lot of people are doing a lot of work with the cinema.
14:32That's a big problem.
14:35You're doing a lot of creativity.
14:36That's a big problem.
14:40I think that when the cinema starts, you're passionate about making a film.
14:48You're going to be able to make a film.
14:48You're going to be able to make a film.
14:52That's a big task.
14:53I think that if you're interested in one cinema, you're going to make a film.
15:00And that's the median cost
15:01means that you're trying to make a film.
15:02So that's a good execution.
15:05Because the cinema in the cinema in the budget
15:07has a great creativity.
15:09You're going to think about it.
15:11You're going to execute it.
15:13And this only does matter.
15:14And I think that you have confidence in your confidence that you have to execute your own painting
15:24And I think that in the end of the movie, the 10th of the movie will be made
15:29But most of the films do not have the quality of the current execution
15:36No matter what the current execution is
15:38But I think that if one maker is a two-year-old filmmaker
15:43I think that you have a one-year-old filmmaker
15:45But you have to make a beautiful filmmaker
15:47So that you have to make a budget
15:50So that you have to make a budget
15:52You have to make a budget
15:53You are just making a film for me
15:57My filmmaker is making a budget
15:59It is presentable and a budget
16:03They are making a difference
16:06That we are going to execute this one
16:08And I think that you have to make a budget
16:12You have to make a VAPEX
16:14There is action
16:15There is a big part of the film
16:17And Marathi and others have to make a new picture
16:20And the whole story of everything is coming out
16:23I've been my friend
16:24I've been a very successful person
16:26I'm a very successful person
16:27I'm a very successful person
16:29or some people are not, they are not, they are not.
16:32Then, for me, this thing is for me to go on.
16:35Our budget is the opportunity to give the opportunity to create creativity.
16:39And if you have a chance to say,
16:42that I am going to have to compromise with you,
16:44then we will compromise with you,
16:47then we will do it.
16:49That's why I'm going to do it.
16:50I'm going to say that this is 2 rupees,
16:53and that will be made in 2 rupees.
16:54the content is made.
16:56This is a good execution.
16:58I have a good idea of making this content.
17:00That is the value of 2.00-1.00-1.00-1.00.
17:03Yes.
17:04I have to do this.
17:05There is a good idea.
17:09I can't believe it.
17:11I can't believe it.
17:11I can't believe it.
17:13But I think that it is a good idea of making this execution.
17:17If we have a good idea of doing it,
17:20we can't believe it.
17:23But I'm going to tell you that in this universe, we have sources, we have sources, we have sources
17:29We have thought that in the first place, Marathi is not going to be able to live in Hindi,
17:38and you have to play a game in Hindi. So that will happen.
17:44This is the information we have done. This is the 9th place,
17:48and this is the 9th place.
17:52Mr. I think we have heard that the idea of Sarwankar's thinking is that we can make a difference in
18:01other words.
18:03So, the idea is that we start thinking.
18:07Mr. Ritam Ji, I think that in Marathit, there are films in Hindi.
18:15We have a lot of films in Hindi in Hindi.
18:19We have a lot of films in Hindi.
18:23So, we can become a Marathi maker.
18:27What are the 80s and 70s?
18:31How do we get a chance to hear about your story?
18:34I think the most important thing is that we are in Hindi.
18:40There is a lot of Hindi films in Marathi, because this is the beginning of our film.
18:46So, how can we sing?
18:52We can sing.
18:53I think that Maharashtra has to be able to make the world and the world.
18:59That's right.
19:00I think that Paul has to be able to say that
19:05There is no way to speak about any language or any other language.
19:08There is no way to speak about the language of Maharashtra, Kalagara, Tantric, Sarwana and Sarwana.
19:17And that is why we are very genuine.
19:20We are very genuine.
19:23We are very genuine.
19:24We are very respectful of this.
19:26I think that this is the correct time when we get to our mother's voice,
19:32Ghanda, Suganga, that's the whole thing in Bharat.
19:35My question is, what do you think about Hindi cinema in Hindi?
19:39Do you think that you are in Marathi,
19:44or are you in Hindi?
19:48Obviously, if you think about it,
19:51I'm here and I'm here and I'm here and I'm here.
19:54You're here and I'm here.
19:58If you were as a teenager,
20:01and you did not have any big people,
20:02then I didn't want to eat the whole world.
20:07Our filmmaking style is very good.
20:09Not all of Marathi filmmakers.
20:11And I think most of the film is the same,
20:15but Marathi,
20:17that is, the people of the Kalaakarans, the people of the country, and the people of the country,
20:23the man's love of Marathi, the people of the country, the people of the country and the people of the
20:28country,
20:28are a good person.
20:28I want to ask you one question that there is less budget.
20:32I think that there is less budget in the country.
20:37Do not do that.
20:39We have our love, our love.
20:41We have our love that we have to execute.
20:44I think it's a good idea that we have to go to Marathi.
20:52But there is a lot of work in Marathi.
20:56There is a lot of work in Marathi artists.
21:00And I feel proud that when there is a lot of work in Marathi director,
21:05Marathi and Kalakar who are doing Hindi work,
21:07they are very beautiful and happy.
21:14Because if we have done that, we will be able to do that.
21:19What is the question?
21:20I think that in Marathi's work,
21:23there is a lot of work in Hindi.
21:27But I think that is a very important thing.
21:56Mr. Sir, there are two ratios, obviously.
21:59Mr. Sir, we don't have any final effects to be able to make the Macer's production.
22:03Mr. Sir, you don't have any bonus characters here.
22:08Mr. Sir, I think that it's the most important thing for a actor in a cinema.
22:15Mr. Sir, we will go to an OTT platform but the idea is that the theater or OTT could not
22:25be in it.
22:25When we were talking about a big maker, what do you think about that makers?
22:31I think that the big makers never reject the OTT makers.
22:35The big makers never reject the OTT makers.
22:38If they have a beautiful OTT makers, they will come to the OTT makers.
22:42They will not have our power and strength.
22:47They will not execute it.
22:49They will not execute it.
22:53I think it is a good idea.
22:58I think it is a good idea.
22:59What do you think about the OTT makers?
23:04What do you think about the OTT makers?
23:05I think it is a big OTT makers.
23:08I think it is a good idea.
23:10If you think about the OTT makers, they will come to the OTT makers.
23:15What is it?
23:16We are talking about Hindi makers.
23:18We don't have any language.
23:18We don't have any language.
23:19We are trying to make an OTT makers.
23:27We are trying to make an OTT makers.
23:41I think I'm going to think that there's no ODD.
23:45So, there's no problem with the theater.
23:47What's wrong with the film?
23:49The film made of Naveen Mekar's film is different.
23:53It's different. It's different.
23:56I've already done two films in the film.
23:59It's different.
24:01It's different.
24:02It's different.
24:04It's different.
24:05The system is a way of getting the system.
24:08The system is a way of getting the system.
24:12But there are some reasons that we have to be able to stay in OTT.
24:18There are very limited OTTs that are in our country.
24:23And there are many OTTs that are not the platform of Marathi.
24:28There are many OTTs that are not the platform of Marathi.
24:31There are only Netflix and there are no OTT platforms.
24:34There are many OTT platforms that are not the platform.
24:39But I think that OTT platforms are not the platform.
24:41Because our Chitra Bhattani has not heard of it.
24:43I think that is what we have to do.
24:46But then Marathi Chitra Bhattani is a repeat audience.
24:50Repeat producers are very low.
24:53So how do you repeat producers do this?
24:56I think that you started the process.
24:59What are you doing?
25:03You do it.
25:06You do it.
25:07You do it.
25:08You do it.
25:08You do it.
25:08Like this, Marathi Chitra Bhattani is a repeat of the money.
25:16But it doesn't happen.
25:17So the producers are doing it.
25:19The people in our business are the only great job.
25:22I think that it is very good and huge job.
25:23The people are doing it.
25:25The amount that people are doing it is doing this.
25:27If we have a great job, they are executed.
25:31They are the best of the producers.
25:33But they are the best of the producers.
25:42So, they can't be right in this case.
25:44And they are looking at their own people.
25:46They have confidence in their own people.
25:47After all, you see them as possible.
25:49Nirmath, the Rashi Kadam sir.
25:53You have heard that you are doing a 15-year-old film.
25:56What are you doing?
25:58I have to understand what the Marathi film is and it is a very good idea.
26:03I mean, Rashi Kadam is always the idea that the Rashi Kadam is very good.
26:06It is a good idea that if you have 2-3 years of entertainment,
26:11you have to have a lot of logic.
26:14But I think that I have to have a good idea.
26:17You can't believe, that the nightmarag activity don't tell us, that I am so proud of it.
26:23So, with this moment, you can't give me anything any further.
26:26You have filmed this, you have to do your own job, to try and make it.
26:31So, there has been no time to get on it for a long time.
26:34Every set or every people are there, every life is now living in the experience of your culture.
26:40The way it is in the society, the stupid smartness is the one that has most marketing and marketing.
26:49When we know about the same thing, we don't work in the ground level in marketing,
26:56but we don't have the same thing because it is the ground level in marketing and there is a lot
27:02of that.
27:02So, I think that if the two people have to do tuning in,
27:07that they have to be a pillar of the director and producer.
27:11So, the two people have to think about the execution of the executive,
27:14the vision of the executive, the vision of the executive,
27:15and the vision of the executive executive.
27:16I think that if the two people have to think about the same thing,
27:19then the servers will repeat the number of series.
27:25But what makers, well-known makers,
27:30do you support them in the DAWAL industry?
27:35And you think that, okay, you can do DAWAL and DAWAL.
27:38And then you say, we are doing the universe.
27:41What do you think?
27:44No, makers are not DAWAL.
27:48But there is no matter where there is no matter where they are.
27:54And they work, but nobody can do anything to do.
27:56And they work hard, they work hard, they work hard, they work hard.
28:02And they work hard hard.
28:03What is the case?
28:05That if a person speaks to a person,
28:08then they are going to be a pillar of the white.
28:09Why do you think that the people...
28:11Trollers?
28:13No, I don't think that.
28:15But there are many people who speak to a person,
28:19they are going to speak the same way.
28:21They have to speak as they are.
28:23Because they are speaking as the white.
28:25The most important important thing to know is that
28:28I belong to which a person is very important.
28:30For example, I belong to that person.
28:31I belong to that person as an individual.
28:33But there is no such thing in that person.
28:35There is no place.
28:38We don't have plays, we don't have to be able to play.
28:43When I go to one side, I say plays, and dance, and work out,
28:49and Saturday Sunday, we don't have to be able to play.
28:54We don't have to be able to play.
28:56But if there are any other things, people have to accept that.
29:02If you have to be able to play a film,
29:04you can make this film, and then the film will be able to play.
29:08I won't be able to play that film.
29:10The film's problem is that the industry has to be involved,
29:13or part of the industry is involved,
29:14or part of the industry.
29:17But it's not.
29:19It's very genuine.
29:20The industry is very genuine.
29:23The industry is genuine.
29:24You can consider it very important in the industry.
29:27It's the same, when you think about the future,
29:29you don't have to be in trouble.
29:30I think that there are also some things that happen.
29:34But I have learned that when I was starting a film,
29:40I felt like I was talking about a lot,
29:42I was talking about a lot,
29:44I don't know what happened.
29:46People said,
29:47I don't know what happened.
29:48I don't know what happened.
29:51I don't know how to talk.
29:54I don't know how to talk.
29:57I don't know how to talk.
30:01I thought, what is happening in my life?
30:05I understood that, if you are in a position,
30:12then you have to make a difference in that person.
30:16I don't know what to say.
30:18I don't know what to say, what to say.
30:21I don't know what to say.
30:22I don't know what to say.
30:24I don't know what to say.
30:28I think that the person who will make this difference,
30:32then the person who will make this difference is the same.
30:35If they don't make this difference,
30:38they will not make it a difference.
30:41If you have to make this difference,
30:43then I will make it a million dollars.
30:45No, I will make it a difference.
30:47I will make it a difference.
30:49I will make it a difference.
30:51My language is also a problem.
30:53We are like, why do you want to vote?
30:55That is a problem.
30:57So in the words of how we should compare it to Kuna-la and I will tell you what, what?
31:04We should not try to answer that.
31:07The truth is that I've been talking positively.
31:12I don't know how to share a little language, I should be speaking a little language.
31:16We have to learn the math and experience and I think you can learn the truth.
31:21It's a very interesting topic, I just wanted to say that
31:24If there is a group of people who don't grow up,
31:27then we don't grow up, we don't grow up.
31:30But I also wanted to say the same language.
31:36It's not only that,
31:36it's not only that,
31:38but I wanted to say the same thing as a language.
31:43Because you've been talking about the language.
31:45I'm talking about the same language.
31:46I think it's important for you to be honest, that if you're a big person,
31:52there's no doubt that you don't have to worry about it.
31:57Because when you declare that you're going to have a film of 15 crore,
32:05the winner is a producer, he's going to have to worry about it.
32:09He's going to have to worry about it and he's going to have to worry about it.
32:11Because there is a lot of confidence that it is a good thing to do with the best.
32:17So, you have a lot of confidence that you have to do with the best, and you have a lot
32:22of confidence.
32:23So, there are many parts in the horror universe.
32:27Because there are many parts in the horror universe,
32:29there are many parts to do with the first part, second part,
32:32and then they are directly declared.
32:34So, I think we should do 12 parts.
32:35So, what do you declare?
32:37I think that the amount declared for the amount of money is the amount of money.
32:45And I think that the surprise was that I had to say the amount of money.
32:51But there are a lot of parts.
32:53I don't want to say anything about that.
32:56I don't want to say anything about that.
32:56I don't want to say anything about that.
33:00What a joke.
33:02It won't stop.
33:04I don't think you're going to say anything about that.
33:05It's just that you're going to hammer it.
33:09And I think the point is,
33:11I think the reason I'm going to say when I was horror,
33:14I think it's a very good movie.
33:16And I think that the movie is a good movie.
33:19I think every movie is a nice.
33:20When I ask a question,
33:22I think that you are going to say,
33:24that you have to go to a club,
33:26that you have to go to a local,
33:29or you have to go to a house.
33:31In the city, there are many people in the city,
33:35and there are many people in the city,
33:36and there are many people in the city.
33:40So, these people,
33:42in the city,
33:43in the city,
33:45in the city,
33:47will guide them to the Kasha Paddhati,
33:49and will guide them to the film in the Kasha Paddhati.
33:54I think,
33:56one of the people,
33:57is not very happy.
33:59For example,
34:01If they are happy,
34:03They are happy,
34:04they are happy.
34:05They are happy.
34:06They are happy.
34:07They are happy.
34:09They are happy.
34:10They are happy.
34:10In the city,
34:12Mumbai,
34:12and Punayabharanta.
34:14I think,
34:14if the city of Chandrapur,
34:17the city of Chandrapur,
34:18will be able to get 800 km of the house.
34:21That is a very big task.
34:23You are the people in the city,
34:25and you are the people in the city,
34:27you are the people in the city,
34:28and you are the people in the city,
34:29you are the people in the city,
34:30and you are the people in the city.
34:30It is a very big task.
34:32I am happy,
34:33sir,
34:34that I am the people in the city,
34:38we are the people,
34:39we are the people in the city,
34:40but the people in place don't find them
34:43what will happen,
34:45what will happen?
34:46How will they work?
34:47Because we are not the people in the city.
34:49I will think a lot of people in the city.
34:52We are not the people in the city,
34:54so we are the people in the city.
34:58R.C.
34:59R.C.
35:00R.C.
35:07R.C.
35:09But I think that the rules of the rules, the Marath and Vidarabha, the rules of the rules,
35:18that the rules of the rules are made and that the rules are made and that the rules are made.
35:29For example, sir, I am the first director of the past film released.
35:35I am back to back.
35:37But I think there is an example set that
35:40that the government has come to us.
35:43Because there is no way to go to the government.
35:46There is no way to go to the government.
35:49There is no way to go to the government.
35:53But I think that this government has to be able to go to the government.
35:57When people talk about the situation, you will face the problems and face the problems.
36:08And when you face the problems, the problem is important.
36:13To fight, survive.
36:16It's fun because it's not the success of it.
36:21But I think you do want to win in your team?
36:23No, I think that's it.
36:25I think when I arrived in the
36:26morning there wasn't a lot of experiences
36:31between the two women and the women,
36:33negative characters,
36:34the women and women.
36:36Most of us,
36:37we personally do the same thing,
36:38and I think that's what you have got to do.
36:40Even I talk to people to your ex-example.
36:43Like this,
36:43we've got to act like this.
36:44Like this part,
36:44we've got to act like this.
36:46We've got to act like this.
36:54First of all, I am a doctor, not engineer, I am a teacher, and I am doing MPS.
37:02First of all, I am a creator, not a doctor, not an engineer.
37:09I am a doctor, and I am a doctor, and I am a doctor.
37:13Every person in my life may have been done and done by executing those people.
37:22I am a doctor, and I am a doctor, and I am a doctor, externals.
37:37So, it's not a big deal of problems.
37:40It's not a big deal of problems.
37:43What a problem.
37:44You said that in Hindi cinema,
37:48you are not going to be able to get a big deal of things.
37:53No, no, no.
37:56There is no problem.
37:58There is no problem.
38:00I'm not going to be a problem.
38:01I don't want to be a problem.
38:05.
38:05.
38:05.
38:05.
38:05.
38:05.
38:06.
38:06.
38:51Thank you so much for watching.
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