00:00No, I don't have to worry about it.
00:02It's a lot of worry about it.
00:05I don't know.
00:07If you have a tree or a tree,
00:11a tree or a tree,
00:12I would say,
00:13I would say,
00:14I would say,
00:14I would say,
00:15I would say,
00:16I would say it.
00:16I would say,
00:17I would say,
00:17I'm doing a bad thing.
00:20I would say it's a bad thing.
00:23I would say that.
00:26I would say that it's a bad thing.
00:27I would say,
00:28I don't have a bad thing.
00:31I don't have to worry about it.
00:33I could do a phone call.
00:37I would say,
00:38I don't have to worry about it.
00:39I would say,
00:39I never thought you were going to go to Hindi cinema.
00:42No.
00:42Oh.
00:46Now I have a famous film of Nana where the man has his own name.
00:53She has a good picture of Royal Nikilaani, Ruhini, Pallaviz Oshi, Nana and Raji Babur.
01:00That's not the most. But the story is is different.
01:03There was no idea what they wanted.
01:05I didn't even know what to do.
01:07I don't think it was any one of those things before I had to go to the shop.
01:10I had a very few of those things.
01:13He was going to go to the film first of the film.
01:18The director of the film was in Kashmir.
01:23He was at the film.
01:26Then, the producer of the film is after the film.
01:32So, first of all, I had a phone call. I said, hello, my son.
01:35It's like that if you have a film on the police,
01:40you must play a big role.
01:43I mean, I don't want to play in the police.
01:45I've done it.
01:47I've done it.
01:48And then the CIA said, no, no.
01:50You have to do it.
01:52I mean, I don't want to do it.
01:53I don't want to do it.
01:55I said, please, please, please.
01:58I mean, I don't want to.
02:00I don't want to do it.
02:01Look, Nana, you know Patekar,
02:04yes.
02:06So, they said that you need a family for this role.
02:10Then they said, what do I do?
02:12I don't want to do it.
02:14I'm not going to do it.
02:16I don't want to do it.
02:17They said I don't want to do it.
02:19They don't like it.
02:20They said, Nana is a girl.
02:23She's a girl.
02:24She's a girl.
02:25She's a girl.
02:25I'm not going to talk to her.
02:27I'm going to get a phone.
02:29She's a girl.
02:31I want to call her.
02:32She said, Nana is a girl.
02:33Nana is not talking to her.
02:34So, then I don't have to say the girl.
02:35She says, Nana is not saying that she's a person.
02:44That's what happens to me.
02:46I doesn't want to.
02:53She's a woman.
02:53In India, there is no one.
02:55No one is not in India.
02:55It's not in India.
02:55It's a good thing.
02:58The other picture is when Manisha Koyalala is coming to me.
03:07It's a film.
03:08Atamanal Shiva is a beautiful picture.
03:12You have to do parallel roles.
03:15You have to do parallel roles.
03:18Who is the main role?
03:20Me.
03:21I'm not.
03:23I'm not.
03:24You are so beautiful.
03:26You are so beautiful.
03:29And then Gholami Mustafa.
03:32Oh!
03:33He is so beautiful.
03:36He is so beautiful.
03:39He is so beautiful.
03:39You have to get a national award.
03:42He is so beautiful.
03:44And cinema is so beautiful.
03:48He is so beautiful.
03:49I won't have any problems.
03:51I have no problem with my personal life.
03:52I have Harunas.
03:53I have no problem with Mustafa.
03:57They have no problem with the two of them.
04:01I have no problem with Harunas.
04:06And then the two of them had to do it.
04:07I was like, I was like, I was like, I'm going to shoot at the hospital.
04:11I was like, I'm going to shoot at the hospital.
04:13I had a great experience in my first time.
04:22I was like, I'm not sure what the fuck I was going to do.
04:26I'm like, I'm going to go to the house.
04:28I'm not sure what I was going to do.
04:32Even if you don't think about it, you don't think about it, right?
04:35Then I said, yes, it's Manasanman's picture.
04:38I had a phone call for a month or a half a month.
04:42I said, why is this? I didn't call it.
04:44I said, but I'm not sure.
04:46I said, I'm not sure.
04:48I said, what is this?
04:50I said, what is this?
04:54I said, what is this?
04:57There is no TV.
04:59I said, what is this is that?
05:00You can have Manasanman's picture,
05:01So, if there is a couple of questions,
05:03you'd be speaking from a person,
05:04that's true, you're not sure.
05:09So, there is no reason to ask for this.
05:11I think there is no reason to ask for that,
05:13that's how it is.
05:13I mean, there is no reason to ask for a moment.
05:15I would think if there is no reason to ask for this,
05:19if there is no reason to ask for the a few seconds,
05:22you have no reason to ask for that.
05:22I still did the preparation.
05:23Because that's the same thing.
05:25I didn't say anything about him.
05:28I didn't say anything.
05:28I said, if someone had been a woman,
05:30then it was just different.
05:32If you're talking about someone,
05:35you're talking about people and you're talking about people.
05:37That is a big one.
05:40That's right.
05:41It's not.
05:42I thought it would be a million dollars,
05:45but I didn't like it.
05:48The whole lives are in the lives of millions.
05:50What is it?
05:52It's not an icon or icon.
05:55It's not an icon.
05:57When I was a kid, I thought,
06:01I was interested in the industry, my family,
06:04but I didn't have any questions.
06:07Because I thought,
06:09I was a headstrong,
06:11I was a kid,
06:12and I was a kid,
06:14but I was a kid.
06:15I was a kid.
06:17I couldn't do it.
06:20Vikram Gokhale was my favorite.
06:25I was a fan.
06:29I was a star.
06:33But he became a friend.
06:36He was an actor.
06:39He was a school.
06:44I was a kid.
06:47But I'm not a kid,
06:49but I'm a kid.
06:49I'm not a kid.
06:50But if I go to the cinema,
06:52I was a kid.
06:55It's my vision.
06:57I think it's my joy.
07:00I saw that picture,
07:02I'm a kid.
07:04But I'm the same.
07:05But I didn't suggest that it would be difficult for me, but I would not suggest that it would be
07:12difficult for me.
07:13What do you mean? It would be like a Spanish villa.
07:17And I thought that it would be a little bit of Kerala architecture.
07:22It would be nice, but it would be a lot of Kerala and Spanish.
07:28And we are Spanish. I'm the only Spanish being to Spanish.
07:33It would be nice to eat with 바람 or kakani.
07:36It would be dark in the home.
07:39I would love if I ate an animal in the rich.
07:44Because what do you think?
07:45And that was the first time.
07:47I was surprised not that Nana didn't have a strong family.
07:51Nana was absolutely good for me.
07:54I was absolutely hurt.
07:54When I was there, I thought I was ready for that.
08:03My way or the highway.
08:10That's my vision.
08:12And I respected it.
08:14When I was there, I wanted to override it.
08:19That's my credit.
08:20I thought, there was a scene in the film.
08:23And Nana had this film to move to the film.
08:27Hats off of Nana.
08:29And not my acting, he wouldn't take it.
08:33But Nana have no idea to do that.
08:38I'm getting up to that, but I don't think if you know your job, Nana has worked with Nana.
08:43I don't think so. I think that when you talk about cinema, Nana Sir is Hindi at the top, at
08:50the peak of his career. In Hindi, he is the number one actor.
08:55I think that you are the number one actor in the country anyways. Nana is the finest actor we have
08:59according to me in the country.
09:01That's right. But commercially, he is the top of his game.
09:05He is the top of his career. But he is the only one actor. He is the only one actor.
09:12He is the only actor.
09:14He is the only actor. He is the only actor. Beyond the film. Shiva Ji Sir, the actor.
09:19Our director of Parthogosh, he is the actor of Agni Sakshi. Nana Sir, he was the actor of a super
09:23hit.
09:24And Agni Sakshi was the actor of Nana and Parthogosh.
09:27He was the actor of Gullam and Mustafa and Chitrapat.
09:30I think this was a super hit. The actor of Pushpananta and the actor of Pushpananta was the actor of
09:37Gullam.
09:37He was the actor of Agni Sakshi and the actor of Gullam and Mustafa.
09:41It was the actor of Gullam. But he did not have a role in the hero.
09:45It was a definite role. Because he was the actor of Hindu and Muslim,
09:51and all of those characters were involved in the company. Beautiful story.
09:54I think Nana Sir is very important. I think I want to say that
09:57So, it's a big set in Kamalistan. It's a big set in Kamalistan.
10:03It's a big set. It's a big set that Nanasar has a bike, a bullet.
10:11And the culmination of the scene is that it's a big set that Nanasar has a big set.
10:17And it's a big set that's a bridge. It's a big set that's a big set.
10:25Nanasar has a big set. And I'm at home and it's a short cut. But it's a single shot.
10:31And it's a big set.
10:34There's a bike that's going on, that the bullet and brake are going on.
10:38If everyone's bike has gear and brake, then it's going on.
10:44At least it's a big set. It's a big set.
10:47So, I was told that Parchudada and I thought that we'll do that duplicate and shoot it.
10:55And Nanasar has a big set.
10:57And Swapnil has a duplicate and it's a big set.
10:58And the angle of the car is cut.
11:02And actually Swapnil has a big set.
11:08And Parchudada and I thought that the car is one shot.
11:10That's what we did.
11:11And we had established the best part that we established.
11:14And that best part that we made.
11:17But Swapnil has a big set.
11:20So we had to take a look at this.
11:21I said, you were a big set.
11:23I said, no sir, you are good, right?
11:25I said, you are good.
11:26I said, you are not good, but you are good.
11:28We are good.
11:29But you are good. You have to take the bike.
11:32I said, Nanasar doesn't really have any time.
11:34What is the reason for the Nanasara personally?
11:38Nanasara is in the incompetence of the Nanasara.
11:42I am in the incompetence of the Nanasara.
11:45He is in the incompetence of the Nanasara.
11:46I was almost shocked to see the Nanasara.
11:50I was in the moment, I would not have to know that Nanasara was in the world.
11:51Rather, Nanasara would not have to know this or not to say this or not to say this.
11:56I don't think...
11:57I am scared, but I have to know this.
12:00And I was wondering, I am very proud of Nanasara.
12:03I said, hey, tell me, come here, I'm going to eat this, I'm going to eat this, I'm going to
12:08eat this, I'm going to eat this.
12:09And the set-work is also true.
12:12Nana Sir Astil, Aruna Ji Astil, Aruna Ji, I did a lot of work.
12:15I got to get to the Gullama Mustafa.
12:18Anyways, I took the bike for two days, then I postponed the shot.
12:22I thought, okay, if this is going to go, then Nana's duplicate is sent.
12:28Because Nana is what is the set-work?
12:31So, if you keep the original swapnel, it has duplicate for Nana's duplicate.
12:34And they said, no.
12:36They said, my confidence is it.
12:38If you want me to get duplicate, I give the new confidence that you can always get the new car.
12:45While you want me to get the new confidence that Nana will get the new route.
12:50No, you are.
12:51They said, my confidence is it.
12:53So, how and when you get the pressure, Nana will get the new route.
12:55And one-shot, you come to the left, right, legs, I'm going to get gear by and I'll change that.
13:00And I made it one shot, so it wasn't in the film.
13:03And it was okay for the first take.
13:05You said that you were talking about Nana Saran,
13:07and you were talking about making-making-making-making.
13:10And you said, you could do it.
13:12You could do it.
13:13So, that's a good actor.
13:15Nana Saran and Sir, you were talking about this song.
13:19Because Aruna Ji, I said,
13:20I was talking about Mustafa, and I was talking about him.
13:23But then we made a rap.
13:26I mean, this will be released in the country.
13:28There was a producer.
13:30So, he was shooting.
13:34And I was shooting.
13:35There was a studio in Magnum.
13:38So, I didn't know.
13:39So, there was a lot of shooting in the world.
13:40But then there was a lot of shooting.
13:44And then there was a show planned.
13:45It was a first Hindi show to London.
13:48And he was talking about his children.
13:50Because he was confused.
13:51Oh, how are you? How many times have you?
13:53And he was talking about his children.
13:55He was talking about his children.
13:56And he said, I don't know how to do it.
13:58I said, you're doing what you're doing?
14:00I said, I'm doing it.
14:01I'm doing it, I'm doing it.
14:02I'm doing it.
14:02It's a small show.
14:03It's a small show.
14:03And then, you're doing it.
14:05I said, I have a passport.
14:07I said, I have a passport.
14:09This is Nandita.
14:10Nandita Maharath Ji is a great director.
14:11He has an assistant.
14:13Nandu, I said, I need a passport for a child.
14:15He said, I need this.
14:16So, I thought, why?
14:17I'm doing it.
14:18He's doing it.
14:19And then he was taking a second lead.
14:20He was taking the second lead in the country.
14:22And he was the first place in Gula.
14:25And Nandita was the second lead, but the main lead was the second lead.
14:27And then, then he got the first show.
14:29And then, I was shooting in London.
14:31And then, I was shooting in London.
14:32I shot a show in the two years.
14:33So, this was the second place in Gula.
14:35This is Mustafa's name.
14:37I don't know if I'm in touch with him.
14:38I'm in touch with him.
14:39I'm in touch with him.
14:40I'm in touch with his family.
14:43This is Mustafa's name.
14:46Bollywood and Marathi
14:47both of them are in the same way.
14:51This is Nana Patekar.
14:54Ashok Saraf
14:55is Nana Patekar
14:56has been working on one of the two films.
14:59However,
15:00Hamidabai's Koti and Natka
15:02has been working on one of the two films.
15:10The idea was really
15:11that the art of the film
15:12is taken the way to attack.
15:15The art of this film
15:15is really important.
15:15This is a festival
15:16It is such a festival
15:16to support the nature of theseثats.
15:24Nana Patekar
15:25is a village of Kashi.
15:31It has been called
15:32પારા ઉરલા નુતા અશોક સારા તિથે સમોર અસલા ને સરવા લોકત અંગા વર ધાવં ગેલે
16:02તર અશોક સરાફ યાન્ચા સોબત ચા અત્ત મઈત્રી ચે કિસે નાણા ની સુધા આવરજુન સાંગીત લે
16:07હમીતા બાઈચી પોઠી નાટક કરત અસ્તાના મલા 15 રુપે મિળાય છે
16:12આની અશોક સરાફલા 215 રુપે વળાય છે
16:27તાને મલા પઈશંચી ખુક મદત કેલી
16:36S ગેર ખંચાં ખા કેર હામાં ખાળાચાા ખાાં ખાાં
16:40You
