Mumbai, Maharashtra: In an exclusive interview with IANS, the team of 'Kaali Kheti', including Jackie Shroff, Sharad Kelkar and director Haris Imtiyaz Khan, opened up about the film's unique concept and their experience of working together. Director Haris revealed that the idea was to create a horror film connected to agriculture, where the environment itself becomes a source of fear. Actors Jackie Shroff and Sharad Kelkar shared their experiences, discussed their characters and praised the director's vision and technical team. Sharad also reflected on his admiration for Jackie Shroff, while the conversation touched upon his performance in Gardish and his voice role as Dilankesh in 'Ramayana'. The team invited audiences to watch 'Kaali Kheti', releasing on November 20.
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#JackieShroff #SharadKelkar #HarisImtiyazKhan #KaaliKheti #exclusiveconversation #horrorfilm #agriculture #technicalteam #Ramayana #experience #uniqueconcept #Trending #BollywoodCountry #BollywoodNews #BollywoodGossips #BollywoodUpdates #BollywoodNews #Bollywood #Bollywoodcelebrity #BollywoodHindiNews #ians
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FunTranscript
00:00Hi guys.
00:00Hi, hi, hi.
00:01I'm good sir.
00:02Thank you so much.
00:03How are you?
00:03First of all, I'm good.
00:04I'm good.
00:04Thank you so much.
00:06Thank you so much.
00:09My first question is to all three of you.
00:11Right.
00:12First, we'll start with the director.
00:15What was the germ of the story and what was it about the story that compared you to
00:19as a body part?
00:22The germ of the story.
00:23The germ of the story was that I wanted to make a horror film connected to agriculture,
00:30not just a horror film where there's any superstition or ghost, but the environment itself becomes
00:37horror.
00:38So that was a very basic idea.
00:41Of course, the main idea, the concept of the film, I cannot tell you right now because
00:45that's the soul of the film and whatever happens in the film happens because of that.
00:49But so yeah, that was mainly how it came about.
00:53What was the second part of your question?
00:55What is it about these two gentlemen and their artistry that compared you to nothing?
00:58I always wanted to work with Sharath sir and Jackie sir.
01:03Because his and me, I am the same.
01:09Chathis Gadi, yeah.
01:10Chathis Gadi.
01:11Yeah, yeah.
01:11No, but when I envisioned the characters, I envisioned them as my characters when I made a
01:16We made a picture when we were pitching our films.
01:19We made a picture.
01:20First four photos were these guys.
01:22And I got lucky that these guys, when I narrated the script to them, they immediately said yes.
01:29And Shar, talking about your part in the film.
01:32If you could walk me through the world that comes from the world.
01:35First of all, when we hear that it's a village horror, folklore or cultural horror comes to
01:42all of us.
01:43I also think that it's a village based film.
01:45But the story is not a folklore or a cultural horror.
01:49It's a very different kind of horror.
01:52It's more of on a thought rather than on a certain ritual or something like that.
01:59Very interesting part.
02:01And the way he narrated me the script also, he had the full clarity about the film.
02:07Even because he's a painter, he's a sketcher, he holds a world record in that.
02:12So he made the whole storyboard.
02:15It's a scene storyboard.
02:18It's very rare.
02:19People ask at the computer.
02:21But it's not hand-painted.
02:24So he looks at it.
02:25How do you see this man's clarity?
02:28That's the second reason.
02:29Obviously, the character, whenever, again, the typecast thing.
02:33Whenever you name Sharath Kilgar, a strong character.
02:36It's like a big voice.
02:37But he envisioned me in a different way altogether completely.
02:43And there's a lot of play in the character.
02:47And obviously, if you've got a chance to work with a person who you admire and you're a fan,
02:56then you've got to sleep.
02:59Jackie Sir obviously was one of the very big reason for it.
03:03Because I always wanted to work with him.
03:05Being, seeing him from, when I was a kid.
03:09One day, I was watching Ramalakhan in the theater.
03:11I'm a man who I am.
03:16So...
03:16I'm watching...
03:18Who is your favourite Ramalakhan or three days?
03:20No, for me, Ramalakhan.
03:21I think Ramalakhan.
03:21Parinda actually, if you ask me.
03:24But...
03:25Gardish is my favourite film.
03:27The all-time favourite film is Gardish.
03:29Not just film, but the songs.
03:32And...
03:33You know...
03:34The film...
03:35I think...
03:37I haven't seen a person who says that Gardish doesn't like Gardish.
03:39I think.
03:40It's one of the brilliant films, I think.
03:43Precision Sir has made.
03:44I think it must be your favourite also, if I'm not wrong.
03:47Yeah, it is.
03:48It is.
03:48Gardish is like...
03:49It's a...
03:50Cult, I would say.
03:53So, I've been wanting to work with him and...
03:57Not just being an actor and also a fan, but as a human what he is.
04:01You know, I...
04:03He has to see that I see myself in younger Jackie,
04:07But I see myself as older...
04:10Shalat Kielker as Jackie Shroff.
04:12Like...
04:12Our natures are quite similar.
04:14We are like both of Bindas.
04:15And your voices are quite...
04:16Quite similar to each other.
04:19So, it's a great...
04:20It's a fantastic combination which he thought of.
04:23That Jackie and me.
04:24Father and son.
04:26And it's a very interesting concept.
04:28Shot very well Kiran Sir.
04:30Kiran Devans, I think.
04:31He's one of the legends and he's an autobiography in India.
04:34So, the whole team was very good and...
04:37I think when I saw...
04:39Literally, when we were shooting also...
04:41When I...
04:41We have seen...
04:42When you are watching on the monitor...
04:45Sometimes you feel...
04:46After so many years, we also know that...
04:48This will be a little grading, this will be a little...
04:49Something else.
04:51In that frame, you didn't feel like...
04:54That there is a grading, colour correction...
04:57Something else.
04:58I think that this film will be seen like this.
05:00And it will be seen like this.
05:02That's the greatness of Kiran Sir.
05:03So, it was...
05:05Giran Devans.
05:06Yes.
05:06Giran Devans.
05:07All yes from her side.
05:08From my side.
05:10Sir.
05:10Yes.
05:10Sir.
05:11But for now...
05:13Film ka hard part to you was more appealing or...
05:16The fact that it is agricultural rural or whatever...
05:19What was more appealing to you?
05:20I don't know.
05:20I just thought the whole idea was superb.
05:23I trusted him when I saw him, his work...
05:26The way he came with this...
05:27Whatever he got...
05:28That impressed me a lot.
05:30I hadn't done for years two or...
05:32So many odd films I have done.
05:34I haven't done a...
05:36Pure horror film.
05:38So, that was something which I never thought about.
05:41But when he came with this kind of script...
05:43Like he was...
05:44Everybody says it's the content.
05:45It has got a beautiful family.
05:47It's got fear in it.
05:49It's talking about...
05:50It's talking about...
05:51Kheti.
05:52So, these all things...
05:54My heart...
05:55My heart...
05:55And I did it.
05:56The rest of it was nothing.
05:57The rest of it was so beautiful.
05:59I knew that.
06:00And I trusted him blindly.
06:03My director.
06:03What do you place your blind trust on him?
06:05Just detailing?
06:06Yeah.
06:06The way he was.
06:07When he told me who he is...
06:09And what he does.
06:10To get a gold...
06:11I mean...
06:11To...
06:12What...
06:13National Award.
06:14To be holding the world record.
06:17We're all chillers, man.
06:18I don't get a national or world record.
06:21So, who's going to be a legend in your world?
06:23Yes.
06:24But...
06:24It's a legend.
06:25But...
06:26It's a legend.
06:26It's a legend.
06:28It's a world's legend.
06:31It's a legend.
06:31So, the legend.
06:31I have to trust.
06:32I have to trust.
06:32I have to trust.
06:35I am to trust.
06:35I am a technician.
06:36I have to trust.
06:37I have to trust.
06:38I am to trust.
06:39If it's true,
06:41If it's true,
06:41If it's true,
06:42If it's true,
06:42It's true.
06:43You know what I mean?
06:45Yes.
06:45So, it's cameraman.
06:47Look at the coloring.
06:47Look at this.
06:49What they have done.
06:51So, I've been...
06:52I'm really really lucky to have got a film like this in my...
06:55So many years of my career.
06:57Yeah.
06:57And I'm happy that I've found...
06:59I mean, I've worked with them.
07:00We've spent so much of time together.
07:02He's...
07:02We don't have to meet.
07:03We don't have to talk.
07:04But I know.
07:04I have a friend somewhere.
07:06He knows he's got a friend somewhere.
07:08And Hari is the chap.
07:09He makes a second film.
07:10He better cast us.
07:11Or you'll come like,
07:12Kari Kheti on him.
07:13You, sir.
07:14Kari ya.
07:15Ander tohi lekar,
07:16Ye hi ha jayega.
07:16Jo ander dikhra hai.
07:18Baakhi toh mazai maza tha.
07:20They have the best technicians like Kiran Devans.
07:22I told everybody.
07:23He made...
07:25Tumara...
07:26I think Kayaamets Kayaamets...
07:27He made the first film.
07:28He made the first film.
07:29He made the first film.
07:30Kayaamets hai kayaamata,
07:31Khabhi khoshi kabhi gham.
07:33Jodha Akbar,
07:34Uske baad ye.
07:35Tu look at...
07:35Lagni pad.
07:36So, you know what I mean, brother.
07:39We are lucky to have him as a producer
07:42who gets the best of the best.
07:45Naseeb hai baba, Naseeb hai.
07:51He spoke about the color grading and everything.
07:53Okay.
07:53Very strong technicals that I see.
07:55Even in the course you see very sharp,
07:57star contrast of the wall.
07:59Yeah.
08:00So, I want to know about the color palette.
08:02How did you design it?
08:03And since you wrote the storyboard by yourself,
08:04I mean a lot of detailing of course.
08:05So, we didn't just...
08:07I didn't just sketch it.
08:08I painted it also.
08:10In the beginning only.
08:11What...
08:11Exactly what we wanted.
08:13And Kiran sir is such a genius and such a person
08:17who...
08:18Not only...
08:18These guys know him till the shoot.
08:20I have been working with him in the post.
08:22He has not let me go till the very end.
08:25Till last night in PVR we were...
08:27Hey!
08:27Till 2 o'clock we were here.
08:29Checking our...
08:30Print.
08:30Because he wants to be so precise.
08:33And I myself...
08:34I am a person who is extremely precise.
08:36So nice to...
08:38Come together with people who are...
08:42Like aligned with you.
08:43Aligned with your vision.
08:44And they want to take it forward.
08:46One more step than you.
08:48That's...
08:48That's where all the difference comes in.
08:50And...
08:50These images they are all...
08:52Very much thought about.
08:53It's not like we arrived here now.
08:55It was always in our...
08:56Always in our discussions.
08:58Always in our heads.
08:59Exactly this is what we want to go for.
09:01And I want to ask about...
09:02Aveli also that we see in the trailer.
09:04Aveli.
09:04I think that's...
09:05It's a house.
09:07We made it.
09:08We made it?
09:09Yeah.
09:09It's an old monument.
09:12That also was precisely what we had thought of.
09:15Is...
09:16Is...
09:17Is...
09:17Is...
09:18Is...
09:18Is...
09:18Is...
09:22Everything was very precise.
09:26Yeah.
09:27And I think it's a...
09:27It's a facade rock.
09:28Sorry?
09:29The rock.
09:30The texture of the house.
09:31The material.
09:32Yeah.
09:32It's like a facade rock.
09:33It was used in like...
09:34Correct.
09:37Yeah.
09:39So I have to talk about the texture and the detailing from the art and the production design.
09:42Actually...
09:44The production design...
09:45Actually...
09:46They came into more of the detailing part of it.
09:49Because...
09:50Mota-mota...
09:50I have...
09:50Exactly...
09:51What I thought...
09:52That is what we executed.
09:55And they executed it in a manner that it feels grounded.
09:59Mine is slightly imaginative.
10:01He got it grounded.
10:03They got it realistic.
10:04They got it...
10:05That's how they came together.
10:08And of course...
10:09Even Kiran sir...
10:10Our DOP...
10:10Always says that...
10:13His work is only 20%.
10:14The rest of the people...
10:15Like...
10:16Production design costume...
10:17Actors...
10:17They have to come together.
10:18For the images to look...
10:20The way we wanted to look.
10:23And sir...
10:24He spoke about detailing...
10:26And then he spoke about Kiran sir...
10:27Being very...
10:29Obsessed...
10:29To get it right.
10:30What is your relationship with creative obsession?
10:32It has to be perfect.
10:34I mean...
10:34What you have thought...
10:36It should come out...
10:37On the screen.
10:40And...
10:40Because he is a painter.
10:42So we are very sure that...
10:44He is very...
10:45I think...
10:46Each and every frame.
10:48How...
10:49How it should look.
10:50And because they have been working on...
10:52Pre-production with Kiran sir...
10:53They were aligned...
10:54I think...
10:54Both of them.
10:55So we were not bothered about...
10:57How it's gonna look...
10:58First of all.
10:59The one thing...
10:59Which was a question in my head...
11:01Obviously Kiran sir...
11:02Have been doing it.
11:03But as a first time filmmaker...
11:05There are a lot of...
11:06VFX shot...
11:07Shorts are there...
11:08In the film.
11:09And...
11:10As an actor...
11:10We are all curious...
11:12And very...
11:12I am not very sure...
11:13How it is gonna look...
11:15But that...
11:15When you look at it...
11:16It's like...
11:18So I was...
11:19Because...
11:49We are all curious...
11:49That shot...
11:49When the stones are like...
11:51Little flying...
11:51In the trailer also...
11:52Teaser also...
11:52That shot is there...
11:53So that shot...
11:55Made me very...
11:56Sure...
11:56That...
11:58And the turning of that boy...
12:00Who turns...
12:00And...
12:01The way he looks behind...
12:02Brilliantly done...
12:04So I think that...
12:06You know...
12:06Benchmark upar upar...
12:07You don't need to...
12:08We just give it...
12:09You have to give your passion...
12:11And everything...
12:11To the film...
12:12To make a good film...
12:13And what he has done...
12:15And Jaggi sir...
12:16I want to talk about...
12:17The voice acting part...
12:18From...
12:19I think this is the first time...
12:21You have...
12:21A co-star...
12:22Whose...
12:23Amplitude is somewhere near...
12:25Yours...
12:25The bass...
12:26And the voice...
12:27How does it help you...
12:29Feed off...
12:29Each other's energy...
12:30When you are...
12:30I think it's just not the bass...
12:33The bass is...
12:34Definitely...
12:35It's your inborn...
12:36But like he says always...
12:38Ke...
12:38You can't...
12:40Be monotonous...
12:41It can be...
12:42You get...
12:43Sleep...
12:44Ajaata hai...
12:45Ke...
12:45Chelega to soo jaega...
12:47Koi...
12:48To he says...
12:51There's modulation...
12:51There's a different kind of feeling...
12:53It's just that he's blessed...
12:54With a nice...
12:55Voice...
12:56But he knows...
12:57He knows that I have to play around with that...
13:00So...
13:01Voice is the most important thing...
13:02That's the first thing...
13:03Danny...
13:05Denzongpasar...
13:05Who used to teach...
13:06Voice modulation in...
13:07And yoga...
13:08In FDI...
13:09When I took him to show my son's picture...
13:12He said his voice is good...
13:13That was enough for me...
13:16Awaaz peh sab kuch hai yaar...
13:18Baakhi toh...
13:19Matlab picture hai...
13:20Ya toh silent film achi chalti hai...
13:21Magar...
13:21Awaaz peh...
13:22Awaaz ki bhi zarudh padhti hai bhai...
13:24You need to listen to something...
13:26You have to have the dialogues...
13:27You have to have the sound...
13:28The silences...
13:31Baakhi...
13:31You have to have the sound...
13:32I can tell you...
13:34I can tell you...
13:34What they do...
13:35I can do...
13:39And coming to your head...
13:40Sure...
13:41Sir...
13:42You are also a painter...
13:43Right...
13:43I want to know...
13:44How does it help you...
13:45In visualize...
13:46The story arc...
13:48Or the character arcs...
13:49Of...
13:50Of...
13:51No...
13:52The painting part doesn't help you visualize...
13:54The character arcs...
13:55That is...
13:56In writing...
13:56And I read a lot...
13:58Read a lot...
13:58My father is a...
14:01So...
14:02My father is a writer...
14:04By the way...
14:04He is an Urdu poet...
14:05And he has read that...
14:07Dialogues also...
14:07Yeah...
14:08He has penned the dialogues...
14:09For the movie...
14:10So...
14:11I have...
14:12Read a lot of...
14:13Manto...
14:13A lot of Krishanchandra...
14:15And...
14:16My...
14:16Most favorite author...
14:18Is...
14:19This American author...
14:20Stephen King...
14:21So...
14:22His...
14:23The Shining...
14:24Many many...
14:25His works I always read...
14:26All of his works I have read...
14:28Multiple times...
14:29And this is why...
14:30I have...
14:30Also made a film...
14:32Which is kind of...
14:33Not just a normal horror...
14:34But it is...
14:35Pushing the boundaries of horror...
14:37Taking it...
14:37Little beyond horror...
14:39So...
14:39I have read it...
14:58So...
14:59No...
14:59No...
15:00That's not...
15:00That's not Mike Flanagan...
15:01That's different...
15:02So...
15:03Yeah...
15:04His...
15:05Stephen King's favorite...
15:06Misery...
15:06Carry...
15:07And...
15:08The Stand...
15:09It's a little obvious...
15:10But...
15:11It's good...
15:12My...
15:13Most personal favorite...
15:14Is Pet Symmetry...
15:15Okay...
15:16And...
15:16Kali Hethi...
15:18Has...
15:19Little...
15:20What do you say...
15:20Sprinkles of that...
15:22Kind of idea...
15:22Of Pet Symmetry...
15:25So...
15:26Pet Symmetry...
15:28So...
15:29Pet Symmetry...
15:29So...
15:30The story is...
15:30That...
15:31Basically...
15:32Some...
15:33A family shifts...
15:34To a...
15:35A rural...
15:35Sort of an area...
15:36Where...
15:37The main character...
15:39Son...
15:40Comes under a bus...
15:41A truck...
15:42And then he goes to...
15:43Bury him...
15:44And...
15:45There is a place...
15:46There is a graveyard...
15:47There...
15:48Where...
15:48A lot of animals are buried...
15:50But...
15:51Lots of other things happens...
15:53After the burial...
15:54Of the...
15:55Animal...
15:56So...
15:57He...
15:58Not...
15:59Like ours...
16:00But...
16:00Very...
16:01Very similar...
16:02Kind of...
16:03Texture...
16:04You can say...
16:04To the stories...
16:06So...
16:06I...
16:06I love that guy a lot...
16:09Yeah...
16:09And...
16:10Sir...
16:10Coming to you...
16:10I believe...
16:11The value of the story is...
16:12Set in Marathi...
16:13Please correct me...
16:14No...
16:15No...
16:15It's not...
16:15It's not...
16:17The value is...
16:19MP...
16:19MP...
16:21Madhupadesh...
16:22So...
16:22When you have...
16:23A story like this...
16:24Which is set in more...
16:25Of a rural context...
16:26And a little...
16:26Apart from...
16:27The urban landscape...
16:29Or the urban setting...
16:31Does it allow you...
16:32To play to your strength...
16:33Or...
16:33Somewhere...
16:34You know...
16:34You have to make...
16:35A lot of effort...
16:35To get there...
16:36To turn into the character...
16:37You know...
16:38Obviously...
16:38You are not used to play...
16:39Certain kind of characters...
16:40Because...
16:41You know...
16:41People most of the time...
16:42Offer me a very strong character...
16:44Or a very urban character...
16:45And when you get a chance...
16:47So...
16:47Obviously...
16:47You will go back to your roots...
16:49From where you came...
16:50And you...
16:50Search for references...
16:52Obviously...
16:52Because I am...
16:53From a small town...
16:54So...
16:55But yeah...
16:55You need to...
16:56You know...
16:57Unlearn something...
16:58And then...
16:58You know...
16:59Think about...
17:00The whole premise...
17:01And...
17:02What's happening in the story...
17:03And...
17:04What the director wants from me...
17:06To portray exactly...
17:08Not from...
17:08Just from the look...
17:10From the voice...
17:10From the look...
17:11From the attitude...
17:12From the...
17:13Small...
17:14You know...
17:14You know...
17:14Moments...
17:15What you do...
17:15You need to take care of...
17:17All that...
17:17To...
17:17So...
17:21I...
17:23I...
17:25I...
17:25I...
17:25Think...
17:25Thought...
17:26I...
17:27Thought...
17:27I...
17:29He used to...
17:30Every day...
17:30He used to sit...
17:31He used to come and sit...
17:32And...
17:32Under the sun...
17:37And...
17:37So...
17:45We did all that...
17:46We were sitting in the sun...
17:48With...
17:50You see...
17:53The texture of my hand also...
17:54It's...
17:54Pretty looking dark...
17:55If you see...
17:56It's all tanned...
17:57To...
17:58Who...
17:58Who...
17:58Who...
17:58Who...
17:58Who...
17:59Who...
18:01Who...
18:01Who...
18:01Who...
18:03Who...
18:07Who...
18:12Who...
18:13Who...
18:15Who...
18:15Who...
18:16Now...
18:17To...
18:19to you. I said, I'm not going to go to Bapa.
18:22But it's about this conversation.
18:25I can take credit for that.
18:28That particular scene when you wrote the English police,
18:31Babu, I'm going to kill you.
18:33For me, that was a completely new thing
18:37to what Jackie Shroff, sir, has done so far.
18:39Because in my mind, I was like, Jackie Shroff,
18:41the actor is very swag driven, you know,
18:43this larger-than-life actor.
18:45But in that scene, the actor in you,
18:47it was so beautifully.
18:48If you could recollect your fondest memories
18:51of working on that scene or working with Amish Buri, sir.
18:54Amri ji, I love hell of a lot.
18:56I always will.
18:57With the hero, Halchal was the last film I did with him.
19:00All the places, most of you are first, yeah.
19:03Right from so,
19:04he was something else.
19:05He was the best daddy.
19:09And the other story of Gurdjish was that
19:13we were listening to threads,
19:14He was listening.
19:15There's no way.
19:16It's a true story.
19:17Father gave a quote,
19:20a speaking story.
19:22The story of Gurdjish.
19:26that is the story of Gurdjish,
19:27the items of Gurdjish,
19:28the real story of Gurdjish.
19:29That is,
19:32the story of Gurdjish.
19:35Good story of Gurdjish.
19:41That was so,
19:43briefed just say the lines cry in the end that's it don't do anything just say the line line bowl
19:51or or last me row to your direction to my ne jessa bola waisa kiya dialogue bola my
19:59bura admi nahi vanna chahta tha or last me thoda sa roh diya to us me kuj itna effort
20:04nahi gaya tha i'm so sorry to break your dream but it was very simple
20:15just say the lines okay don't and cry in the end maa ki kasm
20:22cry just roh day roh day roh day aysi roh day haa bas bula line upnay line bol day
20:28or last me row bas woi here haa mai kai bar chok ho gaya ho
20:34mein jab emotion mein jatah hon toho aisa lagta hai ek phrase hai na chok to death
20:38wo actual film me reko hoa hai kai bar sans ne nikla hot hai maa utna simple as direction
20:45hota hai usseh bada pohish nini hota ji think it that way yeh merne ki scene mein merta hai gia
20:52but rohne ki scene mein rohta hai seh haam uttana jitna haana ki merne ke tu sami
20:56me merne ke tu sami me rohya but merne ke tu merta niyeh just be sensible enough
21:00tha ki kitna cha hae ki director go aur usne jesus saab se bola hai utna hi karo
21:05and what was bian says responsibility very good where you go back up
21:09okay
21:32Okay, and my last question is for you, Sharad.
21:34Ramayan, I have seen it.
21:36I have a talent.
21:38If you could help me,
21:41Nitishakha briefed out of you for playing the adaptation.
21:45Brief?
21:45I mean, the whole film was just a brief.
21:47This is a film, this is a character,
21:50Yashna, this is a film.
21:51What a flavor from your side.
21:52Nothing.
21:53He said, what he has done is just a copy-paste.
21:56Simple, nothing else.
21:57Because he has done so good in the film.
21:59And Yashna itana badhia kaam ki hai ki muhe kuch dalne ki zarovat nahi hai.
22:03They just needed a voice, nothing else.
22:05Otherwise, performance to...
22:07I mean, that's why everybody is praising Yash.
22:10Not just in Hindi, but every other language people are praising Yash.
22:14Aisa ha tha ki maine kuch ki hai, toh, it's just Hindi mein praise kotha.
22:16I mean, baaki mein praise nahi milta na.
22:18But, I mean, he has outdone himself.
22:21I mean, aisa hai.
22:23And her language mein tarif mil raha hai.
22:24I mean, it's just like...
22:25In fact, Hollywood, if you see Hollywood,
22:27Spanish, Chinese, whatever languages we have made the film,
22:30Sam mein tarif ho hori hai hai.
22:32Toh, he ha, usne karriya da kaam apna.
22:33Mujhe se ba awaz di nahi ti, all kuch nahi ki hai.
22:34Does it bring some kind of pressure to the second part, you believe?
22:38Bhoot zhada kaam ho ga.
22:41There's a brief was given to me from the producers.
22:43They said, ki, nahi, it's first me bhoot kam kaam hai.
22:45Second me ho satta hai.
22:46But then I realize ki first me bhoot zhada kaam hai already.
22:49Second me kitna ho ga.
22:50Maitlal, I don't know.
22:51So, I'm a little scared about the second part ki bhoot zhada kaam ho satta hai.
22:55And I mean, Yash ke libe da roo.
22:55Kitna kaam karna pade ga usko second part?