#Kalki2989AD #Kamalhaasan #Prabhas #Deepika #Amitabh #NagAshwin #FilmibeatTamil
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00:00As you can see, this is the entire cast and crew and the two most important ladies who have actually produced this film.
00:12The film is called Kalki, as you all know. But I just thought, you know, we rarely get an opportunity where,
00:18you know, artists and producers can sit together and have a chat.
00:24So, I thought maybe we will just sit and talk. So, of course, my first thing, of course, is to Sapna ji and to Priyanka ji.
00:31How did you feel when Nagi said, this is my, was it Nagi's idea, was it your idea or what?
00:40With Nagi around, I don't think we have a scope of any ideas. So, I mean, we have been obviously working together for a few years now.
00:49And every time a film gets over, it's about what are we doing next. And he just tells us a line.
00:55And then right after Manati, he took some time, after a year, he said, I have something.
01:00And then he just told the idea of it, which blew our minds. At that point of time, we really didn't understand the depth of it,
01:08what it needs to make this sort of a film. Only when we were going into it, we would understand, oh, this is his vision.
01:15In fact, we were all very excited to start off with. But then when we actually started, we were like, are we going to even help him enough?
01:21Are we like enough for him to make this film? So, that was one of our concerns. And then we really needed these big shoulders,
01:30like all of you to come and carry a film of this stature.
01:34You know, the thing that I really want to know is that when you see the scale of this film as we have all seen and been involved in,
01:43I mean, what does a producer go through when they see all this, this huge scale and the kind of dream and the vision that he has?
01:52It's impossible to imagine that. I think in the beginning, it took us time, sir. Like, for example, I mean, he told us a story and
02:00I remember it was in the morning around 10 o'clock or 11 and it took us two days to get out of it.
02:07And then when we started pre-production, I think one day I called Swapna and we were in it like five months into it, pre-production,
02:14and we were designing stuff and I called her and I was like, we're in it and I'm not able to sleep because I don't know if we will be able to make it.
02:24Because you have to make every single thing in this film, like pen to paper to every single thing.
02:31And there are deadlines, there are big actors and so we had like a lot of sleepless nights and then we got into it.
02:38Once we're in it, we're like, we're in it. It's like we didn't have time to think or breathe more after that. It's a cycle.
02:45I'm actually most curious about Priyanka because there's so many conflicts for her as a wife, as a sister, as a producer and as the, you know, the lead on production.
02:59So there's so many different hats that you're wearing. So where do the lines?
03:03Actually for this film, I think for Mahanati, we had lines because it's like a one year project, but this is four years.
03:10I think there are no lines. It's just like, get go, like, come on, war, you know.
03:15But it gets, I mean, it gets difficult, but also it gets very easy because when you're a family, you're always talking about the project.
03:22You're always talking about what is next, what's the next schedule. So it definitely gets easy.
03:27But flip side?
03:29It has.
03:31You know, what I feel is really admirable is that we have two ladies, ladies looking after this massive production, ladies and gentlemen.
03:41I mean, some of the visuals you've already seen in the trailers, but to have two women actually in charge and to see it executed.
03:49And today we sit here to talk about the film and the kind of production that it has come out.
03:54The kind of visuals you've seen has never been seen before. I mean, it's just quite…
04:00I was just talking about Sholay. It's like that, you know, like nobody has seen horses fall like that.
04:07Nobody has seen machine guns going off like that. And nobody has seen a villain talk like that or a hero behave like that.
04:15Everything was new about it. I think that's the same effect. And I know where you're getting the confidence from.
04:21Your father told me the story about how he became a producer.
04:26He just went and stood in front of NTR's house for so many days that he noticed this face and he said, why is this young man?
04:35He seems educated. And he called him in and that's how the connection started and he became a producer for NTR.
04:42And the name Vyjayanti Film was given by Mr. NTR.
04:48What an old story, we never knew about that story.
04:50No, that tenacity of purpose.
04:54So, also on this note, if we being, you know, two women, able to pull off something like this, it is entirely…
05:02I mean, of course, Nagi, his vision, his absolute hard work, but also actors like you all who are extremely understanding
05:10and, you know, who understand the beauty of cinema and willing to give whatever it takes for cinema.
05:17And someone like Prabhas, who's not even questioning if it's just these two girls can pull it off or no.
05:23Like, you know, so, it's thanks to you all.
05:28It's not thanks to me. I think when Nagi came to talk to me about this, he just brought a picture, a visual concept
05:37of, you know, what my character is going to look like and what Prabhas is going to look like.
05:43And I was this huge guy who's shoving off the Prabhas.
05:51And all the fans of Prabhas, please, you know, please excuse me, I'm haath jod ke maafi maang rahe hain.
05:56Don't massacre me after you see my two-time in the world.
06:01That was also so impressive. I said, he's already got a vision in mind.
06:08He's got a picture of what he's going to look like. Very rarely do you see…
06:12But see, I've seen photo shoots or, what do you call?
06:19Storyboard. But I always suspect that because that's an ambition. What happens really?
06:27But when I asked that question, all that is fine. It's on paper.
06:32But how are you going to bring it to reality? I said, we have. And they showed me your footage.
06:37So, I kept quiet. I just became part of the project because usually people come with big diagrams
06:47and the films don't even get made. So, my question was that.
06:53Then I straightaway went into, what am I going to look like? So, I told you the story.
07:00Yeah, we just heard the story. I came up with the third eye and he said, it's done.
07:04It was the first trial for me. I don't know how the trial went for you.
07:10The makeup trial and the prosthetics and everything. And I was saying, oh God, another prosthetic film.
07:18They are very painful. But you know, the three hours that it used to take to put on the prosthetic
07:25and then another hour and a half, two hours to take it off, it was all worth it.
07:30And now when we talk to, you know, people outside who don't know that all of us that use prosthetics,
07:36it takes about three hours to put it on. And you have to just be…
07:40And then taking it off. Yeah, not move, don't do anything, cooperate with the makeup artist.
07:45It's not a torture really. But you know, lot of people think it must be torturous.
07:50Once you know that what the final result is going to be…
07:55It is a torture if the movie is not good enough. But the movie is good enough, it's not.
08:02Because you are already imagining the applause. No, what I was saying Kamal was that the day I put on my makeup for the first day
08:10and went on to the set, I knew that this was worth it. You know, the moment you sit on a scene,
08:18you see the set, you see what's happening, it's just… I knew it was all worth it.
08:23I think I remember we were doing puja and you finished your makeup and we were doing, I think we were just doing something
08:29and you just walked in like that with the whole thing, you were there and we were like…
08:34I was stunned. Too good, sir.
08:37That's all credit to the people who dress you up and make you up. No, everything.
08:42And imagine, all that has happened before. You walking into the set and now I have to come in.
08:50Oh, what am I going to do?
08:54But I got a call when you walked on to set. I remember Nagi calling me and just that first day of shoot
09:01with you and Nagi called me and said, I just had to call and tell you that we shot our first day with Kamal sir.
09:07Kamal sir? He never called me.
09:11He called me. I was in Bombay and it was a long break because obviously we were shooting in different schedules
09:19and I hadn't heard from him in a while and I see this missed call from Nagi, I was like what has happened?
09:24I just called to tell you we shot our first day with Kamal sir. Like a child.
09:30That's what made this film. That child. We hope this child will also make this film one day.
09:40For us, you know, you've always been very quiet and simple and don't give many reactions on set.
09:46But somebody of your stature who is now presently, I've always wondered how you feel or how you felt when Nagi came and said this to you.
09:58When Nagi said first time… Because when I first met him and we met on set and all that, we went through this whole procedure
10:06of who is going to touch whose feet. So, he came and said, I'm just touching your feet. So, then I said, okay, let's stop it here.
10:13This whole business. And then in a very quiet, private moment, he said, sir, be prepared to break a few bones and this and that.
10:22I mean, this guy made me break bones here and there. And I've been jumping here and there in Bahubali and so on and so forth.
10:29So, I was wondering how is it going to happen. But you know, that's the detailing that I was talking about, you know, your father.
10:37It's so, he is so simple, so down to earth. You can't believe he is there on set every day.
10:45He is actually monitoring what the artist is being asked to do. Hey, don't put this, don't make him do this because that's tough for him.
10:54But the way Nagi programmed everything, you know, he said, sir, don't worry. We'll just use close-ups and we've got, you know, dupes and we've got harnesses.
11:04And it is not about the number of cameras or number of crew. It's the quietness of the set which I enjoy the most.
11:11I remember the message. Because that's lacking in most sets. The noise should be inside. And in the theaters.
11:18Not in the set. So, everybody is talking in discipline. Which I found that Mr. Nagi could speak in his volume and still be heard.
11:31He mumbles. But he is still heard in the set because that's how quiet the set is.
11:38I ask these questions, you know, because in my time we never had all these facilities. So, if we had to jump from the second floor, we actually jumped.
11:46There were no harnesses. You break your ankle, you break your leg and everything. So, it was a wonder for me how they are going to be able to do it.
11:54But, you know, I just marvel at the technology now, you know. Kamal, you must have been through a lot of all this earlier on.
12:02We never had these facilities, you know. Never had. And to be able to now be part of it.
12:11And to have, you know, little cameras like this who are recording everything on digital. For us, as you may be knowing that, you know,
12:20celluloid film was the most expensive item in the budget of a film. Because it was not available. It used to get imported from Kodak.
12:29And to save celluloid film, you had to be sure that your first take was okay. You can't make a mistake.
12:41I mean, I remember Rishida used to say, Rishida, just one take. No, no, no. He is saving celluloid. But he is also satisfied with it.
12:49And if you insist it is there, okay, okay, you pay for it. You know, it's like that. We never saw, we never had an opportunity to see, you know, monitors.
12:59And we were not allowed to go near the camera also. We had to pay a fine if we were 10 feet away.
13:06If you got a chance to look through the… Nothing. Never allowed. Not even allowed to go to the editing room. I mean, it was impossible.
13:15You saw yourself for the first time on the day of the release of the film. So, all this has been a huge experience and a learning for all of us.
13:23Which is why, you know, and Prabhas, I am very sorry. The first time when we had a fight, you caught me here and I thought like…
13:34In the movie. In the movie. So, I thought like, I need to be careful and all.
13:41He caught me so hard and this film, this man is not, whatever he is saying, he is some 25, 26. And I told him, he is so strong.
13:50No, no, but a lot of things we did, you know, we never ever expected we could manage this. And that is what is so intriguing.
13:59I think also the sets, I think for the audience to know that we built, we eventually, if I may say… Built a city.
14:08We built a city and I think the fact that Nagi today has a vision where once the movie releases, I think fans of the movie can actually go and visit the set.
14:19And the vision is unique because the way he places the camera is not like we are used to. He comes quite close to look at you.
14:30That's what you enjoy because how do you act for cameras here?
14:36In our time it used to be a challenge. I still remember that one of the challenges for an artist used to be to give a close up with a 75mm lens on a Mitchell camera which was huge.
14:51Huge monster used to come and stand here with a lens. And you have to do a close up. And it's a rack shift camera.
15:00So, even the cameraman is not actually looking at the image but he is looking at parallax, parallax.
15:08And you didn't have monitors. No monitors, nothing. And we are not used to, you know, not seeing the director standing next to us on the set.
15:18You are only used to see where the camera is, the director is there and he is guiding us. You are not used to that.
15:24You just hear a voice somewhere, two miles away, shouting or whatever it is. But really, you know, I mean, Deepika you have done so many films, you know.
15:38I will say that you are a modern age artist. No, not only that, in the west. Exactly, yeah.
15:45So, I think nothing is internationalized ever. No one ever did Louis Vuitton.
15:52It must have been a hell of an experience for you. No, I think what I was processing as I heard the two of you speak is in terms of where we were,
16:04filmmaking and technology, to now, for all of us to be a part of a movie where I think every kind of technology that is available in the world today
16:15is probably at our disposal through this movie. And the fact that we have a director who has used it so intelligently
16:25and also to find that balance because also with AI and things like that I think you can also lose the soul of performances
16:33but I think to be able to find that balance between technology that is available to you but to also keep the performances real
16:40I think is what makes this movie and this experience very special.
16:46Some of the visuals of the sets, either against a green screen or just so that we never know
16:53but quite honestly for the first time I have seen the surroundings and it's just unbelievable.
17:01And my God, I always wonder how Nagendra had this vision. That's what I was saying, it was all in his mind.
17:10No, and even for us who breathe in, breathe out with him every day, we'd be like sometimes what are we shooting?
17:16What are we doing?
17:19What we've created is only like the 30% of the set, like for example where you guys were fighting, it's just the bridge where we shot for a long time
17:26but now there's a whole city there.
17:29When we watched the world, when we started watching some of the CG shots and fully built sets, we were like wow, this is what this man had in his head fully there.
17:39He knew what he was doing.
17:41I think she knew what he was doing.
17:44No, I would just peep into the edit room and I'm like ah, it's fine.
17:46The first sentence, what did he say about the film? The first, like he should tell you first.
17:51No, Nagi's, the biggest expression would be like, that's it, it's good.
17:55No, no, no, the first time when he told about the story or the movie, what you want to make.
17:59He told you first I think, as I remember.
18:02Yeah, so basically he just said like I have this story, one word, he just said like you know there's a small story that I really like but there's another one,
18:10no, but there's another one which is like a really like something that I would do at another stage but if I don't do this now, then I might not be able to do it again.
18:24And then he for some reason went on saying in his own words, I'd say, that this is something India deserves now.
18:33We will have to tell this sort of storytelling in India. We have to have our own, you know, stories like this.
18:41So this has been there with him for the longest time and apparently he wanted to do it with Prabhas like ages back.
18:47I don't even know how.
18:48First film he wanted to do with you.
18:49Apparently with this film and then.
18:52No, the fact that you know we are able to mix mythology with something futuristic is so unique.
18:58Yeah, it's unique sir.
18:59And very intelligent, very intelligent. Most of India, all of India recognizes our mythology and our history and our culture and whatever our traditions are.
19:11And what could go wrong and what could go wrong. But to be able to bring that and make it sound real,
19:18I mean, we will be disclosing a lot of the story if we do that. But the fact is that by the end of the film you will actually believe what you saw.
19:26And that is the vision that, you know, would make the success of the director of the production of the film also.
19:33But Prabhas, you worked in similar subjects earlier also.
19:38This is like.
19:40Babuli for example was.
19:41Yeah, periodic.
19:42Was a little periodic.
19:44This is future.
19:45There is period and the future mixed together.
19:48It's just, I mean, it must have been a.
19:50And my character is like, it has a lot of, it has grey, superhero, funny.
19:56So I think.
19:57Also the first time you have humour.
19:59Humour I did for like, before Babuli I had, I did.
20:03But for, other than Tilgu, I think this is the first time they are watching me in humour, funny character, with superhero, with grey shade.
20:11I think the way he wrote, I think this is the best character ever in my life.
20:15The way he wrote it.
20:18And also I have to say that, you know, one of the most difficult casting ever was Kamal sir.
20:24Kamal sir, yeah.
20:25He was so worried about.
20:26You know, we were shooting, shooting, shooting, but then, like Yaskin, when is Yaskin coming?
20:31The whole film is Yaskin, but where is Yaskin?
20:34And how would you cast this, this person who is equivalent to, or like, you know, mightier than these two superheroes?
20:44And then, who is it?
20:45And then we could only think, we were like, we were, we were.
20:48You were behind for one year.
20:50For one year sir, easily one year.
20:51Easily one year.
20:52And I was telling, why will he do it?
20:56Don't torture me.
20:57Just leave.
20:59It's not a question of torture, because I, self-doubt becomes, you know, you've done this, he has done this, he has done this.
21:06What am I going to do?
21:08You know, that, that was the reason.
21:11And it's not that I've played bad guys before, even as a lead bad guy.
21:18Psychopaths and all that, but this is something else.
21:21Yeah, yeah.
21:22First time.
21:23We are lucky to have Kamal sir.
21:26The detailing of the, the equipments that are going to be there, like the, like the bus for example.
21:34Yeah, yeah.
21:35And the car.
21:36Auto.
21:37And I didn't know that Bujji was made in India.
21:41It was fully made in India.
21:43It was made by Mahindra and J Motors and also lot of young Indian engineers.
21:50It's just unbelievable.
21:52Many times I used to ask Nagi when I went on the set and said, okay, how did you think of this?
21:57He said, there are, there are companies that, you know, that have think tanks and they, we gave them the idea.
22:03And they come up with projections and then we approve something.
22:07Even for our storyboard, you came up with a new guy.
22:11I suggested somebody.
22:12Correct sir.
22:13We even tried that.
22:14Correct sir, yes.
22:15Not that they have a team and they'll never try anything new.
22:18Because we tried, we didn't like it.
22:21We came back.
22:22So there was still experimentation.
22:24Even my look, I don't know, it must have changed about five times at least.
22:30Costume, look, everything.
22:33No, and also Nagi is very fortunate to be working with you two, especially at, you know, at your stature.
22:40You're willing to experiment with him.
22:42You're willing to explore things with him, you know.
22:45You know, in one of the interviews, which we just did, they said, was it a big pressure, you know, shooting with Bachchan sir and Kamal sir?
22:54He said, initially, I was like, I found it very funny and silly that I would actually direct both of them.
22:59Then, then, you know, it felt so easy because they said, they both said, don't make me an Amitabh Bachchan.
23:08Don't make me a Kamal Haasan.
23:09Do something else with us.
23:11He had the same notion with both of you all and, you know, he enjoys working with you both so much.
23:17Absolute no pressure.
23:18I'm like, you are directing them and he has no pressure on his face.
23:22So, I, yeah, I think it's a great synergy.
23:25I don't know, I don't know, but it's terrible to be able to even think like this.
23:30You know, I don't want to play myself.
23:32What is myself?
23:33I'm not, I'm not me.
23:35With all due respects, we are all fakes in front of the camera in any way.
23:40We play fake characters.
23:42The writer is a true genius.
23:45He dreams, he thinks.
23:47All of us are fakes.
23:49What is it about me?
23:50It's nothing.
23:51It's just something that you've seen in a visual, in a film.
23:54It's not that this is how we are.
23:57But Amitji, that's the gyan you get after 20, 25 years.
24:03And Deepika, first time you are doing a Telugu film.
24:06It's like completely different from the Bollywood or little different or very, very different.
24:11No, I mean, I think.
24:13Nagi is very different for us also.
24:15Because in the first story when he told me, it was, I could hear only 20%.
24:19Other part I asked my friend, what did he say, I didn't understand.
24:22So, he's like, should have been tough for you from Bollywood to this.
24:27No, I mean, I think that world of the movie, which I think is new even just,
24:31even for the audience it's new.
24:35But I think as actors, you're not really thinking.
24:39I think when you emote, the language I think comes secondary.
24:43The language is a problem.
24:45And I think that's the language of cinema, right?
24:49It transcends borders.
24:52So, you can act in English, you can act in Telugu, you can act in Hindi.
24:57But I think as long as the emotion, you can just say so much with your eyes,
25:01without saying anything at all and be able to convey that emotion.
25:04And you can show the best of yours.
25:06The words are more like a crutch, I feel.
25:08So, no, I didn't feel like, oh, you know, I'm now working in Telugu cinema.
25:15You know, it didn't feel overwhelming in that sense.
25:20Because what you're investing in as an actor is the emotional journey of the character.
25:26But, you know, for a production of this value and extent,
25:31what I found was that until Nagi got the right thing at the right place,
25:38he never compromised.
25:40Correct.
25:41If he did something, he'd do it.
25:43He has a beautiful way of getting what he wants.
25:48He won't shout from there.
25:49No.
25:50He'll come up very quietly.
25:51Correct.
25:52I think we should.
25:56But very pertinent.
25:57Yes, yes.
25:58Very pertinent.
25:59It's not just asking.
26:00And even after seeing the rushes come on, you know, there are times when he said,
26:04you know, sir, I feel we can improve on that and do something.
26:08And as producers, how do you live with this fact?
26:13We've got to redo this thing.
26:15We've got to put up the set again.
26:17We've got to get the artist back.
26:19We've got to get the timing and the dates.
26:21And never have I seen any kind of, you know, regret or a very morose kind of face.
26:28This guy is not worried about the cost.
26:31Costliest picture I've seen.
26:33I really marvel at that.
26:35I think in the cave set, the first set that we shot, you know, so we finished the schedule.
26:41I think we shot for four days or five days and we were like almost done.
26:43And we're like, okay, so this is done.
26:45So then it's like, take those three pillars and take the flooring.
26:48I'm like, why?
26:49We're done.
26:50Then I was like, I didn't understand.
26:52So then after four months, we were shooting that same thing.
26:55So then I was like, okay, so from every set, I know what to keep.
26:59So I thought there will be something or the other that now you will go back.
27:02I must tell a story about how producers feel happy
27:05when big artists like that lend themselves to the show.
27:10Shivari sir had not worked for a year.
27:13He came to act in Devaramakkam.
27:15We did the scenes.
27:18For him, it's very new to see something on a computer.
27:22So I was showing off.
27:24And I showed him in the computer the cut version of the scene.
27:33Can I stay one more day?
27:39Can you do all those close-ups? It looks very amateurish.
27:44I said, I thought he was talking about me.
27:48He said, me, I have not acted for one year.
27:51It shows.
27:53How can you refuse a man like that?
27:55I said, if I had to rebuild the set, I would have built it for him.
27:59So the director is asking for something.
28:02That's what I said, the word pertinent I used was,
28:06when he tells you, you're convinced.
28:08You're not asking, what do you want?
28:10Please tell me what do you want?
28:12Keeping on taking after taking, what do you really want?
28:17But he clearly tells you and you say,
28:21Yes, that's what I should have done.
28:24And that's very rare in a director.
28:28Very few have that.
28:29When that happened, the set lights up.
28:32Even without lights.
28:36But to be working in the kind of circumstances that we did,
28:39because of the way films are being shot now,
28:44it's a huge challenge for me.
28:50But not to have that environment around you,
28:54and to be able to imagine that,
28:56it's a little putting off in the beginning.
28:59But when you see a couple of results, then you get used to it.
29:03But for us it was, like I was just telling backstage,
29:08my mentor, Mr. K. Balakrishnan,
29:10I went and told him a story,
29:12which I saw Rishida and he,
29:15between shot, light up, they used to be playing chess.
29:20Both the lead man and the director will be playing chess,
29:24and the unit will be waiting.
29:26And he'll say, ah, okay.
29:28And then they'll go to the shot.
29:29I came back and told my boss that,
29:32that's how calm a set should be.
29:35Are you trying to tell me something?
29:37I said, yes, sir.
29:39You're so excited.
29:42I am nervous.
29:44What do you expect with you guys in the set?
29:46I am nervous.
29:47But it catches on.
29:49It's contagious.
29:51And we don't want that.
29:53But that's very important.
29:57But you know what is really admirable,
29:59and I've said it so many times,
30:01is the kind of discipline that we see in the South.
30:05I'm sure that you will agree with that.
30:07No, but…
30:08That discipline is just unbearable.
30:12Right from the spot boy to the director to the co-artists,
30:17there's a kind of discipline which I can't put in words.
30:21I feel humility.
30:24Despite who they are and what they are,
30:27to show that kind of humility and down-to-earthness
30:31is not expected at all.
30:35To be the first person there and the last person,
30:39and like sir was saying, not just…
30:42We used to complain about Tamil industry
30:45and point out the Telugu industry as an example for discipline.
30:50But then Nagi told me something which made me very happy.
30:54When I was an assistant director,
30:57they used to say, look at this Tamil assistant director.
31:01I was a Tamil assistant director.
31:04Was it about me? It can't be.
31:07But I think there are so many things I learned from Bombay.
31:12Like he was saying, we used to actually jump off buildings,
31:16showing off, and the safety factors,
31:19first I learned from Bombay.
31:22And I'm quite surprised, Amitji says,
31:25I'm surprised at all these safety factors.
31:28But after Sholay, even horses had padded falls.
31:34Even heroes didn't have that kind of fall there.
31:37We started from there.
31:39And for me, it's a fantastic journey.
31:42I'm a child of cinema.
31:44I came when I was three.
31:46I came with the live sound,
31:48went to dubbing and back to live sound.
31:51Now it's a full cycle.
31:55And as he was saying,
31:57he makes use of all the gizmos when it's needed.
32:03I don't see somebody flashing all the gadgets he has.
32:08He uses it precisely.
32:10And it's a quiet set.
32:12That's what I liked about it.
32:15That's because he's organized in his mind as to what he wants.
32:18And the rest of the unit follows him.
32:21That is important.
32:23They admire him, they honor him.
32:27And I think some of the assistants working
32:30actually belong to film families.
32:32I realized. I didn't know who was who.
32:35There are a bunch of kids there, all first-timers.
32:37And he always refers to him.
32:39I know his sister.
32:40His sister is working with him.
32:42I was scared with her because one day we were shooting with him.
32:44She's my sister.
32:46When we were young, she used to box me.
32:48After that, I started.
32:51He's extremely keen only on working with first-timers.
32:55He feels they're going to bring something onto the table.
32:58Something new.
33:00He's very clear about it.
33:02You yourself are a second generation.
33:05You had somebody in the family.
33:07My sister.
33:08No, no.
33:09Krishna Rajgar.
33:10His uncle.
33:11I worked with him.
33:13As an assistant.
33:15I was a dance assistant.
33:18And he was not much of a dancer.
33:23Don't give me this moment.
33:25It's a threat to me.
33:27Take me aside during breakfast.
33:31This is what I can do.
33:32This is the step you teach me.
33:35This is so amazing, sir.
33:37What cinema has done for all of us
33:39in the last few years is
33:41there are no boundaries anymore.
33:44That we all can come back
33:46from wherever we are
33:48from the part of the country
33:49and able to make one cinema
33:50which is Indian cinema.
33:51Which is incredible.
33:52And people like Nagashwini
33:54are able to dream to do this.
33:55Because they're able to pull
33:57talent from all across
33:59and get them
34:00and make something like this.
34:01It's like the national flag.
34:02Absolutely.
34:03We have a national pool of talent
34:05which we should stand up and salute.
34:07And all of us need to do that.
34:10And we knew that more films like this
34:12could be made.
34:13Lot of times, you know,
34:15at my age people say
34:17Sir, when are you going to do a film
34:19something like Hollywood?
34:21I tell them.
34:22When is Hollywood going to do a film
34:24something like us?
34:25Come and make something that we do.
34:30What we have to go through
34:31and what kind of stories that we build
34:33because ours is, you know, pan India.
34:35And it's very tough
34:37what we do and how we make our films.
34:39Okay, so sometimes people ridicule us
34:41and laugh at us and so on and so on.
34:43But
34:45there is always some element
34:47which you will always learn
34:49in all our films.
34:51And I keep saying this story
34:53over and over again.
34:55My father during his last years
34:57every evening, you know, used to be
34:59used to bring him on his wheelchair
35:01used to sit and he said put on a movie.
35:03He used to see a movie.
35:05Many times, my own ones.
35:07Three, four times.
35:09What is this?
35:11Every evening you are going and seeing a movie.
35:13He said
35:15I get to see Poetic Justice
35:17in three hours.
35:19You will not get Poetic
35:21Justice in a lifetime.
35:23And many of us in several
35:25lifetimes will not get. But I see
35:27Poetic Justice. That's what Indian cinema
35:29is all about.
35:31You get to see Poetic Justice
35:33in three hours.
35:35No matter what you may say about us.
35:37You will go back
35:39with some more,
35:41some ethics which is cultural
35:43which is Indian.
35:45I can tell you people are going to
35:47be shocked when they see
35:49Kalki.
35:51The kind of effort that has been put in.
35:53These visuals are just unbelievable.
35:55Yes.
35:57I was just seeing some comments
35:59on the net which are very heartening.
36:01So, like
36:03exactly what
36:05you said about
36:07India is ready for it.
36:09And they are. Because they are
36:11owning it up. And they are saying
36:13nice. We deserve to see
36:15such movies.
36:19Right.
36:21Yay!
36:23This is the silence that we have.
36:25On the set.
36:27We have nothing
36:29more to say. Because
36:31we are fully satisfied.
36:33Because this light was off.
36:35Oh shit!
36:41So, if there is anything else
36:43Swapna, Bianca ji, if you want to
36:45ask us or say something.
36:47I think we just want to thank you.
36:49We just want to thank you.
36:51It is not unusual because normally you don't say much.
36:53He is maintaining the present
36:55silence of the director.
36:57I am imitating my director.
36:59I think
37:01we are only extremely thankful sir.
37:03All of us extremely grateful for
37:05what has happened.
37:07This is truly from the heart because
37:09not on a
37:11regular day.
37:13Something like this doesn't happen
37:15to everybody. It just happened to us.
37:17We are very very grateful. That's because I feel
37:19my father has invested so much of his life
37:21into cinema. And I feel cinema
37:23is giving back to us.
37:25It's as simple as that.