'ആ സിനിമാ ലോക്കേഷനിൽ സംയുക്ത തലകറങ്ങി വീണു' | Sibi Malayil & Raghunath Paleri Interview
Raghunath Paleri & Sibi Malayil Interview about Devadoothan | മോഹൻലാൽ അതിഥി ഹേഷത്തിൽ എത്തി ഞെട്ടിച്ച ചിത്രമാണ് സമ്മർ ഇൻ ബത്ലഹേം. ജയിലിലെ ഒരു സീനിലാണ് മോഹൻലാൽ എത്തിയത്. എന്നാൽ മഞ്ജുവാര്യരും മോഹൻലാലും ഒന്നിച്ചുളള സീനുകൾ വേറെ ഉണ്ടായിരുന്നെന്നും അത് എഡിറ്റ് ചെയ്ത് കളയുകയായിരുന്നുവെന്നും അതിൻ്റെ കാരണങ്ങളും വ്യക്തമാക്കുകയാണ് സിബി മലയിൽ. ദേവദൂതൻ സിനിമ തിരികെയെത്തുമ്പോഴുളള വിശേഷങ്ങൾ പങ്കുവയ്ക്കുന്നതിനിടെയാണ് സിബി മലയിൽ മനസ് തുറന്നത്.
~PR.322~ED.23~CA.25~
~PR.322~ED.23~CA.25~
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NewsTranscript
00:00I don't know how to write a script for Lal.
00:03I have been asked to write a script for Lal.
00:06I have been asked to write a script for Lal.
00:07But I don't know how to write a script for Lal.
00:08Lal himself says that I have to hold my breath for a certain period of time.
00:13That is the talent of a human being.
00:15You know how they say to put the knife down.
00:17There are 2-3 parts of Lal in that short.
00:22He himself took it.
00:23Those are cut shots.
00:24Lal is doing it in an interesting way.
00:26Anyway, it came.
00:27It came.
00:27The most important thing in this is the 7 bells.
00:31The script was created by Raghu himself.
00:34There was a concept called 7 bells.
00:37There are bellows on both sides.
00:40Bellows are used for harmonics.
00:42The height of the music theater is used as a breath sound.
00:50It becomes a living object.
00:54When you hear the music of Lal and its rhythm...
00:57When Lal came, people...
00:59Till the release of the film, we had not given any indication that Mohanlal would be in the film.
01:04When Lal came to the theater, it was a huge shock.
01:07People were very surprised.
01:08I have heard that the sky angel brings victory to Thuvalai.
01:12There was no one in the theater on the first day.
01:15On the first day, there were 100 people.
01:19If you give a towel to the people who come to see the film,
01:22they will give it to you as soon as you take the ticket.
01:24I don't know why they give it to them.
01:26But when they saw the film in the theater, they understood.
01:28I think it was a good idea.
01:29Kuttichathanam is a very popular film.
01:33It was written by 13 people.
01:36When it was released, it became popular.
01:38Sibi was not there.
01:39I did not accept Sibi in this film.
01:42If I had not written that script, Kuttichathanam would not have existed.
01:45Namaskaram to all of you.
01:48Namaskaram.
01:49I am happy that the sky angel is coming again.
01:52When you say that the sky angel is coming,
01:54when you re-release the film,
01:56you say that some parts of it are missing.
01:58It is a re-edited version.
02:00There are no additions.
02:02There are only reductions.
02:04This is a version of the film that came in 2000.
02:11We have removed some parts that we felt were not needed.
02:17A remastered, re-edited version is coming.
02:21It will be a better experience.
02:25You will be able to enjoy the audio and atmosphere of the film.
02:33I think it was released in three hours.
02:36No, it was released in two and a half hours.
02:38It is coming now.
02:40You say that some parts are missing.
02:42At that time, you said that some comedies were not needed.
02:48Is that what you have removed now?
02:50There are some parts like that.
02:52Like you said,
02:54there are some parts that do not fit the main story.
03:00When we approached it from a commercial angle,
03:06it was our fault.
03:08That has been corrected.
03:10To get a horror feel,
03:14to show that the soul is there when the ghost comes,
03:18we have seen this in many films.
03:20Sometimes a form is missing.
03:22But in Devadhootham,
03:24the shadow of a demon,
03:26the shadow of a dog,
03:28all this is scaring us.
03:30Then we understand that there is a horror feel.
03:32There is a soul there.
03:34How did you bring such a story?
03:36The shadow of a demon.
03:38How did you bring such a scary story?
03:42There is a concept called the presence of the soul.
03:46To use that,
03:48I used some words.
03:50I used some live words.
03:58It is communicating.
04:00This is really a love story.
04:02This is not a horror film.
04:04It is not written as a horror story.
04:06But,
04:08if I have to tell a girl
04:10who is waiting for me,
04:12don't wait for me,
04:14I am gone.
04:16When I write,
04:18I try to convey
04:20what I feel.
04:22These are the elements I got.
04:24I didn't do it for a horror film.
04:28How much I was able to communicate
04:30with my director,
04:32that is because of him.
04:34But, when he presents it,
04:36the sound and everything
04:38gets enhanced
04:40through that feeling.
04:44I didn't plan it beforehand.
04:46But,
04:48what I had in my mind
04:50and what Sibi had in her mind
04:52was that this is not a horror film.
04:54It is a love story that communicates.
04:56Everyone takes it
04:58according to the audience.
05:00But, a lot of people
05:02have taken it to this level.
05:04There are people who are scared.
05:06It happens naturally.
05:08It is not intentional.
05:10But, it just happened.
05:12It just happened.
05:14I don't know how it happened.
05:16But, it just happened.
05:18My thoughts came to Vishakrishnamoorthy's mind
05:20in the same way.
05:22There is a presence of a bird here.
05:26There are a lot of birds here.
05:28There are a lot of birds here.
05:30There are a lot of birds here.
05:32I was about to say it off-line.
05:34But, you asked me.
05:36There are a lot of birds here.
05:38You are wearing this saree
05:40because of this film.
05:42No, I am wearing it intentionally.
05:44But, it looks good.
05:46The song, Karalai Ninkai Pidichal,
05:48people still think
05:50that it was sung by Sujatha
05:52or someone else.
05:54But, it was sung by a singer called Preeti.
05:56How did you feel that
05:58such a voice was needed
06:00in the song?
06:04The song takes place
06:06in the early days of the character.
06:08In Alina's childhood,
06:10when she was in love,
06:12we used the song
06:14to bring that love
06:16to the audience.
06:18So, we thought
06:20that we needed
06:22a different voice.
06:24So, we suggested
06:26Preeti's voice
06:28that we had in our mind.
06:30Vidyasagar called them
06:32to Chennai
06:34and made them sing.
06:36There was no reason
06:38to consider them.
06:40He called them to sing a track.
06:42They sang two tracks.
06:44Poovai Poovai and
06:46this song.
06:48Later, we asked them
06:50to select another track.
06:52In Vidyasagar's mind,
06:54it was the same.
06:56We wanted a new voice.
06:58Chitra sang the other track.
07:02This was the concept.
07:08We wanted a new voice
07:10in Alina's childhood.
07:14When you talk about Jayaprabha,
07:16there are different emotions.
07:18Alina's love,
07:20how much she loves him,
07:22how much she waits for him,
07:24how much she keeps him in her heart.
07:26It is clear from their
07:28expressions.
07:30How did you bring
07:32this film to them?
07:34When this story came
07:36to us,
07:38in 1982,
07:40when we wrote
07:42this story,
07:44Madhavi was
07:46in our mind.
07:48When Madhavi came to
07:50Kerala,
07:52she remembered Bharathettan.
07:54She was an active
07:56heroine in many films.
08:00We thought that
08:02her beauty and
08:04her looks would suit this film.
08:06By 2000,
08:08we saw this character.
08:10At that time,
08:12we wanted to cast Madhavi
08:14in two roles.
08:16The age of Madhavi
08:18in this character
08:20was very different.
08:22There was a gap
08:24from the 1920s
08:26to the late 40s.
08:28There was a gap
08:30of 30 years.
08:32They could not
08:34cast Madhavi in this role.
08:36So, we wanted
08:38a beautiful actress
08:40in the late 40s
08:42or mid 40s.
08:44We wanted a non-face
08:46actress.
08:48At first, we thought
08:50about Hindi actress Rekha.
08:52We got in touch with her
08:54and met her.
08:56But,
08:58she did not
09:00speak Malayalam.
09:02She could not
09:04speak Malayalam.
09:06So, we could not
09:08accept her.
09:10The next option was
09:12Jaipur.
09:14We have seen many films
09:16about Jaipur's beauty.
09:18We have enjoyed
09:20the beauty of Jaipur.
09:22Especially, when I
09:24reached the film industry,
09:26when I was an assistant director,
09:28when I went to Chennai
09:30for dubbing
09:32or post-production work,
09:34once,
09:36when I was standing
09:38in the recording studio
09:40in Chennai,
09:42a song was being shot
09:44on a lawn.
09:46She was a beautiful actress.
09:48We have seen many
09:50films about her.
09:52Later, we came to know
09:54that she was a Telugu actress
09:56and a Jaipurite.
09:58We have also seen
10:00films about
10:02Sagarasangam.
10:04She was one of the
10:06most beautiful actresses
10:08So, this memory
10:10brought me to Jaipur.
10:12I had seen Jaipur
10:14in Hyderabad.
10:16I told them the story.
10:18They were eager to
10:20do the story.
10:22That casting was
10:24very favorable.
10:26Later, we came to know about it.
10:28The most important part
10:30is the 7 bells.
10:32I have heard that
10:34those 7 bells were created.
10:36I would like to know
10:38how those 7 bells
10:40were created.
10:42Those 7 bells
10:44were written in the script.
10:46Was there a name for it?
10:48In the first script.
10:50It was written in 1982.
10:52It was created by Raghu.
10:54It was written by Raghu.
10:56At that time,
10:58there was a concept called 7 bells.
11:00It was a modified version
11:02of a piano.
11:04We had a concept
11:06like that.
11:08It didn't work out then.
11:10But today,
11:12the most important property
11:14that hasn't changed
11:16is the 7 bells.
11:18It was created by
11:20Prakash Murthy, an art director.
11:22He is not an art director.
11:24He is not a film maker.
11:26He is a painter.
11:28He is a sculptor.
11:30He designed the basic.
11:32He created a functional
11:34version of the 7 bells.
11:36It is possible to use it.
11:40When we hear the 7 bells
11:42during the day,
11:44we feel like
11:46it is a nightmare.
11:48The 7 bells go like this.
11:50It feels like a nightmare.
11:52But when we hear it at night,
11:54we get a horror mood.
11:56That is because
11:58it is dark at night.
12:00It is not a problem
12:02when it is dark at night.
12:04It is a real problem.
12:06If you pay attention to the 7 bells,
12:08you will understand one thing.
12:10There is a pedal for it.
12:12There is a grand piano.
12:14Murthy and his art director
12:16designed it.
12:18There is a bellos
12:20on both sides.
12:22The bellos used in harmonicas.
12:24The highlight of the bellos
12:26is that it is a functional bellos.
12:28They designed a functional bellos
12:30on both sides.
12:32But the highlight of the
12:34music director
12:36is that
12:38he used the sound
12:40as a breath.
12:42It becomes a living thing
12:44when it speaks.
12:46When you hear the music
12:48and its rhythm,
12:50it comes as a breath.
12:52It comes as a breath.
12:54It is a genius.
12:56It is a genius.
12:58It is a different kind of music.
13:00That is what the music director did.
13:02When we give something,
13:04the element
13:06that stands above it
13:08can contribute to it.
13:10That is it.
13:12When I give an imagery
13:14or a feeling
13:16in a script,
13:18the music director
13:20who listens to it
13:22can give life to that feeling.
13:24He can give it visually.
13:26When we give an element,
13:28the music director can give
13:30a visual element to it.
13:32That is what is needed in a film.
13:34I enjoyed that a lot.
13:36Especially in this film.
13:38These are the highlights.
13:40These are the things
13:42that give life to a film.
13:44Even if it is written in a script,
13:46it should get that life.
13:48That life.
13:50One of the films that got that
13:52is Devadhoothan for me.
13:54There are many films that got it,
13:56but these are extraordinary films.
13:58That is why I feel thankful to them.
14:00That is why I gave him
14:02a music album
14:04that is more than
14:06Rirakkada.
14:08That is what genius is.
14:10Even now,
14:12when we see this,
14:14we think that
14:16what would have happened
14:18if Vidhyaji had said no
14:20to Devadhoothan?
14:22Have you both thought about it?
14:24If Vidhya had said no,
14:26Siyad wouldn't have lost money.
14:28There is no need for Vidhya to say no.
14:30Vidhya didn't say no.
14:32Because Vidhya
14:34became a part of this
14:36after the first writing of this film.
14:38He is a part of this.
14:40Also, the three films that I did
14:42before that,
14:44Siyad did two films before that
14:46and Vidhya sir did the music.
14:48So, professionally,
14:50we had a good relationship
14:52with each other.
14:54When it comes to our project,
14:56when it comes to the project
14:58that Siyad and I did,
15:00Vidhya sir was not able
15:02to refuse it.
15:04Especially when it comes to
15:06musical importance.
15:08Narasimham was released
15:10at that time.
15:12Was Devadhoothan a winner
15:14and a spectator who was
15:16expecting that?
15:18Was Devadhoothan a failure
15:20in the theatre?
15:22That is the main reason.
15:24When they reached the theatre,
15:26they saw a super human image
15:28of Mohanlal.
15:30They worshipped his action
15:32seekers, moustache,
15:34bald head, etc.
15:36When they expected that
15:38in this film,
15:40that didn't happen.
15:42I believe that is the reason
15:44why they were disappointed
15:46and disappointed.
15:48When Mohanlal came,
15:50there were a lot of changes
15:52in the story.
15:54When it reached Mohanlal,
15:56how did you make it
15:58fit to the music
16:00and Mohanlal?
16:02Mohanlal didn't change
16:04in the story.
16:06Mohanlal's hero
16:08character
16:10was adapted from
16:12Chirithoothan.
16:14He tried to bring heroism
16:16but that didn't
16:18match.
16:20There is no option
16:22to change that.
16:24We don't know.
16:26We haven't done it yet.
16:28When we think about it now,
16:30it might have been good
16:32if he had changed it.
16:34We don't know.
16:36Like I said,
16:38when an actor sees
16:40an actor's performance
16:42above the character,
16:44the audience
16:46will go down
16:48to see the actor's image
16:50above the character.
16:52This is what happened.
16:54Mohanlal used
16:56the word
16:58heroism
17:00as a highlight
17:02of an actor.
17:04When there is
17:06a heroism,
17:08the character
17:10goes to the audience.
17:12Mohanlal's
17:14Vaanaprastham
17:16is a film
17:18with a heroism.
17:20In this film,
17:22Mohanlal has done
17:24a great job.
17:26But the audience
17:28will have expected
17:30a heroism
17:32above the character.
17:34The heroism
17:36was there because
17:38the audience
17:40didn't like it.
17:42The next generation
17:44might like it
17:46because
17:48the heroism
17:50is not there.
17:52This is the
17:54transformation
17:56of actors.
17:58Vaanaprastham is
18:00a film related to
18:02Vaanaprastham.
18:04Mohanlal didn't know
18:06the story at that time.
18:08He decided to
18:10do Vaanaprastham
18:12with Mohanlal.
18:14There is a scene
18:16in which
18:18Mohanlal is
18:20acting as Vaanaprastham.
18:22Shaji decided
18:24to do it.
18:26A character like Lal
18:28can do it easily.
18:30Lal himself said
18:32in that scene
18:34that he was
18:36about to die.
18:38He said
18:40he held his breath
18:42for a while.
18:44These are the
18:46abilities of a person.
18:48He will do
18:50what he feels like.
18:52Lal's biggest versatility
18:54is that
18:56he can take on
18:58the role of a character.
19:00We have seen
19:02this in some of Siviran's films.
19:04The scene where
19:06he puts down the knife.
19:08There are
19:102-3 scenes of Lal
19:12in that scene.
19:14Those are cut shots.
19:16He did it well.
19:18That is the
19:20transformation of an actor
19:22into a character.
19:24I don't know
19:26how that happens.
19:28Many actors
19:30do that.
19:32Mohanlal
19:34made the story
19:36self-satisfying.
19:38I don't think
19:40Lal did that.
19:42But Lal did it.
19:44The miracle
19:46is that he did it
19:48for 8 hours.
19:50He did it for
19:52Lal.
19:54I have seen it again.
19:56He did it well.
19:58He did a lot of research.
20:00I didn't know
20:02what to write
20:04after that film.
20:06I didn't know
20:08what to write
20:10after that film.
20:12I have been asked
20:14to write a script for Lal.
20:16But I don't know what to write.
20:18I wanted to write
20:20a film with a
20:22saturated feeling.
20:24I don't know how to write.
20:26When you talk about Kireedam,
20:28a poster is in my stomach.
20:30To go to Sibi's
20:32wedding,
20:34I took 3 days
20:36to write the story.
20:38I don't know
20:40if it was 3 days.
20:42But I wrote it
20:44very quickly.
20:46After my marriage,
20:483 days later,
20:50I went to the location
20:52for a shooting.
20:54It was a little late.
20:56But I went there
20:58for a shooting.
21:00My honeymoon
21:02took place there.
21:04It was in that location.
21:06As far as Lohia is concerned,
21:08I had this story in my mind
21:10long before.
21:12I had this story in my mind
21:14long before.
21:16I had this story in my mind
21:18long before.
21:20It was not written.
21:22It was formed in my mind.
21:24The pressure to write
21:26was that
21:28I was getting married.
21:30I was going to start
21:32shooting soon.
21:34Lohia always works
21:36under pressure.
21:38If you start a generator
21:40in a location,
21:42Lohia's pain will go away.
21:44Only when you don't put
21:46pressure on yourself,
21:48can you write well.
21:50In an interview,
21:52you said that
21:54Mohanlal was your
21:56best combo.
21:58In that interview,
22:00you said that
22:02Mohanlal's actions
22:04were like a knife
22:06in the hands.
22:08You said that
22:10Mohanlal and
22:12Thiruvananthapuram's
22:14first encounter was
22:16in this film.
22:18Both of them
22:20were extraordinary
22:22talented actors.
22:24When a good actor
22:26is sitting next to another
22:28actor, the actor responds
22:30to him.
22:32He reacts to his act
22:34when both of them
22:36do the same.
22:38We can see a
22:40lot of similarities.
22:42That is why
22:44they are our
22:46best combination.
22:48There are a lot of
22:50differences between
22:52them.
22:54When they
22:56act,
22:58they do it
23:00with a lot of
23:02respect.
23:04That is why
23:06we like them the most.
23:08If you ask me
23:10whether there is
23:12a film like
23:14Madurai Nombra Kaattu
23:16in nature,
23:18I would be surprised.
23:20It shows the
23:22wind.
23:24Is it possible
23:26to create a problem
23:28in a natural location?
23:30I have heard that
23:32many artists
23:34have a hard time
23:36creating a problem.
23:38For example,
23:40for Samir,
23:42there was a problem
23:44in spreading
23:46the grass.
23:48I think
23:50Samir
23:52has gone through
23:54that.
23:56But Kamala
23:58did a good job.
24:00It is a story I wrote
24:02when I was in college.
24:04I published it
24:06in Kalakkamudi.
24:08It has been
24:1025 years
24:12since then.
24:14I wrote the story of Kamala.
24:16There is a cameo role
24:18in the last scene
24:20of the film.
24:22But before that,
24:24there was a scene
24:26with Lal and Manju.
24:28Was there a scene
24:30like that?
24:32There were two scenes
24:34with Lal.
24:36One of them was cut.
24:38The first scene was
24:40in the jail.
24:42The second scene
24:44was cut after
24:46coming to the theatre.
24:48The second scene
24:50was about a girl
24:52who loved Lal a lot.
24:54She forced
24:56Suresh
24:58to marry
25:00her own son.
25:02She wanted
25:04a justification.
25:06When she came home,
25:08her parents
25:10and cousins
25:12pressurized her
25:14and convinced her
25:16to marry him.
25:18They said
25:20you loved him.
25:22He died.
25:24But there was someone
25:26who loved you.
25:28There was a scene
25:30that convinced her.
25:32It was a lengthy scene.
25:34When she was sitting
25:36on a bench,
25:38Mohanlal's presence
25:40was there.
25:42She had a feeling
25:44that he would be there
25:46after her death.
25:48It was a scene
25:50that convinced her.
25:52Why was it cut?
25:54When it came to the theatre,
25:56people were shocked.
25:58Lal's return was
26:00a kind of a super star.
26:02People were shocked.
26:04People didn't know
26:06that Mohanlal would be
26:08in the film.
26:10People were shocked
26:12when Lal came.
26:14It was an unexpected entry.
26:16People were shocked
26:18when people saw Lal
26:20in the film.
26:22People were shocked
26:24when people saw Lal
26:26in the film.
26:28It was a big scene
26:30without Lal.
26:32Lal came at the end
26:34of that scene.
26:36When she was sitting
26:38on a bench,
26:40Lal came and talked to her.
26:42I was in Chennai
26:44when the film was released.
26:46Sridhar told me
26:48that he was very disturbed
26:50at that time.
26:52He was in a bad mood.
26:54He was crying.
26:56Manju's character
26:58was very happy
27:00when he came to the station.
27:02People were scared
27:04of that change.
27:06I told him to cut
27:08one show and continue.
27:10He cut one show
27:12and told me that
27:14people were happy.
27:16People were happy
27:18when they saw Lal.
27:20That changed everything.
27:22I heard that
27:24Akashadhoothu Vijayathilai
27:26was directed by Thuvala.
27:28What was the story?
27:30There were not many people
27:32in the theatres.
27:34There were about 100 people.
27:36People were shocked
27:38when they heard about it.
27:40I knew that
27:42it was a film
27:44that was going to be picked up
27:46by Motto Blitz.
27:48The theatres were not
27:50waiting for it.
27:52It was a publicity
27:54strategy.
27:56If you give a towel
27:58to the people who
28:00want to see the film,
28:02they will give it to you
28:04when you take the ticket.
28:06But when they see the film,
28:08they will think that
28:10it was a good idea.
28:12Especially women
28:14will think that
28:16it was a good idea.
28:18People will come to the theatres
28:20because of it.
28:22My Dear Kutty Chaathan
28:24is a very popular film.
28:26It was written by 13 people
28:28and it became a hit.
28:30How did you make it a hit?
28:32It was not like that.
28:34I did not write the script.
28:36I did not write the entire script.
28:38I just tried to make it a hit.
28:40Since then,
28:42I have not been able to
28:44make it a hit.
28:46It is a three-dimensional movie.
28:48It has a lot of limitations.
28:50No matter what dimension it is,
28:52it has a lot of limitations.
28:54You have to stand within those
28:56limitations to make the script.
28:58I was not able to reach
29:00those limits.
29:02I was able to move forward
29:04just a little bit.
29:06But I was not able to
29:08accept it.
29:10I thought it was a failure.
29:12Finally, I was able to make it a hit.
29:14Was there a risk
29:16when you were shooting
29:18the song for the movie?
29:20No.
29:22The rest of the work was done
29:24after I completed the script.
29:26It was a festival.
29:28From the first day,
29:30it was a festival atmosphere.
29:32I was thrilled.
29:36I had two commitments.
29:38The reason for all this
29:40is Sibi.
29:42I can't not tell you.
29:44I can tell you now.
29:48I was writing the first script
29:50for Sibi for Navodaya.
29:52I was meeting them
29:54to write the script
29:56for the movie Sibi
29:58is going to do for Navodaya.
30:00They were going there.
30:02That was the first time
30:04I had come to Devadunam.
30:06If it was not for Sibi,
30:08I wouldn't have accepted it.
30:10Now, I feel
30:12that Sibi is
30:14very easy to talk to.
30:16She is silent.
30:18She doesn't say anything.
30:20She is always there.
30:22But she doesn't
30:24use overwhelming words.
30:26She doesn't laugh out loud.
30:28I have seen her laugh
30:30out loud.
30:32Sibi is softer
30:34than this.
30:36I don't know what happened
30:38to Sibi.
30:40I don't know what happened
30:42to Sibi.
30:44But if it wasn't for Sibi,
30:46I decided to write
30:48that movie
30:50because I felt
30:52it was a challenge.
30:54I didn't like
30:56the ambience
30:58of that movie.
31:00I didn't like
31:02the ambience
31:04of that movie.
31:06But I felt
31:08I could do it.
31:10I reached Jijo from there.
31:12If I hadn't written
31:14the script
31:16and accepted Sibi,
31:18I wouldn't have
31:20been able to do it.
31:22I had such
31:24a feeling in my heart.
31:26I wanted to feel love.
31:28Most of the movies
31:30I acted in
31:32were in the name
31:34of Sibi's friendship.
31:36The reason I wrote the script
31:38for Shaji is because
31:40I love Shaji so much.
31:42I love Shaji so much.
31:44When we were shooting,
31:46Shaji asked me the script.
31:48I accepted it.
31:50I don't know why
31:52I wrote the script for Sibi.
31:54I don't know why
31:56I wrote the script for Sibi.
31:58I don't know why
32:00I wrote the script for Sibi.
32:02I told my wife.
32:04That's it.
32:06Thank you so much.
32:08I wish you success.
32:10Thank you so much.
32:12I wish you success.
32:14I wish you success.