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NewsTranscript
00:00Sure. First of all, good evening to one and all.
00:02Good evening, everyone.
00:04Thank you for having me here.
00:06Vicky, MEBC
00:082025. Yeah.
00:10Thank you. And thank you, Sudhir.
00:12Yeah.
00:14You asked about the gap
00:16after Rangoon's film.
00:18Okay. I think
00:20waiting for the
00:22right time, I think that is
00:24very inevitable in the process
00:26of filmmaking, I think.
00:28I think, 2-3 weeks ago,
00:30I was talking to a first-time filmmaker.
00:32They had shot a film and it was a successful one.
00:34One thing they said was
00:36that no matter how successful
00:38the film is,
00:40even if you are waiting for the right time,
00:42even if you are in a hurry,
00:44you are cementing your place here.
00:46If you put a little gap,
00:48they will keep coming.
00:50They will take new films and forget you.
00:52That's what they were saying.
00:54How do you see this whole conversation?
00:56I think it's a very result-oriented industry.
00:58Maybe it comes
01:00from that kind of a place.
01:02But I would say
01:04that that project is important.
01:06Though it's been
01:08a successful film, what we do next
01:10matters.
01:12If I have to talk about the process
01:14of Amaran, 31st of October
01:162024 was the release date.
01:1827th, I think
01:20we created the copy for the film.
01:22The first copy of the film.
01:24We gave it to all the international, Tamil people.
01:26After that,
01:28I moved on from the film.
01:30That day.
01:32Mentally,
01:34the content left me.
01:36This is a big break.
01:38At that time,
01:40you would have thought that many films
01:42would become your second film, right?
01:44In different periods,
01:46each script would have gone into a space
01:48where it would come to life.
01:50In that, Amaran came out
01:52in that space.
01:54So, do you want to talk about
01:56that space of
01:58deciding which would be the right film
02:00for the second film?
02:02You would have calculated that, right?
02:04You said that someone else
02:06was a filmmaker, right?
02:08At that time, we would have
02:10done the next film along with that.
02:12That's one approach.
02:14But still,
02:16what we like and what we do
02:18is another approach.
02:20There were a few offers
02:22that came my way.
02:24I had a script.
02:26I had assembled it.
02:28It took some shape.
02:30But it didn't materialize.
02:32It took one or two years
02:34to materialize.
02:36After that, it started.
02:38Then it took its own time.
02:40Then COVID came.
02:42I think no one knows what happened
02:44in those two years.
02:46Then this happened.
02:48You mentioned another script.
02:50Is there a possibility
02:52of making that into a film?
02:54Definitely.
03:06At that time, it will not be useful.
03:08But it will be of use
03:10at some point of time.
03:18There are lots of films coming.
03:20Sometimes, something similar will come.
03:22It's not that only we will get
03:24this idea.
03:26Someone else in the same plane
03:28or at least in a similar genre
03:30or character will come.
03:32We can't avoid such reasons.
03:34If we have scripts and screenplay
03:36extra during that waiting period,
03:38every script can become a project
03:40later, some other time.
03:42Now,
03:44there is something called
03:46a ready-made mind.
03:48For example,
03:50something happens after a while.
03:52Only then do we realize
03:54that it didn't happen before.
03:56Now, mentally, I am mature enough
03:58to handle this.
04:00Creatively, I am better to handle this.
04:02There has been a growth in the middle.
04:04Sometimes,
04:06if you get an opportunity,
04:08it's not enough.
04:10You have to be ready for it.
04:12Do you think Amaran happened to you
04:14at the right time for you
04:16in terms of personal growth, professional growth?
04:18You must have thought about the film
04:20for those 7-8 years.
04:22I would say
04:24at any point of time,
04:26anything can happen in cinema.
04:28We should always be prepared.
04:30Sometimes, on the go,
04:32it happens.
04:34The gap doesn't mean
04:36so many years have gone into Amaran alone.
04:38If it was some other film,
04:40then we are bound to make that also
04:42a successful venture.
04:44Every project is like that.
04:46Let me ask you this then.
04:48Rangoon was released in 2017.
04:50If you had the opportunity
04:52to make Amaran in 2018,
04:54do you think
04:56you could have done justice to the material
04:58in terms of the state of mind
05:00of a Rajkumar at that time?
05:02Yes, of course.
05:04I would always say,
05:06we all have been talking about
05:08the COVID gap,
05:10but I would say that gap,
05:12that two years or one year,
05:14that has revolutionized
05:16the mindset of the audience,
05:18the mindset of the
05:20people who take certain decisions.
05:22Anybody can come up with any script,
05:24but if the script
05:26can make it to the screen,
05:28that decision has to be done by a producer,
05:30taken by a producer.
05:32Most of the times, it's the actor.
05:34Only when an actor says
05:36okay to a script and a producer comes forward
05:38to produce that film,
05:40any idea can become a film.
05:42Post-COVID, during COVID,
05:44audience were
05:46exposed to a lot of content
05:48from many other countries.
05:52Even our actors and producers.
05:54I don't know if
05:56same Amaran, if it was narrated to
06:00many people in the industry,
06:02if it was narrated in 2018,
06:04the same script,
06:06the same story, the same dialogue,
06:08the same screenplay,
06:10would it have come forward
06:12to make a film?
06:14I don't know.
06:32People who are taking decisions within the industry,
06:34the actors and all of that,
06:36there could be many more
06:38other genres also.
06:40Because, when it comes to a military film,
06:42what they say is,
06:44the military here,
06:46I don't know if this will work.
06:48Even after seeing the gun?
06:50No, the gun, again, you'll have to
06:52bring it down to...
06:54See, the gun, it happens
06:56in Bombay.
06:58It's not that army army story.
07:00It's about an officer who comes on a holiday,
07:02he comes across something,
07:04then that takes him to other things.
07:08So, it is just that army spirit
07:10that the officer is carrying.
07:14So, instead of showing the actual world,
07:16we have to change it
07:18into something else.
07:20Just taking that spirit.
07:22So, what happens in their line of duty,
07:24capturing the relationships
07:26within them,
07:28people often think that,
07:30I'm not sure...
07:32Definitely, I think the audience,
07:34we should only thank the audience
07:36for this film's success.
07:38Because, they made it their own.
07:40I mean, the audience
07:42is always ready for it.
07:44What was your biggest worry?
07:46After Mamaran was shot,
07:48before it was received,
07:50it was like,
07:52this is giving me a lot of anxiety.
07:54How will they accept this place?
07:56Will they accept it?
07:58Will they not?
08:00Weirdly speaking,
08:02anxiety is always there
08:04until the scene is shot.
08:06The scene written in the paper,
08:08will be there
08:10until it is shot.
08:12Similarly, from the edit table
08:14until the film is delivered.
08:16Once we achieve that,
08:18it gives a sort of satisfaction,
08:20a high, a happiness.
08:22So, anxiety was always
08:24in the making of the film.
08:26Fine. In that case, we'll go down that road.
08:30What were you most anxious about,
08:32in terms of filming?
08:34This is the written material.
08:36But, how am I going to capture this?
08:38What gave you the greatest worry as a filmmaker?
08:40Kashmir.
08:42Shooting in Kashmir.
08:44Shooting in Kashmir was not easy.
08:46Because, permissions were there.
08:48And, permissions were there.
08:50But, still, permissions
08:52were there.
08:54So, there was no guarantee
08:56until it was shot.
08:58Because, it's all very sensitive.
09:00Suddenly, somebody will cross.
09:02Someone will say, someone is coming.
09:04So, for a long time, traffic will be blocked.
09:06So, even if we all assemble,
09:08there will be a delay
09:10for an artist to come.
09:12So, we have to finish within that time.
09:14And, climate is also very different.
09:16Sometimes, it rains.
09:18So,
09:20if unexpected rains come,
09:22you don't get that extra time
09:24because it rained.
09:26Or, because of some permissions cancellation,
09:28you don't get that extra time.
09:30So, like that, shooting in Kashmir
09:32was very challenging.
09:34So, not the actual act of filming itself.
09:36But, the things surrounding it.
09:38Yes.
09:40It is all left to destiny.
09:42We have to do something good today.
09:44Tell me one thing.
09:46Maybe, we can quickly get in and get out.
09:50Were you worried about...
09:52Rather than being worried,
09:54what kind of conversation
09:56went into,
09:58how do we show this region?
10:00Because, it's a very complicated situation.
10:02There are many opinions.
10:04It's a big issue.
10:06So, this film is like that.
10:08Because,
10:10who is the hero?
10:12That view is very important for this film.
10:14So, talk to me about being a director,
10:16having to be aware politically
10:18about what's happening.
10:20It's a very heavy film.
10:22Not even right now.
10:24We were shooting last year.
10:26I mean, 2023, May.
10:28So, that year,
10:30the hotel that I was staying,
10:32the hotelier told,
10:344 crore and 30 lakhs tourists
10:36came to Kashmir that year.
10:38In that May month.
10:40So, 4 crore and 30 lakhs tourists
10:42came to Kashmir that year.
10:44So, that many tourists visit there.
10:46It is that peaceful.
10:48It is actually not as
10:50depicted as.
10:52Even in our film, those details can be missed.
10:54Because, the film talks
10:56about one particular thing.
10:58But again, there are details in the film
11:00where it says it's not the entire Kashmir.
11:02There are certain areas,
11:04very, very...
11:06If you look at the percentage in the landscape,
11:08you can say it's very low.
11:10But, it's a very peaceful land.
11:12Even for shooting,
11:14it's very welcoming.
11:18So, there was never a question of,
11:20why that place?
11:22No, not at all.
11:24Shooting in Kashmir,
11:26in terms of locations,
11:28in terms of manpower assistance,
11:30and the people of Kashmir,
11:32they are beautiful.
11:36Right.
11:38So, your hero
11:40has to practice violence
11:42because of his duty.
11:44It's not a choice for him.
11:46This is my line of work.
11:48If we take a lot of war films,
11:50those often end up
11:52speaking against war itself.
11:54Right.
11:56They show a story of a soldier.
11:58But, it's a film
12:00where they use violence.
12:02But, if you don't get it,
12:04you have to tell a real life story.
12:06You can't change the story like that.
12:12For the right reasons,
12:14the violence is the right violence.
12:30There's no diary like that.
12:32What would it have been like
12:34if there was a diary like that?
12:36That's what this film is about.
12:38So, there's a perspective in that.
13:04Like that, there would have been
13:06some losses on the other side as well.
13:26Whether it's the audience or the screen,
13:28it's okay.
13:30We have to talk about tragedies generally.
13:32In Tamil cinema,
13:34we have a rich history of making great tragedies.
13:36There are a lot of films like
13:38Moondramburai Chutney, Sethu.
13:40There are a lot of films like that.
13:42In that line of work,
13:44even if they are films that
13:46go way back,
13:48there's always a hesitation
13:50in terms of
13:52whether people will accept it
13:54or whether this sadness is necessary.
13:56There was a myth...
13:58It's not a myth.
14:00There was a feeling
14:02for some people that
14:04a film with a tragic ending like this
14:06will be released on Deepavali.
14:08People will be in a celebratory mood.
14:10How will they accept it?
14:12Some people had that thought.
14:16We fixed the release date.
14:18Let's be positive.
14:20That date gives me adequate time for post-production.
14:22So, let's deliver the film.
14:24That was my thought.
14:26I had some hope that
14:28it is going to be accepted.
14:30So, tragic endings...
14:34When it comes to this film, Amaran,
14:36it is about glory.
14:38Pride and glory, of course.
14:40Tragic ending...
14:42When we come to that topic...
14:44Moondramburai, Sethu...
14:46A few days ago,
14:48I did an event
14:50celebrating Kamal sir's 100th day.
14:52I mentioned these two films.
14:54It's a coincidence.
14:56Before getting into the shoot,
14:58when I was thinking
15:00that a film with tragic endings
15:02like this...
15:04I didn't go into
15:06whether it will work or not.
15:08But the degree of impact...
15:10How much
15:12will it impact the audience...
15:16Moondramburai and Sethu...
15:18The impact of these two films
15:20would have been there for a couple of days
15:22without a doubt.
15:28It leaves a heavy feeling.
15:30A choke.
15:34The audience
15:36has accepted such films.
15:42There is always some sort of
15:44space for such films to come and win.
15:48This also could be a successful venture.
15:50Despite its end...
15:52Despite it having a known ending...
15:56Despite it having a tragic climax...
16:00Your film doesn't end in a hopeless note.
16:04You are not interested in
16:06breaking everyone's hearts and sending them out.
16:08That's not what you do with this film.
16:10Because it comes with
16:12the glory attached to it.
16:14It is an ode to the soldier kind of a film.
16:16So...
16:18It also carries the
16:20legacy of the Indian Army.
16:22These are all attributes
16:24outside the film.
16:26Along the film.
16:28These will always make you feel a certain way.
16:30You are not going to watch it like a normal film.
16:34You are going to watch it like a real person's story.
16:38All of this makes a distinctive difference
16:40from the other films.
16:42When compared to other tragic films.
16:46Amaran is a beautiful love story
16:48at the center of the film.
16:50We spoke about the action in Kashmir.
16:52We spoke about what is happening politically.
16:56But my foremost attraction in the film
16:58is the relationship between those two.
17:00Because that is the foremost story also.
17:02That is the primary story.
17:04Amaran is primarily a love story.
17:08Love story of a soldier.
17:10That becomes his profession.
17:12We will also have to talk about the other things.
17:16When we are talking about romantic love.
17:18It also speaks about a specific kind of love.
17:22When we like someone,
17:24we don't have any questions about it.
17:26Even if you are with someone,
17:28even if you are abroad,
17:30even if you talk,
17:32that love will remain the same.
17:34We are not questioning that.
17:36Or we are not expressing any sort of...
17:40There is no anxiety to destroy a relationship.
17:42You are doing a job.
17:44Don't worry.
17:46I will always be here in your thoughts.
18:14I am not talking about male or female here.
18:16But it can be either ways.
18:18The partner will have to fall in love
18:20for the person that the person is
18:22and also for the profession that he is into.
18:24I think that is how it is.
18:26That is the kind of love.
18:28I think that is there everywhere.
18:30That strikes me as very fascinating.
18:32In Amaran,
18:34everyone knows about the sacrifice
18:36of Sivakarthikeyan's character.
18:38We understand Mukund's sacrifice.
18:40But the idea that
18:42even if we buy a TV today,
18:44why do we buy it?
18:46We buy it to watch it.
18:48We keep it with us and watch it.
18:50But here, it is not like that.
18:52You are in love with someone.
18:54You marry her.
18:56But you are not going to be with her.
18:58That is a very strange kind of union.
19:00You cannot see the beauty of that relationship.
19:02There is a big sacrifice in that.
19:04Yes, it is.
19:06It is slightly different
19:08from other professions.
19:10But I think they also do get holidays.
19:12Sometimes,
19:14there is something called
19:16peacetime posting.
19:18When there is peacetime posting,
19:20you can actually have your family along.
19:22You can have your children along.
19:24But sometimes,
19:26because of these constant transfers,
19:28they have...
19:30If they want to keep their child's education
19:32in one place,
19:34they will be there.
19:36The family cannot move along.
19:38But if they are
19:40unmindful of that,
19:42in Major Mukund sir's case,
19:44there is one, one and a half year portion
19:46which we have shown in the film
19:48also as a song,
19:50so that it doesn't dwell.
19:52We don't know if it is registered
19:54or not.
19:56It will be lost in the song.
19:58That is one such posting.
20:00Peacetime posting.
20:02When it comes to field posting,
20:04when you go to places like Kashmir,
20:06you cannot take your family along.
20:08Then, that distance becomes inevitable.
20:10It becomes unavoidable.
20:12That is there.
20:14It is an occupational hazard.
20:16That is one such thing.
20:18I noticed a lot of youngsters here.
20:20I mention that specifically because
20:24this is around the time
20:26when you create dreams for yourself.
20:28They would have decided to do this.
20:30At the same time,
20:32you would have taken a decision
20:34to become a filmmaker.
20:36But what was the first time
20:38when you felt like,
20:40it is okay to take a decision,
20:42but when did you get the confidence
20:44that this is my place?
20:46When did that change for you?
20:48When did you feel like,
20:50from wanting to do something,
20:52you felt like,
20:54yes, I am capable of this?
20:56Actually, it differs from person to person.
20:58I don't know what I am going to say
21:00to an aspiring professional
21:02or aspiring person or a professional himself.
21:04I don't know.
21:08I wanted to become a filmmaker
21:10roughly when I was 16-17, I think.
21:12That was the time
21:14when everybody wanted to
21:16become an engineer or at least
21:18everybody was going after engineering seats
21:20or medicine seats.
21:22Of course, many couldn't get that
21:24because you have to score exceptionally high
21:26in your entrance exams and all of that.
21:28Most would be engineering.
21:32That time, I opted for visual communication
21:34in Loyola College.
21:36That was the first time
21:38I thought, maybe that is the time
21:40I thought, okay, this is the gateway
21:42for us to get into the,
21:44not film industry itself,
21:46maybe I would say media and entertainment industry.
21:48Not specifically the director.
21:50Once I went into that,
21:52but deep down, it was always filmmaking.
21:54I thought,
21:56these are ways to it.
22:00When I was in the third year,
22:02there was something called internship.
22:04So, for the final semester,
22:06we didn't have to go to college.
22:08We'll have to work as an intern in some...
22:10So, I joined this channel,
22:12Vijay TV,
22:14with the thought, thinking that
22:16I'll meet a director there, I'll ask him,
22:18sir, can I become your assistant director?
22:20It didn't happen that way.
22:22And,
22:24I became a thorough television professional
22:26at that point of time,
22:28and I had lots of responsibilities.
22:30To be more precise,
22:32I was more stressed than this.
22:34Here, it was okay, it was directly proportionate
22:36to your own personal risks.
22:38But there, the deadline, the deliveries,
22:40the clients,
22:42the TVRs,
22:44and it was all weekly, weekly deliveries,
22:46back to back, you won't realize time.
22:48You would have lost a year
22:50by the time you had finished one show.
22:52So, six years went by.
22:54And, I had to decide at one point,
22:56okay, we have already lost so many years,
22:58I'll have to get into filmmaking.
23:00So, when I joined filmmaking,
23:02mentally,
23:04it was like starting from scratch one again.
23:06I mean, from scratch again.
23:08From level zero.
23:10So, I had to become an assistant director
23:12to an established director at that point of time.
23:14To get into that circle itself
23:16was tough.
23:18But still,
23:20this foundation,
23:22this experience,
23:24that helps.
23:26That helps in a lot of ways.
23:28I worked only in one film as an AD,
23:30with director Murugudas, sir.
23:32So, after that, I came out,
23:34and he himself produced my first film.
23:36So, it's a very...
23:38I think that person will have a unique journey.
23:40Everyone has their own journey.
23:42But what you say is very relatable,
23:44I think, for a lot of people.
23:46Because we start to do something,
23:48we choose a path for that,
23:50but when we enter that path,
23:52it takes us somewhere else.
24:16At that point of time, as a media professional,
24:18and your shows are well-known,
24:20they are successful. Promotions,
24:22progression is definitely there.
24:24There's a lot of scope there.
24:26And I was much younger,
24:28and so there was
24:30a lot of scope. Maybe at that point,
24:32the realization that I had,
24:34no, no, this is not what I came for.
24:36Maybe if I get too
24:38comfortable here, then I'll settle
24:40here and I'll retire as a media
24:42professional. Again, that's not...
24:44Yeah, there's nothing wrong with it,
24:46but that's not what you want.
24:48That was not my original passion.
24:50So, I'll always have this regret.
24:52So, at that point of time,
24:54it looked very risky at that time.
24:56But still, I had
24:58to take that decision and come out.
25:00I mean, credit to you for that.
25:02Because, once we
25:04are given the
25:06assurance of money, a certain
25:08privilege as a job,
25:10and we start seeing a bit of respect for it as well,
25:12it's very hard to
25:14not be addicted to that, I guess.
25:16So, that passion,
25:18in a sense, rescued you from that, right?
25:20Where did that come from, though?
25:22Did you ever find yourself asking yourself that?
25:24Because,
25:26the seed for that must have been sown somewhere, right?
25:28Some visual, some film you saw?
25:32No, I think only films.
25:36The films that we spoke about
25:38a few minutes back.
25:40I'm a huge Maniratnam sir's
25:42fan.
25:44I like how every filmmaker, at some point,
25:46credits Mr. Maniratnam for
25:48being a primary influence.
25:50Of course, yes. Because, first time,
25:52a film that brought tears to my eyes
25:54when I was way too small,
25:56it's Thalapathy.
25:58Then, the following week,
26:00I think they had aired Nayagan.
26:02This is all in Podigai TV,
26:04which is actually Doordarshan,
26:06which will play regional films,
26:08Tamil films, every Friday night
26:10and Saturday night.
26:12Sundays, they'll play all these National Award
26:14winning films.
26:16Once in 13 weeks, there will be a Tamil film,
26:18I guess. So, I'd seen this film,
26:20Veedu, of Balu Mahendra sir.
26:24Many such films. Then, there was one film,
26:26Oru Veedu Iruvasal. I think it's directed by
26:28K. Balachander sir.
26:30It'll have two different stories.
26:32Like an anthology, what we say now.
26:34So, two films. Before interval, it's one film.
26:36After intermission, it's another film.
26:38One film is about a junior artist,
26:40an extra in film industry.
26:42A female junior actress.
26:44The other film was...
26:46So, these kind of films,
26:48they impacted me a lot
26:50at that point of time.
26:52I didn't know what was the magic
26:54behind all such films.
26:56Later, I realized, thanks to my mother,
26:58she is the one who told me,
27:00there's a director behind such films.
27:02So, that's why these kind of films are unique.
27:04Yeah.
27:06Because you mentioned Mr. Maniratnam,
27:08now, in hindsight,
27:12in these films,
27:14have you tried to understand
27:16what impacted me?
27:18Because you would have seen many films at that time.
27:20But,
27:22his one or two films,
27:24the impact they had on me,
27:26is completely different.
27:28What is it?
27:30Can you understand it naturally?
27:32I think any film should
27:34give us an experience.
27:36So, it can be any genre,
27:38any story.
27:40So, every time when his films come,
27:42I think they give us a new experience.
27:44And, it will handle a topic.
27:48Let it be Kannathil Mothamatta,
27:50let it be Eruvar, Dilse,
27:52Bombay,
27:54any film, even Ravan,
27:56or O.K. Kanmani,
27:58Alai Paithe,
28:00it has one topic,
28:02and it gives you an experience,
28:04and you live through those,
28:06I mean, you are able to
28:08see those characters,
28:10their world,
28:12and we take away that experience with us.
28:14And,
28:16I think the
28:18difference is the craft.
28:22His strong craft.
28:24Craft, when I say direction,
28:26the craft itself.
28:28You know, these days,
28:30I am sorry,
28:32but many people who come
28:34out on the public platform,
28:36and they
28:38comment about the films,
28:40when they criticize about the films,
28:42or when they do a film review,
28:44I hardly see
28:46anybody speak beyond story,
28:48screenplay.
28:50And, everything else will be accredited
28:52to that particular professional.
28:54So, basically, I will tell you,
28:56the director is doing well,
28:58she has done this performance well,
29:00he has done this well,
29:02the stunt director has done well,
29:04the music director has done well.
29:06You know, it is one craft,
29:08which is the master craft,
29:10the craft of directing,
29:12which actually oversees everything,
29:14and extracts from every
29:16expert,
29:18who is handling that particular department,
29:20and will have to deliver the film.
29:22And, which in turn,
29:24would result in an immersive experience
29:26for the audience.
29:28So, if it can happen,
29:30I think that is the
29:32best craft.
29:34So, I think every time,
29:36Maniratnam sir, he excels in it.
29:38That's why his films are very different.
29:40Are there any homages that you paid
29:42in your films to him, that we probably
29:44missed? Anything you do deliberately?
29:46Because people tend to do that, right?
29:48Okay, you know what,
29:50I will just capture this particular moment,
29:52because it makes me remember that image.
29:54I don't know, I don't think so.
29:56Because what we decide to do,
29:58that scene in the
30:00screenplay, that
30:02leads us through. Whatever it asks for,
30:04only we can do.
30:06Direction itself is a
30:08space that
30:10covers so many other spaces, right?
30:12You need knowledge about this,
30:14and that, and that, and so many other things
30:16encapsulated in it as well.
30:18Which
30:20do you enjoy the most? Which do you enjoy
30:22the least?
30:24In the broad responsibilities
30:26that fall under the job of a director.
30:28Of course,
30:30for any director, I think it will be shooting.
30:32It will be shooting, and
30:36I also enjoy edit a lot.
30:38Edit, dubbing, if it is
30:40not live sound, because
30:42the film
30:44evolves in different stages.
30:46So, shooting is the happiest part.
30:48Though there is
30:50tension, there is anxiety, there is nervousness,
30:52but you get to
30:54see that, you know, you get to witness
30:56whatever is on the paper,
30:58you actually get to witness that day.
31:00And how
31:02is it going to happen?
31:04So that excitement is always there,
31:06and once it is done, you get that high
31:08there itself.
31:10And whatever, sometimes it can be
31:12disappointing also.
31:14I don't have the habit of reshooting.
31:16So, whatever
31:18we do, we do it there, and that
31:20is the moment even I get to witness
31:22how it is going to turn out.
31:24So, we can always improvise. There are retakes,
31:26and all of that. There are other people who are going to come
31:28in and help. So, shooting, obviously,
31:30and every other stage.
31:32Of course, dubbing, editing,
31:34yeah.
31:36What's your least favorite?
31:38Narrating.
31:40He thought I let him go.
31:42Least favorite would be narrating.
31:44Because, you know, see, narrating,
31:46people say,
31:48I saw in one of Sivakarthikeyan's interviews,
31:50if Rajkumar comes and narrates,
31:52you cannot say no to him, because he narrates
31:54that well, he said. Thanks to him.
31:56It's a humble brag, Maria.
31:58Thanks to whatever he said.
32:00I saw him say that in one of the interviews.
32:02But, actually, the
32:04energy that it takes for
32:06a narration, you know, you have to
32:08become some ten different characters,
32:10and you'll have to,
32:12and finally you'll have to win.
32:14Because a narration is
32:16the only time that they're going
32:18to give, and you'll have to
32:20okay the person who's listening to the narration.
32:22Sometimes it's to a producer,
32:24sometimes it's to an actor, sometimes it's to
32:26a manager, sometimes it's to
32:28a co-producer. You know,
32:30it doesn't end there. He'll take
32:32you to the next person. Sometimes
32:34you'll have to narrate to an executive producer.
32:36The executive producer will take you to the producer.
32:38Then the producer will take you to the actor.
32:40So, every narration has to be
32:42an, in our industry,
32:44It's a big thing, right?
32:46Rarely people read scripts.
32:48There are very few people who
32:50want to read scripts.
32:52So, they want us to narrate.
32:54So, that is the least
32:56favorite. Have you become better at it?
32:58No, I'm always, they say I'm
33:00okay with it.
33:02And you're a very animated actor when you're narrating.
33:04I get away with it.