Film Line Ka Meri Niji Zindagi Ke Upar Koi Asar Nahi Hai: Sadashiv Amrapurkar On His Real & Reel Life

Lehren Retro

In a flashback interview with Lehren, Sadashiv Amrapurkar opened up about his Real & Reel life. The actor revealed that his film related profession has never ever had any influence on his personal life as he transforms himself into a simple Marathi family man after leaving behind the lime-light and aura of the industry on film set post pack-up. Amrapurkar shared that he hasn’t seen much of his films except a few of his favourite ones like Ardh Satya, Hukumat, Sadak & a few others.The multilingual artist also talked about the interesting story of how the legendary writer Vijay Tendulkar recommended his name to Govind Nihalani for Ardh Satya which in turn marked his power-packed debut. The Coolie No.1 actor also recalled a fascinating incident when a fan of his started imitating his Maharani character from film Sadak at a traffic signal after which he himself got extremely surprised after seeing the craze for the same. Watch the full candid conversation only on Lehren Podcast. #sadashivamrapurkar #sadashivamrapurkar #sadak #ardhsatya #flashback

Transcript

00:00signal

00:01on my car

00:02and

00:03people

00:04saw me

00:05so I was very

00:06beautiful

00:07and

00:08so I was

00:09looking for

00:10acting

00:11and

00:12I was

00:13happy

00:14but

00:15the

00:17masses

00:18are

00:19intellectual

00:20or philosophy

00:21they don't

00:22understand

00:23they need

00:24physical

00:25level

00:26when

00:27I

00:28stood

00:30and

00:31I was

00:32scared

00:33and

00:34I was

00:35scared

00:36that

00:37I was

00:38afraid

00:39that

00:40I had

00:41a

00:42story

00:43in

00:441982

00:45and

00:46I was

00:47in

00:48the

00:49film industry

00:50I was

00:51playing

00:52by

00:53and

00:54I was

00:55making

00:56and he had written a script in the Ardhsatya.

01:02So, he suggested that this is the role of Rama Shetty,

01:11that you should take the role of Sabashivji.

01:14And he told me,

01:17who I suggest,

01:20I will not take the director.

01:24But I don't know if I will take it or not.

01:28But, Govind Ji took me from the moment,

01:33and then I came to the Ardhsatya.

01:37After that, I came to the film industry.

01:40Sabashivji, tell me something.

01:42How much does your film life influence your personal life?

01:46The film line of my personal life,

01:51which is my life,

01:53has no effect on me.

01:55So, when we come to the house,

02:02I keep my profession outside of my home.

02:07After that,

02:09I become a Marathia.

02:12And the film industry,

02:17I will leave it on the set.

02:21So,

02:23because it is my profession,

02:27the film's the family,

02:28because,

02:29I used to be a country.

02:31That's right.

02:32So,

02:33I'm very proud of my family,

02:34they've got you,

02:35I'm not a volunteer in my home,

02:36it's an interview.

02:37So,

02:38I've been working on a police room,

02:40and I'm,

02:41you know,

02:42you know,

02:43I don't know what to do.

02:44Well,

02:45I've been taught you,

02:46that I've had to learn a career,

02:47but I think I'm going to lose my mind when I'm going to be the right person.

02:54I will not lose my mind when I have a bad person.

03:01or when I have a bad person, I will not lose my mind.

03:07I will not lose my mind when I am in my head.

03:14you have seen recent films, so how long has it been on your own, how long has it been on your own?

03:24No, it's not. I have seen very few films of myself.

03:29I have seen 3-4 films that I have seen before.

03:34I have seen it before, and then I have seen it before.

03:39I have seen a few films.

03:44People can tell exactly what they have seen in theatre.

03:49When my character comes, what do they think?

03:53Who can react?

03:54People tell me, I can imagine, but I have the experience of myself.

04:04क्योंकि 25 साल how Does your

04:22with who are acting or acting will react.

04:27This is one of the ideas that you will not have to do.

04:32When you have to react to the time, you will be able to act if you have to react to the

04:40camera.

04:41If someone has said that it's not the reaction to me, then I will try to watch.

04:49But today, I have been able to understand and understand and understand and have been

04:56very close to acting and I have been aware of the time and the reaction I have come from

05:03that way.

05:04That way, I am very confident.

05:06Because if I am not able to do this, I will not have any benefit.

05:14Tell me something, your performance which has been very appreciated by the masses,

05:19how have the people reacted and how have you interacted with them?

05:29People interact, like I was going to Kali,

05:33my car was on the signal and some people saw me.

05:40There was a very beautiful young man who was wearing a bunion.

05:46He started acting and started acting on me.

05:51I got a lot of anger.

05:53I got a lot of anger.

05:55I said, this is good or bad, I don't know.

06:01But one thing came to me is that people strongly react.

06:06The problem is that if we react to our acting,

06:13it is good to be a good place to react.

06:19But this reaction is always the same.

06:24That means, when we go to the signal,

06:29when we go to the outdoor location,

06:31there are a lot of people react.

06:35Where our film,

06:37we call it,

06:39we call it,

06:40we call it,

06:41we call it,

06:42we call it,

06:43we call it,

06:45we call it,

06:47we call it,

06:48We call it,

06:50and then we call it.

06:51This is the cure for the reaction,

06:53the Pure czarer's reaction.

06:54The reaction,

06:55we call it,

06:56but it is not too much.

06:57Well,

06:58we call it,

06:59but it's not too much.

07:00It's a very bad thing.

07:01When the reaction is not,

07:02it's a lot too much,

07:03for the things that people don't find out.

07:04Manorengen for the time pass, the time passes for the day-to-day

07:09and the tension of the day-to-day.

07:12Manorengen for the film is not the case of Manorengen.

07:16People want, they want, they want, they want,

07:20they want, they want, they want, they want.

07:22They want, they want, they want, they want.

07:25Because I have done so-called art film,

07:29and in commercial films,

07:32I want to say that

07:36art film is very easy.

07:40Intellectual people are very easy.

07:44A good interior decorator

07:47you can create a beautiful,

07:50which is realistic.

07:52Women sleep can talk,

07:54or problems can talk.

08:00Today, the world,

08:02we can talk about social media,

08:04psychology,

08:06and people are happy.

08:08But the masses,

08:10which are made of commercial films,

08:12the masses, or intellectual,

08:14or philosophy,

08:15we don't understand.

08:16It is important to be a physical level.

08:18We need to be a physical level.

08:20We need everything.

08:21The mother said

08:27to mother to be aware.

08:28And the daddy,

08:29the mother brought up the cashier,

08:30the people who need to pull out the things,

08:31the people who treat us,

08:32the people who kill us,

08:34the people at that,

08:37these people who treat us as well,

08:38They know exactly what the bad is and what the bad is.

08:42So, to be happy and to be happy, to be happy, this is a very difficult task.

08:50Life at home. Basically, what are your likes, dislikes and what do you fear most?

08:58Is there something that you feel scared?

09:01You are a very tough villain on screen.

09:08In my house, I am very simple.

09:12I am a vegetarian.

09:15I am a very common man and I want to live there.

09:31The fear is only one thing.

09:34When I first sat in the car, I was afraid that I was afraid.

09:42After that, I will never sit on the car in my life.

09:47If you have a car, I will stay away from the car.

09:51The fear of the film industry has given me a car.

09:55What happened to the car?

09:57It was a long time for me to listen.

09:59The reason why I am not living.

10:03I don't know why I was an engineer,

10:05I felt like a suicide scene.

10:07I was thinking to do something else.

10:08You are not living with a car in my house.

10:10I do not have an experience to thank you.

10:12and I didn't have any experience and I didn't have anything to do with horse riding.

10:21And when they told me that you have to sit on the ground,

10:25then I felt very easy to sit on the ground.

10:29I felt very easy to sit on the ground and sit on the ground,

10:32so I felt very lightly.

10:35But Anil said,

10:36I felt very easy to sit on the ground and sit on the ground and sit on the ground.

10:48Then I felt very insecure.

10:53But it's not something that's very simple.

10:57It's very easy to do.

10:59I was like,

11:00I have some kind of problems,

11:01but I have to do it like this.

11:03And I started to do it like this.

11:06I was very confident.

11:08But I was very conscious.

11:09After playing that,

11:10when he was running away,

11:11I felt very difficult if he didn't go there.

11:13And then I started to do it like that.

11:16And when he was the right thing,

11:18the other thing is not the right thing.

11:20And I didn't have to stop it.

11:22But I didn't get it.

11:24I didn't get it.

11:25And for a half hours, particularly in 35 minutes, I was on the goda,

11:32which was my condition.

11:34I didn't get it.

11:36I didn't get it.

11:37I didn't get it.

11:38I said, first of all, I'll be back.

11:40And after that, I changed the sequence completely.

11:43Anil was on the Jeep.

11:45But first of all, I felt that my confidence was broken.

11:51And it wasn't today.

11:53When your family watches you being beaten up by the hero

11:59or a particular character that you're doing,

12:02like, for example, Maharani in Sadak,

12:04what was their reaction to it?

12:06Now, my big girl,

12:09she thinks that my father is acting.

12:13She has made this character paint.

12:16She can't get away from it.

12:19But my two little children,

12:22they love me.

12:24They love me.

12:25They love me.

12:26They love me.

12:27They love me.

12:28They love me.

12:29They love me.

12:30They love me.

12:31They love me.

12:32They love me.

12:34They love me.

12:35They love me.

12:36They love me.

12:37They love me.

12:38They love me.

12:39They love me.

12:40They love me.

12:41They love me.

12:42They love me.

12:43They love me.

12:44They love me.

12:45They love me.

12:46They love me.

12:47They love me.

12:49They love me.

12:50One day,

12:52they love me,

12:54he is.

12:55This is why,

12:57you miss your class.

12:59My girlfriend,

13:00you miss I make my childhood,

13:02the story upon the other day.

13:04My girlfriend is being told

13:07that you will not be the ledger.

13:09Don't do that.

13:10What was your reaction to your Mrs.?

13:16No, she should ask her.

13:19After asking the reaction to me, this is a very different thing.

13:26If someone comes spontaneously, I will listen.

13:29But I don't ask anyone what reaction is.

13:32That's it.

13:34Okay.

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