00:14I am an eminent senior journalist for all of you.
00:28My heartfelt apologies for getting delayed.
00:31I am very proud of you.
00:36I am very proud of you.
00:40I am very proud of you in a cabinet meeting.
00:46I am very proud of you.
00:50I am very proud of you.
00:55I am very proud of you.
00:58I am very proud of you.
01:00I am very proud of you.
01:05I am very proud of you.
01:14I am very proud of you.
01:21I am very proud of you.
01:26When I was talking about cinema in the cabinet, I was talking about Panchayitiraj.
01:36I was nervous about Panchayitiraj.
01:46I was nervous about Panchayitiraj.
01:50I was nervous about Panchayitiraj.
01:57I was nervous about Panchayitiraj.
02:00What I'm talking about, I don't know anything about my life.
02:06I don't know anything about my life.
02:11I'm not a bad man.
02:16I'm not a bad man.
02:20I'm not a bad man.
02:23I'm not a bad man.
02:25I don't know anything about my life.
02:27I don't know anything about him.
02:29If you're talking about Panchayitiraj, I'm not a bad man.
02:34I'm not a bad man.
02:36I'm not a bad man.
02:37I think I've been in the film industry almost to 28 to 29 years.
02:43I've been talking about movies by the last 28 years.
02:49I've been talking about movies by the last two days.
02:55I've been talking about movies by the last 30 years.
03:02I've been talking about movies by the last 30s.
03:05During The 90s, I said you will have gotten paid for the last one.
03:10I've been talking about the Cosmos.
03:14We can't do it.
03:16We can't even see the results.
03:18I don't know the results of cinema success, records, and records.
03:22I don't know how to do it.
03:26Even if it's good, it's good, it's good,
03:30it's good, it's good, it's good.
03:34I don't know the results.
03:38What I'm saying is,
03:40There is always room for improvement, definitely that will be considered, that will be taken
03:48forward and so on.
03:50When I first started to talk about the subject of the Krishka or Amrathmigar, I had to
03:57talk about it.
03:59I don't have to doubt about period film, basically.
04:04They came out with a good concept, a good art director, to initiate effects.
04:16There might be some glitches, I don't know, it will be corrected, that's not an issue.
04:23More than effects, it's an emotional engagement to a story.
04:29If we don't think of anything we want, we also need to find what we need to feel.
04:38What do we want to do within the film?
04:41What do we want to touch with that idea?
04:43What do you want to touch with what you think about it?
04:46Because of the film, the film is about Mughal.
04:50We always hear about how Akbar is great, how Shah Jahan is by creating Taj Mahal, what an artistic personality, what an artistic emperor, what an aesthetic sensibilities of an emperor.
05:04When it comes to Aurangzeboh, what a pious religious man. He never used to take anything from his own kingdom. Always he used to own his own bread by stitching topis and something like making some dharmigranths.
05:18But the darker side, there is a small line in the social textbook. He used to be a simple line. He levied Jiji on Hindus.
05:34When you do this, I will tell you about the original version.
05:39Like any immigration.
05:41When we're in the airport, we have immigration.
05:43There is a kind of immigration.
05:45It is Hindu, Muslim or Hindu, but you will get tax pages.
05:51pages that's the sequence so once the producer and Krishnagar have decided and
05:58Jyothi Krishnagar have decided it should be two parts and a length of four and a half hours
06:03which is first of all the interval point
06:08we cannot undo history history can we address the past mistakes of the history
06:28there's no we are not questioning about the greatness we are not questioning the
06:34shajah's the historic values we are not questioning the our commitment to his
06:43religion there's nothing wrong in it but we should also apparently talk about his
06:47tyranny his tyrannical attitude his approach towards Hindus in those times at a
06:54constant come on I put the great and intangani Krishnadevaraya the great and
06:59even Rani Rudramadevi the great and even I don't know why conveniently our
07:03historians can conveniently they made it in such a way only confined to only
07:08Mughal emperors in tip whereas Chalukyas whereas Pallavas in Kakathiyas
07:15Vijayanagara Samurai there were hundreds of years can indeed what is history when a
07:28billetil rest of the dynasties when compared to Mughals back in my mind it used to be there so when you could convey the greatness of an Akbar when you say that how committed the religious man was so why can't we talk about Jijia it's always interesting
07:52and you being a Hindu being a Hindu land
07:57and you can't say that you can't say that you can't say that this concept is why we're not biped but it's a bit of a sensitive feel like we're not even a tightrope
08:06It is not a biped or a sensitive feeling.
08:11But I still have a tritrope.
08:14If I explore, I have a lot of problems.
08:19Because if they are doing a chase,
08:23they are sensitive.
08:26They don't touch me.
08:28They don't touch me.
08:30They don't touch me.
08:33Let me explore the darker side of Aurangzeb,
08:37especially when it comes to Zizia.
08:42But a common man in the Mughal period during Aurangzeb,
08:50he has to pay Zizia.
08:52So why can't we explore this?
08:54That's how we expand it.
08:57When I expand it,
09:00the revolution and rebellion is spontaneous.
09:05It is spontaneous.
09:07So for me, all these years,
09:10my political journey,
09:13it influences me 18 minutes pre-climax apart.
09:19One is mainly my background in the martial arts
09:23and my technical understanding of cinema,
09:28technical aspects of cinema.
09:31And that is my experience in handling the emotions of people
09:36and fighting against the tyranny in Andhra Pradesh.
09:40So maybe all these rolled into one.
09:43That's why the climax had been appreciated quite well.
09:47That's why the climax had worked towards it.
10:05That's why the climax had worked towards it.
10:15That's why the climax had worked towards it.
10:20I'm a very reluctant hero to keep on saying this word.
10:24I'm least connected to...
10:37I like stories.
10:38I like to watch cinema.
10:39I'm an avid film watcher.
10:41I'm an avid film watcher.
10:43I'm an avid film watcher.
10:45I'm an avid film watcher.
10:47But my constant commitment is only one thing.
10:54No matter what you do,
10:56I want a part of myself
10:59should be able to help the cultural integration of our country.
11:03The cultural integration of Bharat.
11:05I'm deeply committed to that part.
11:08It is not about Hindus.
11:10It is not about Muslims.
11:12It's not about that.
11:13It is good versus bad.
11:16Good versus evil.
11:18Okay, tyrannical king.
11:20I think it is not about stroking the tensions.
11:23It's not about stroking the fear.
11:25Aspect to Anglo key.
11:27This is called.
11:28We choose the cinema.
11:30Especially one particular character.
11:33I had conceived during for the climax was when we are redoing the...
11:38I mean, re-examining the screenplay.
11:40One is I wanted someone from...
11:42I have a parent of Jay Sudhagar.
11:45Huh?
11:46No, no, no.
11:47The tall guy.
11:48The college part.
11:49You know, what's his name?
11:50Jay Sudhagar.
11:51You know?
11:52Jay Sudhagar.
11:53You know?
11:54You know?
11:55You know?
11:56You know?
11:57Jay Sudhagar.
11:58Yeah.
11:59Jay Sudhagar by Neha Kapoor.
12:00You know?
12:01He is a man from frontier India.
12:03It's Balochistan.
12:04So I learned characters.
12:06This is going to get that particular character.
12:09I have included that part is only from taking the inspiration from Frontier Gandhi.
12:19Kan Abdul, Gafur Khan.
12:21I have a lot of thought.
12:22But in second half, I have a lot of elaborating.
12:23I have a lot of designed characters.
12:25First of all, but later it became Part 1, Part 2.
12:29Then the details were later in second part.
12:31I could reveal it in Part 1.
12:35Part 2 is almost 25 to 30% to chase them.
12:42So that's where it stands.
12:44Part 2 is also part 2.
12:47The film is not a complete political process.
12:53It's not a political process.
12:56In that time,
13:00there are many movies like Naveen, Ravi,
13:05and Vishwaprasad,
13:07Factory Media and Vishwaprasad.
13:10They will be able to release it.
13:17For a few days,
13:20the release is definitely custom.
13:23Instead of the background,
13:25or the DPDC,
13:27there is a financial part.
13:31But finally,
13:32I thank all the financiers for supporting us,
13:35for all the,
13:36whoever is concerned regarding the
13:39labs, technical,
13:41all of them,
13:43all of them,
13:45all of them.
13:47My heartfelt thanks to you all.
13:50It's not about success.
13:52It's not about this.
13:53It's about conveying a thought to the public.
13:55It all depends how well the public receives.
13:58He said,
14:01I said please go ahead.
14:02I asked her.
14:04I came to work on the road
14:07and did you know what to do honestly.
14:09I just had reasons for this.
14:10I
14:18from the cinema.
14:19I don't know what I'm talking about.
14:21I don't know what I'm talking about.
14:25When I was a hero in the cinema,
14:27I was afraid of the style of the cinema.
14:30I was afraid of a Quit India moment.
14:35It's not a Quit India moment.
14:37I was afraid to say,
14:39what's wrong with me?
14:41What's wrong with me?
14:43Nothing.
14:45I don't know what I'm talking about.
14:47I think it's true.
14:49I'm afraid that you will never know.
14:51I truly agree.
14:53You may not know what I'm talking about.
14:55I'm only worried about my left.
14:57When I say that.
14:59This drama,
15:01and this drama,
15:03and this drama,
15:05you're the drama,
15:08you're the drama.
15:10You're the drama.
15:12The drama really is the drama you are the drama I want.
15:14I don't know what I am, I don't know what I am, but I don't know.
15:22I have depression.
15:24If you're not going to say depression,
15:29I'm going to tell you that the third success is.
15:33That's why I'm like, depression.
15:35It's important that I have a lot of depression.
15:40Depression is all created.
15:43That's what I believe in secularism, that's what it is called balance.
16:13I believe that the Mughals are great, the Mughals are great.
16:20That's what I believe.
16:23Then let me decide who is great or not.
16:27I felt that cinema is the biggest help more than the success, more than the collections, more than the records, more than the premiere shows.
16:40In a few thousand, I'm not in the count of 30 crores.
16:47You're keeping track of all this?
16:52You have forgotten acting?
16:55What is the takeaway from this film?
17:10A historical blunder made by Aarangu Zeb.
17:15It has become a civilizational wound in the hearts of every Indian.
17:21That has been addressed.
17:24We are able to undo that pain.
17:28We are able to address that pain.
17:30When I was in school, they were indeed a Hindu and a Hindu.
17:35They didn't ask you too.
17:37We are able to address it.
17:39We are able to address it.
17:40It is very painful to all.
17:42It is not to address it.
17:43That is the biggest achievement.
17:45What is the take away from this film?
17:52What is the take away from this film?
17:55What is the take away from this film?
18:00What is the film?
18:05What is the film?
18:09What a film does to people.
18:11It's the greatest storytelling medium.
18:14What is the take away from this film?
18:19We always look towards the West.
18:21They think they are quite advanced.
18:23They think they are far ahead of us.
18:25When we talk about Western music,
18:29when I was in the seventh age,
18:33the fascination is only towards the West,
18:36towards English music.
18:39When we talk about this film,
18:41we talk about the classical music.
18:46We talk about the mindset of this film.
18:48When we talk about the film,
18:50we talk about the cinema.
18:52When we talk about the film,
18:54we talk about the cinema.
18:57When we talk about the film,
18:59we talk about the government.
19:01We talk about the cinema.
19:03The cinema is not about collections.
19:05Cinema is not about mere records.
19:08It's also about how it transforms you.
19:11How it can impact you.
19:12It is not about special effects.
19:15But it is about storytelling.
19:17How well you have told the story.
19:19How emotionally you got entangled to that story.
19:22How well you got connected to that story.
19:24That's what makes the difference.
19:25In that sense,
19:27I can proudly say,
19:29Harihara Viramalu has achieved that target
19:32with our most brilliant mind.
19:35Technical aspects always,
19:37always we can improve.
19:39Always there is a room for improvement.
19:41There is no second thought about it.
19:43Definitely we will,
19:45whatever the corrections,
19:46whatever the suggestions we have received,
19:48make sure it won't be seen in
19:51Harihara Viramalu in part two.
19:54Definitely we will,
19:56we will take for.
19:57First thing,
19:58let me tell you,
20:00what I am saying,
20:01I'm going to say you're a fan of that.
20:06Ah, you're a fan of that.
20:08You, I'm going to chat in the chat and
20:09talk to a lot about it.
20:10The,
20:11easy to meet and the doubt.
20:12Because,
20:13when we have to treat our business,
20:15we will enjoy our life.
20:17First of all,
20:18everything is perfect.
20:19You have to enjoy our social media
20:21and the stuff that you have.
20:23This is not about
20:33Pavan Kalyan. This is not about Mr.
20:34A.M. Rathnam. This is not about Jyoti Krishna.
20:37This is not about
20:39for anybody. It's not about
20:41for us. It is about
20:43our civilization.
20:45It's about
20:46India.
20:49Even
20:49history books
20:53and school syllabus
20:55and
20:56there is a visual reference
21:05for what
21:06A.M. Rengasebe had done.
21:08This is the biggest
21:10achievement.
21:11The major dialogue is more than
21:15the Kohinoor. The values of
21:17this country, the Vedic knowledge of this
21:19country, the people who
21:21possess that Vedic knowledge,
21:24the people who possess the
21:25astrological capabilities,
21:28they are greater Kohinoors
21:29than the Kohinoor itself.
21:31That's what this film comes about.
21:32So this is the greatness of our culture.
21:40So this is the greatness of our culture.
21:53I think we have succeeded in addressing that part, in reaching to that part.
21:59I think this is the true success for me today.
23:01please please come on please please come on to the stage
23:17come come revita garu please welcome
23:31you can't be
23:48I like how I did I didn't go
23:56Oh
23:58Oh
24:00I'll be able to go
24:02New York
24:04Please sit
24:06You're a part of our team please sit
24:18She acted in...
24:25I prefer a little humor.
24:34I don't know if I've seen a lot of success.
24:40I don't know if I'm serious.
24:46When I went back in 2019, I was expecting that.
24:50That's why I didn't talk to everyone.
24:54That's why I didn't say anything.
24:56I said,
24:58I was like,
25:00I was like,
25:02I'm going to go to the party.
25:04I said,
25:06I'm going to go.
25:08I truly enjoy my journey.
25:14It's not about success.
25:16I said,
25:18I'm not going to go to the party.
25:20I was like,
25:22I'm going to go to the DPDCM.
25:24I'm going to go to the DPDCM.
25:26I'm going to go to the DPDCM.
25:28I'm going to go to the DPDCM.
25:38Especially for all our media friends and senior journalists, media houses, to all of our…
25:57For all our cameramen.
26:13What is social media?
26:17I'm a reluctant guy to come into social media.
26:22In 2016 or 2017, social media is something which either extreme love or extreme hatred oscillates.
26:32There is no balance.
26:35When it is a social media, there is enough hatred.
26:40We are all humans, by the end of the day, hardly we live for 100 years.
26:51We live for 100 years.
26:54We live for 100 years.
26:58Let us be happy.
27:00Let us be joyful.
27:03Let us not pollute the psychic atmosphere around us.
27:11That's all I can tell you.
27:13Jai Baharat and Jai Hind.
27:16Thank you, sir.
27:17Thank you very, very much.
27:19We have a lot of soothing things in therapy.
27:22Thank you so much.
27:25Yes.
27:26Harihara Veeramallu running successfully in theatres, historic blockbuster.
27:31Do one harm?
27:32Two, three, eight...
27:33...
27:54Two different rooms, three, four, five, three...
