- 7/25/2025
Category
🎥
Short filmTranscript
00:00Thanks for inviting me here.
00:24Thank you so much, Sandeet.
00:25Thank you so much for watching Vijay and Galwaka.
00:31I will show you some visuals.
00:36One hour, 40 minutes.
00:40I will have a super hit in your hand.
00:43Hopefully not.
00:46Vijay is looking damn good.
00:49Action is looking good.
00:51Performances are holding.
00:54I will show you a Bond.
00:56Actually, I will show you with Anis's music.
01:00You wanted to show with Anis's music.
01:04Yeah.
01:05That's it.
01:06It's nice to see you in the background.
01:08Just plain to see you.
01:10I can imagine your background.
01:12It's a problem.
01:13It's a problem.
01:14I have to see you in the background.
01:15I know.
01:16I know.
01:17I know.
01:18I know.
01:19Noise, dub tracks, reference music.
01:23They understand.
01:24Seven days to go.
01:25Seven days to go, Gotham.
01:27It's six or five days to go.
01:30I know.
01:31I know.
01:32I know.
01:33I know.
01:34I'm very excited.
01:35I know.
01:36Five days to go.
01:37Basically, count on posters are always very scary for me.
01:40Yeah.
01:41Copy is going out of your hands.
01:42So.
01:43I know.
01:44Okay.
01:45Your idea of romance.
01:46Your idea of revenge.
01:48So, so much of your personal side is going to get out.
01:50Yeah.
01:51So, that's always.
01:52You feel like holding on and protecting it.
01:54Yeah.
01:55Yeah.
01:56That's all.
01:57Yeah.
01:58So, there's always tension.
01:59And, where are the trailers?
02:00Hello?
02:01I'm going to be in the 26th, the day after tomorrow.
02:04I'll show you.
02:05I'll show you.
02:06I'll show you.
02:07Once background music is.
02:08Yeah.
02:09I'll show you.
02:10Yeah.
02:11I'll show you.
02:12Because I started with Vijay.
02:13So, whatever.
02:14Whatever.
02:15I have a different excitement in me to watch.
02:20Even when he sees something that he likes, he'll call.
02:28He'll call.
02:29He'll call.
02:30He'll call for my poster.
02:33Yeah.
02:34Yeah.
02:35He called for my poster.
02:37Yeah.
02:38Yeah.
02:39Yeah.
02:40Yeah.
02:41Yeah.
02:42Yeah.
02:43Yeah.
02:44Yeah.
02:45Yeah.
02:46Yeah.
02:47Yeah.
02:48Yeah.
02:49Yeah.
02:50Yeah.
02:51One think it does keep coming.
02:52In a way, we started the project in 2023.
02:54We shot for a month.
02:56Because Vijay was going to some other project.
02:59Yeah.
03:00A gap, also, it helped us.
03:03Because I wanted a very different look for Vijay in this movie.
03:13So we thought, let him finish that film and the time he came back, he bulked up a bit
03:24and we got that look and after that, 3-4 months time, we had one more look.
03:31Even his look in the jail episode is superb, even the way you shot was also very good.
03:38So the jail is there in Sri Lanka, Candy, they ended up a 200 years old jail.
03:47They closed it, there are no inmates, nothing, they closed it and I think they are planning
03:50to open some hotel kind of a thing, so they are doing renovation.
03:53Fortunately, I have a shooting location in Vellan Gap, where did you do the renovation?
04:00Yes, I did the renovation, next time they started painting it.
04:07So, when there is no maintenance, when Candy would a place in Atlanta, it is like a hill
04:16station, there is a lot of rain and stuff, so the walls made a green texture, moss, which
04:20comes naturally, Adi Manomi.
04:23And the production design, we might not get that all over, so that location is one such
04:31location, very important episode in the film.
04:35The location has a beautiful character, a super help in the world.
04:39Yeah, a lot of contribution.
04:41And the entire jail episode, whatever, we wanted that 13 minutes of sequence, totally
04:48in rain.
04:49The minute he enters jail, until he comes out, a total, the continuous rain on today.
04:56So, we set up some kind of a set up, usually rain effect, we have this, we have this, rain
05:05on, rain off, like a scene, like a shot, if it is an entire schedule, we had some kind
05:17of a set up there.
05:19Before the scene, someone will press a button, we will have the rain, and then immediately
05:26after the cut, we will cut the rain off.
05:28So the continuity, everything, lot of things will be there, and rain is very tricky.
05:33So, yeah, that is one good location what we had.
05:37Yes, I was going to start a lot.
05:38Absolutely.
05:39Yes, because you were an old jail.
05:41When you were easy to start the water, the fight was taken as you were.
05:44Yes, at the end, it was slippery like hell, and we had to do so much action.
05:50So, let me tell you, I have one barefoot shoe, it means that is a vibram barefoot shoe,
05:58that is a workout in the same direction, the grip is there.
06:02Okay.
06:03Completely bare feet, I am supposed to be wearing
06:07chappu luk extremely puddham, around 3 hours.
06:10Then we started using right leg, left leg bare foot shoe.
06:16So we were managing with frame,
06:20I was able to wear bare foot shoes.
06:23I was able to wear it free.
06:27I was able to wear a grip.
06:30But that episode, I think location gave you one energy.
06:36The content you were shooting gave you one energy.
06:39So that it was enjoyable even though whole day I would be drenched.
06:42That was a major challenge where you have to keep actors continuously in the rain.
06:49Morning shoot start days and evening work and the camera setup, everything has to be covered.
06:55That was a proper setup.
06:57It was great because there was a gritty type of mood.
07:00Even the action was looking good.
07:03It was a flawless fight.
07:06What is the sensor?
07:09The sensor is happening today evening.
07:12Okay.
07:13Why are you going to get the tension?
07:15I don't know what they will give.
07:17There is little violence in second half.
07:21A lot of blood and violence.
07:25There is.
07:26Do you want to get the violence in the second half?
07:28Yes, I want to get the violence.
07:30I want to get the violence in the second half.
07:33I want to get the violence in the second half.
07:35I don't know what it is.
07:36I want to get the violence in the second half.
07:37I want to get the violence in the second half.
07:38I don't know how long it is.
07:39It might be a start.
07:39I want to get the violence in the second half.
07:43This film is a brotherly emotion.
07:45It's a great episode.
07:47It's nice if you get U by A.
07:48you because they don't want to cut it in chala I'm going to put it on the distributor report
07:53is that a well-known in the box office and the opening yeah so that way and with Vijay and all
08:03everybody wants to watch that kids ninji so Gotham sincerely why did you choose Vijay for this story
08:08so I kind of I don't know if you remember yeah so yeah first film even I wanted to narrate to
08:24which I put Pellichupal got released all so Pellichupal on Friday in the Friday evening
08:29before Pellichupal only wanted to narrate to me yeah because you see you wanted yeah so we call
08:38you the same day Pellichupal got released you were in mad rush I don't know if you remember
08:42the entire I remember briefly some details of Vijay came and I think Sanjeev was they helped us get
08:56your meeting he was sitting and he's continuously getting messages calls the day film got released
09:03together and he has to go to some TV5 TV9 interview or something who started narrating
09:08him the story first 10-15 minutes I understood his mind is somewhere else he's checking phone
09:12and suddenly office boy came and gave him some samosa he started eating samosa checking the
09:17phone listening to the story okay 10-15 minutes I pen that he raised his hand I thought he might be
09:22having some question in the script then he asked can I have one more samosa then office boy please
09:30go to two samosa I thought he didn't do anything I have to go somewhere I'll catch up with you some other time then
09:40let him go then may and then the story put the bond I entire and the discusses and the office boy is
09:47very disappointed because in our office only one samosa for one person sir one samosa
09:52didn't sir sir Ochiya and so my first after that on and off we caught up lot of times then I came up
10:05uh with the story and I thought I'll meet with you because I really I started feeling like it's it's
10:21important to work with people you like it's important to work with anti-manachina director lu wala nachina
10:29uh how he communicates emotion how he does music how he does edit I really love so nakku cinema jeshtu namu
10:41edhi work aitha though edhi work aitha leedo naku arjun reddi a time low I used to feel like I know
10:48uh I said I would make good news I thought that's not even if I don't know if I didn't know if it's
10:54hard to do but I think I drank pain but it's hard to watch a language and I'll see you know you
11:01I used to be super confident.
11:09I was afraid.
11:11I was like, I'm a bad person.
11:16I was like, I'm a bad person.
11:21I was like, I'm a bad person.
11:24I'm like, I'm a bad person.
11:29that contradiction. I used to always feel like I know what works, what doesn't.
11:35Then there was a point that the time it came, it came, it came, it came, it came on Friday.
11:42It came, it came, it came, it came, it came, it came. Because so many factors from the time you say
11:48okay to a script till it comes out, so many factors change everything. So the point I call Gautam,
11:58I was feeling like, first of all, I don't know what works, what doesn't, but I'll make my decision.
12:09I was like, I want people who craft you respect.
12:14I really respected his craft. So I called Gautam, I don't want to script it.
12:20I want to make a film. I want to make a film. And he's always wanted to do with me.
12:27So he was like, I really want to work with you Vijay, but let's figure this out.
12:32And then somehow he got free. So he came. And he just told me this idea. He didn't have the full
12:38script. He was like, I have a gangster backdrop. It's their brother's idea.
12:45And then he got me. He had a rough idea in his head. But it changed and improved so much over time.
13:04And it became, it became Kingdom. So for me, it was really about working with Gautam. And I know,
13:14you know, when you work with, currently in a state of mind,
13:18I'm like, Jay Gautam, Jay Anirudh, Jay Naveen Nuli, Jay Shriram. And I feel one comfort
13:31knowing that the best of the guys are sitting on it. And when somebody like Gautam is sitting,
13:37somebody like Anir is sitting, somebody like Naveen Nuli sitting, I don't have anything in my power,
13:46but I'm like, Vila Chetlundi, he'll use Kuntaru. So it was, for me, it was about working with
13:54people that I respect and enjoying the process, which I, which I really enjoyed. Sometimes you feel safe
14:02as an actor. I have a lot of tension in every cinema. I perform a background score,
14:11background score. When I was playing a music director Chetla, the kind of music completely
14:20is different from the scene. How you score. If you have a score, it's better. But the score,
14:28how I feel about the film, it changes crazily. So every film, there's a fear,
14:34immense fear of the background score. For the first time in my life,
14:39because I know the director has a good music sense, and I know that Anir is there,
14:45so that way I'm relaxed in the post-production process.
14:54No, no, with RR, it will be great. And with Anir's music, with Anir,
14:58it's not the plane. I saw the plane video. With music and all, I mean, with Anir's kind of music,
15:04too. For him also, I think it's a new genre. Yeah. Which one? This period drama,
15:10jail drama, for Anir's music also. Yeah. It's a new template. Yeah. I'm feeling that the music
15:15will sound very new. Yeah. Because I'm not saying regular films, but similar genres,
15:24parallel genres. Sounds completely different. Yeah. Very different period. So I think.
15:30Yeah. Movies happening in different timelines. Yeah. Yeah. Actually,
15:32I don't like the background score, but I'm not a guru. To be very frank,
15:37I don't like the background score. So it is very engaging. I'm doing bits
15:42in almost 50 minutes. So you got a super hit, man. Hopefully.
15:47Yeah. Advance congratulations. Jai Shriram.
15:51Jai Shriram. Yeah. Advance congratulations.
15:53I did an interview in the first movie. So it's a post-release interview. So we did it before
16:01release. So it started off saying congratulations on the super hit. Yeah. Yeah.
16:06Yeah. Yeah. Yeah. Yeah.
16:07I didn't think I was full attention. I didn't know.
16:09I didn't know. I didn't know. I was telling you. I was telling you,
16:11okay? Yeah. I was telling you,
16:15then Vijay came to office at morning and he picked me.
16:17Oh no. We went to a cafe and we did it. Oh no.
16:21Yeah. So some Chinese bistro or restaurant.
16:25First interview together. I'm already blockbuster and he說.
16:29Same. He said,
16:31I don't know. He said,
16:34I hope that will happen to you. Thank you.
16:38Thank you for saying it.
16:39Seriously, yeah.
16:40Put a lot of effort, man.
16:41I mean, like, for audience also, Vijay, it's a different treat.
16:45It's a different new story, new genre, new drama.
16:47Yeah.
16:48See, one thing is sure, like, people will forget everything and they will be engrossed
16:52into the making of, you know, Kingdom, and like a power pack performer nadu.
16:57Oh, no.
16:58Music is solid on this.
16:59So, you know how to, you know, present it very well.
17:02I think, any ticks when a high ticks.
17:05Yeah.
17:06I'm happy.
17:08Actually.
17:09More than knee contact for Vijay, I'm very happy.
17:12Yeah.
17:13Part or not?
17:14All the songs are-
17:16Background songs.
17:17Oh, nice.
17:18Yeah.
17:19Montage.
17:20Yeah.
17:21That's better.
17:22And total, three songs and one bit song.
17:26Okay.
17:27A bit song and musical.
17:29And I go first and I go first.
17:31I really enjoy songs where they dance, where their lip sync is there.
17:35But I can't write.
17:36I don't know.
17:37And then, you know-
17:38Me too.
17:39Me too.
17:40Me too.
17:41Me too.
17:42Me too.
17:43Me too.
17:44Me too.
17:45Me too.
17:46Me too.
17:47Me too.
17:48Me too.
17:49Me too.
17:50Me too.
17:51Me too.
17:52Me too.
17:53Me too.
17:54Me too.
17:55Me too.
17:56Me too.
17:57Me too.
17:58Me too.
17:59Me too.
18:00Me too.
18:01Me too.
18:02Me too.
18:03Me too.
18:04Me too.
18:05Me too.
18:06Me too.
18:07Me too.
18:08Me too.
18:09Me too.
18:10Me too.
18:11Me too.
18:12Me too.
18:13Me too.
18:14Me too.
18:15Me too.
18:16Me too.
18:17Me too.
18:18Me too.
18:19Me too.
18:21Me too.
18:22Me too.
18:23So, most of the shoot whatever we did, around 95% we shot in live locations.
18:28That's a thing which took us a lot of time so just just very little part we shot in set.
18:35I prefer shooting in real locations for two reasons.
18:42One thing, if there is a lot of CG involved, when I am seeing something in the monitor,
18:48I have a lot of tension, because if I have a frame, I have a lot of fun.
18:54Even if you have best of the guys, I have a kind of insecurity.
19:00I have a lot of problems.
19:02I have to see what happened in previous years.
19:04I never got into that.
19:06Eventually, we should get into that.
19:08Why?
19:09Generally, if you want to do a high-scale film, you need to understand how all this will work.
19:13Right.
19:14So, I prefer shooting in live locations as much as possible.
19:18And I try to minimize VFX as much as possible.
19:22So, there is a lot of detail which goes into…
19:27And this genre is very new to me.
19:33In terms of making…
19:35Yeah.
19:36That is what is a special film in its own.
19:40I have a film, I have a film, I have a film.
19:42This is totally different.
19:43In this film, there is a lot of logistics in making.
19:48And it is not a drama which takes place in a small house or a cricket stadium.
19:54In the cricket stadium, there is a lot of shooting.
19:56But there is a lot of logistical issues.
19:59Whatever I am shooting, I am shooting in the center of the ground.
20:01I am shooting in the middle of the ground.
20:03The scale and everything.
20:04I do not have to control anything outside.
20:06And in Jersey, there are a few characters.
20:11Over here, there are a lot of subplots.
20:16So, when the characters increase, the actors, the dates and stuff, there are a lot of logistical issues.
20:26And in action, initially, I was thinking that action will be something which will be taken care of by action choreographer.
20:38So, there is a scene where I am shooting in action and the next scene was my initial assumption.
20:46So, that is how it works.
20:48And then we shot one action.
20:50And that is my first action episode.
20:53My first action episode.
20:55Then, when I saw that, I was like, not happening, because it suddenly looks very different.
21:02I used to be on edge in those days.
21:04Yeah.
21:05It suddenly looks very different.
21:06And then, we as a team, we travel in certain space.
21:13Everyone knows.
21:13There is a set loan, a direction department, a cinematographer, a team.
21:17We have a lot of films, we have a lot of films, we have a lot of films, we have a lot of films, we have a lot of films.
21:22But suddenly, some action choreographer comes in.
21:25They are trying to catch up with what we are doing.
21:27It takes some time for them to catch up with what we are doing.
21:31So, the action episode, you see, it looked very different, right?
21:35From the way it looks, lensing, camera movement.
21:39There are some times, I never wanted to use a, what do you say, a study or a handheld.
21:46So, for scenes, I conceive it in a way where the little motions, statics and charge,
21:52the drama, keeping music in mind.
21:55So, I have some kind of a language for the scenes, which looks very different for the action.
22:00Then, I thought, this is not happening.
22:05Fortunately, I got a couple of months break.
22:08Then, I started writing action.
22:10Like a scene.
22:11You open a scene, conflict towards resolution.
22:17Even a five-minute scene.
22:18We set it up in a certain way.
22:20Then, we started writing action.
22:22And later, it all came very good.
22:26So, we even started communicating with the action choreographer much before.
22:31So, that it's easy for all of us.
22:33You are some foreigner, right?
22:35Yes.
22:36So, there are three people who did action.
22:39Yannick Ben is one person.
22:42He's a French guy.
22:43He did a Jail episode.
22:44And Chetan Disarza, he did a Kannada episode.
22:48So, he did one action episode.
22:51And real Satish, he did some action.
22:54So, these three people.
22:55There are a lot of other small, small bits.
22:57There are action set pieces.
23:00There can be some killing.
23:02There are a lot of other things.
23:04So, we are going to do a lot of other things.
23:06So, atlanta is one of the help chaser.
23:08Stand choreographers.
23:09You enjoy shooting action now?
23:12From how you started.
23:14Both of you, first time shot action, right?
23:16Animal first time shot action, right?
23:19Yeah.
23:19Nooda first time, which is a jump from drama.
23:22No, I definitely enjoyed shooting action.
23:25And now, I learned a lot of stuff.
23:28I think I might do things very differently for the next film.
23:30Because first time you know,
23:32how you feel, how you feel, how you feel.
23:34So, that's what we're going to do.
23:35Then we start exploring more.
23:38Choreographies are not the same.
23:39How to dance.
23:40That's not the same.
23:41No, I'm sorry.
23:42No, I'm sorry.
23:43No, I'm sorry.
23:45So, I write a character where the hero is a dancer and then I'll start.
23:50No, but.
23:51Okay, you know you know.
23:53I'm curious about Anirud's working style because I like his music.
23:56If you want a film in the scene, you will tell him.
24:00In this part, you just leave it to him.
24:04Wherever you feel you get into the mood.
24:06Yeah.
24:06So, first time, I gave him the entire film.
24:10I've made it to him.
24:11Whatever reference music, it doesn't have to be full reference music.
24:15He saw the film.
24:17And for him, the biggest problem is language.
24:21Now, he understands very good.
24:24So, biggest problem is language.
24:25So, he asked me to come and sit with him.
24:27So, he'll open a scene and then he'll make me listen to the melody.
24:32Say for example, opening title sequence.
24:35He'll give me multiple options.
24:39Sometimes, as a director, writer, you have a different take on a scene.
24:45A small example, whatever kingdom, there is a scene where two brothers meet and Suri's character
24:59will lie about something and that lie is a tragic lie.
25:05So, when I saw it, I was thinking that the audience should know that this guy is lying.
25:24So, if you're interested in the music, you should go into a sad mood.
25:28So, this type of discussion, we'll have it on scenes.
25:31This type of music will go into a scene.
25:34And the second point is, there are certain points in a scene where you need a music swell.
25:41And in my opinion, there are a lot of silent beats in the film.
25:47And I would love to see the film that way.
25:49And sometimes, if you're interested in the film,
25:52where a character is not saying that.
25:55But he's not saying that.
25:57That even that pause makes a lot of sense for me.
25:59It adds intensity.
26:01So, that's the way I see it.
26:03So, it'll learn some points that I want a little swell here,
26:07where an instrument is.
26:08Highlight the emotion, underline yourself.
26:10We used to have these kind of discussions.
26:12And it's the same with Kingdom.
26:15And sometimes, he's a genius.
26:18So, it'll be like, within 10-15 minutes, he'll give you something else.
26:23And the beautiful part about his music,
26:25he has an expression with the music.
26:29So, the way dialogue plays for a scene,
26:33his music also plays for the scene.
26:35And there is a certain word.
26:38Okay, dialogue not on punch.
26:39Probably, he brings up one level more.
26:41So, even for Jersey, I think, the way it turned out to be,
26:46a lot of credit goes to Andy Roth for his music.
26:49So, totally, how much time he takes for the BGM?
26:52He's very fast.
26:55Oh, no?
26:55Very fast.
26:56And on an average, when I'm two and a half hour film,
27:00seven reels or something, 20-25 minutes.
27:04He's capable of easily doing 25 minutes of background music in a single day.
27:09Wow.
27:09Yeah.
27:09And at least the composition part.
27:12Then, it'll go for live instrumentation, music edit, programming.
27:16That's a separate thing.
27:18But, on a good day, it's a very easy thing for him.
27:23How many days did you enroll?
27:26140 days.
27:28Yeah, 140 days.
27:29How many days did you sign the director to sign the director?
27:34120, 140, 150.
27:36How many days did you sign the jersey fast?
27:40Jersey, Telugu happened in 74 days.
27:45Yeah.
27:45How many days did you sign the jersey?
27:46Jersey, Hindi happened in 90 days.
27:48And this is in 140 days.
27:49Hindi 90 days, Jersey?
27:51Yeah, Hindi 90 days.
27:52Oh.
27:52And there, Hindi work culture is a little different.
27:58Kind of a thing.
28:03And over here, sir, it's a very good job.
28:08Even if we're shooting day, night, next day, we're ready.
28:11So, his way of working is a little fast.
28:13Hmm.
28:13Hmm.
28:14Hmm.
28:14So, I think it's fine, fine.
28:17Oh.
28:18Yeah.
28:18So.
28:19I don't know who did it correctly.
28:20I don't know who did it.
28:21I don't know who did it.
28:23How many days did you do it?
28:24Telugu, 72 days.
28:25Okay.
28:26Telugu, 72 days, but we shot around 2 hours, 50 minutes.
28:32First cut.
28:33Then it came to 2.36 something.
28:36We worked on the edited version.
28:37But we didn't work on the 2 hours, 50 minute version.
28:40No, it's the same.
28:41Kabir.
28:42Edited version.
28:43DVD copy.
28:43Yeah.
28:45Edited version was worked as well.
28:47But cricket we shot a lot of days.
28:48Yeah.
28:49Cricket we shot.
28:49Totally different songs, but still.
28:51Yeah.
28:51Cut point deals, but you will not waste more time.
28:54So, I shot Kabir in 68 days.
28:58Arjun was 75 days, 74 days.
29:00Arjun it is more.
29:00Hmm.
29:01Hmm.
29:02Arjun it is more.
29:02Arjun at the time, shooting up,
29:03I don't want to shoot up.
29:04I don't want to shoot up.
29:04I don't want to shoot up.
29:06Shooting up, I don't want to shoot up.
29:07Yeah, yeah, yeah.
29:08I don't want to shoot up.
29:09So, we're not spending too much on a day.
29:12I was a producer also, so I had the liberty of, you know, stopping and talking and doing it.
29:17So, that's the best part about it.
29:18Yeah, yeah.
29:19Produce your film.
29:20When you don't spend too much on a day, you will not have that pressure.
29:23What kind of biggest risk is that?
29:25That's it.
29:25We are producers.
29:26Yeah, yeah.
29:27Do you have influence in the creative space, right?
29:31This is a safe example.
29:33Budget?
29:33Yeah, budget.
29:34Because you are spending money from your pocket.
29:36I think that I have a football fight for a rain fight.
29:40That's when I do it and achieve it.
29:42Oh, the first character.
29:44I don't know.
29:46I can imagine.
29:48Because, I will say,
29:50the real Mangalur is full rain.
29:53There is a ground, very round.
29:55One side road is a gallery,
29:57and a hill.
29:59It is visually terrific.
30:00It is red color that a person has shot.
30:04I am getting the ball in the fight.
30:06I am generally speaking very intense in the fight.
30:08I didn't want to do it. I didn't want to do it. I cheated in Hyderabad, in Hyderabad location.
30:16But when I wanted to do it in Hindi…
30:18I'll tell you one funny thing.
30:20In Hyderabad location, there was a football fight at Hyderabad.
30:23Same ground we shot in the Jersey Climax.
30:27This is Hindi Jersey?
30:28No, Telugu.
30:29Telugu, yeah.
30:30So, 140 days.
30:31So, 40 to 50 days in Sri Lanka.
30:34So, 40 days we shot in Sri Lanka.
30:3840 days we shot Vaidagala.
30:41And the rest spread between Kerala and some patchwork.
30:47And Hyderabad local site work.
30:4940 days I think it was worth it in Sri Lanka.
30:52The visuals are very good.
30:54I enjoyed the part. I enjoyed it.
30:56It's a well shot song.
31:00Visually it was great.
31:02Greens, Void, they were really working for me.
31:06But I didn't want to sing a song.
31:08I didn't want to sing a song.
31:10I didn't want to sing a song.
31:12I didn't want to sing a song.
31:14We're a DOP.
31:15We're a DOP.
31:16We're a DOP.
31:17How did you shoot the Jail episode?
31:18Jail episode, Jamon shoot.
31:20Initially we started with Girish Gangadharang.
31:23As I said, I didn't want to sing a song.
31:25I didn't want to sing a song.
31:27We had to take a break.
31:29Girish is a cool film.
31:31Then he introduced Jamon Tijon.
31:35Fortunately he's a wonderful cinematographer.
31:39So totally, what do you want to sing a song?
31:41Jamon and Girish.
31:43Jamon shot around 70%.
31:45Okay.
31:46Girish was 30%.
31:47In other words, a good thing ended is,
31:50if you shoot the episode in Girish,
31:52it was a standalone episode.
31:54So visual language didn't change or affect.
31:59So it's an isolated episode.
32:02Until story, visual, you won't see anything.
32:08And production designer, Avinash Garu,
32:12the colour palette is all taken care of.
32:15Sandeep, the poster you shouldn't have,
32:18from the time we started promotion.
32:20And then there was a teaser.
32:23First, Tara Karna was released.
32:27We released.
32:28And then the third one was a promo release.
32:30Even if you look at the cinema,
32:34you are in the game.
32:38You are in the game.
32:39Yes, yes.
32:40Because when me and Gautam talk and all that,
32:44marketing such expectations on a kind of film.
32:49I've seen it happen with Dear Comrade and stuff.
32:54And right now, we are in a time where we are forced to put out so much marketing content.
33:00We have made some posters in Gautam.
33:03And both of us didn't want many posters at all.
33:06It's a big deal.
33:07It's a big deal.
33:08It's a big deal.
33:09Somehow we are managing to…
33:11Luckily, good thing is people still don't know.
33:13The script is so layered.
33:15So many layers that people,
33:18when they go to a theatre will be a completely new experience.
33:22But at the same time,
33:23every time we cut a promo,
33:24I'm like,
33:25Gautam,
33:26correct us,
33:27overhyped us,
33:28or are we setting the wrong expectation?
33:31It's a discussion.
33:32And for me,
33:35I need to hear him say,
33:37that it's okay.
33:38It's correct.
33:39Even though I like the promo or whatever,
33:44I need to hear the director say,
33:46because I think only he sees it in a overall,
33:50it's your baby in the end.
33:52The director is correct.
33:54In my actor,
33:55hype,
33:56openings,
33:57we can chase other things.
33:58In my actor,
33:59there are a lot of promotions in Hindi films.
34:03Too much will be out.
34:04Yeah.
34:05I feel that's a bad idea.
34:06Yeah.
34:07If it's limited,
34:08it's better to intrigue the audience.
34:10Yeah.
34:11Especially anticipated film.
34:12Yeah.
34:13But the film was eight years ago.
34:14They want to see what you have done.
34:16So,
34:17if it's a good point,
34:18if it's a good point,
34:19if it's a good point,
34:20if it's a good point,
34:21it's better promotions.
34:22It's not like we're hiding anything,
34:23it's like we're raising the curiosity.
34:25So,
34:26that way,
34:27it's better than that.
34:28You know,
34:29the film is a good point.
34:30You're talking about the film.
34:31You're talking about the film.
34:32You're talking about the film.
34:33You're talking about the film.
34:34You're talking about the film.
34:35Yeah.
34:36So,
34:37there are a lot of range-rovers,
34:42old British-time range-rovers.
34:46It's an island nation.
34:47There are a lot of vintage cars in Sri Lanka.
34:50So,
34:51they are equal users.
34:53That part is also a green range-rovers.
34:55Green range-rovers.
34:56Yeah.
34:57Green range-rovers.
34:58Right.
34:59Yeah.
35:00So,
35:01it's a good point.
35:02And,
35:03Sri Lankan government is very cooperative
35:04with the army vehicles and stuff.
35:06So,
35:07it's to encourage shootings in their country.
35:10tourism encourage them.
35:13Because,
35:14we show them in the films.
35:16And,
35:17they are,
35:18the army is very cooperative.
35:20And,
35:21they gave us a huge,
35:23a brochure or a list,
35:24where,
35:25there are tankers,
35:27there are army vehicles.
35:29So,
35:30the army people actually drive those things
35:33and bring them to the set.
35:34Actually,
35:35army guys came.
35:36Yeah.
35:37All the check post stuff and all.
35:38Yeah.
35:39Yeah.
35:40Yeah.
35:41They are in the short.
35:42Yeah.
35:43Yeah.
35:44We,
35:45got a huge tanker.
35:46And,
35:47yeah,
35:48they are a little custom.
35:50They are in India.
35:52They are in the president.
35:54in the middle of the road.
35:55We have a shooting.
35:56We have a block.
35:57We have an army.
35:58That's great.
35:59You know,
36:00that's interesting.
36:01And,
36:02actors,
36:03are they very close to the record?
36:04Yes.
36:05They are not.
36:06Are they local actors?
36:07No,
36:08they are not.
36:09There are juniors.
36:10There are three or four hundred juniors.
36:12They are not.
36:13No.
36:14They are trained,
36:15they understand.
36:16They understand.
36:17We have Sri Lankan 80s.
36:18Who will constantly...
36:19Oh,
36:20Sri Lankan 80s.
36:21Yes.
36:22Sri Lankan 80s.
36:23You go there,
36:24the local angle.
36:25Okay.
36:26No,
36:27I mean,
36:28as an assistant director.
36:29Okay.
36:30Five days,
36:31five days,
36:32six days.
36:33Yes.
36:34Yes.
36:35Yes.
36:36Yes.
36:37Yes.
36:38Yes.
36:39Yes.
36:40Yes.
36:41Yes.
36:42Yes.
36:43Yes.
36:44Yes.
36:45Yes.
36:46Yes.
36:47Yes.
36:48Yes.
36:49Yes.
36:50Yes.
36:51Yes.
36:52We'll learn.
37:09Yes.
37:10Yes.
37:11Yes.
37:12Yes.
37:13That helps me get up and work and take that extra one step.
37:19Shooting is 60% higher, I think it's more than 50%.
37:23As the shooting happens and once the edit is happening, the music is coming,
37:30I'm feeling more and more assured.
37:33But at the end of the day, I think it's the audience who has to decide how they like the film.
37:40Because you'll be constantly in this world.
37:42So, you're feeling a mixture of confidence and anxiousness.
37:46No, I'm content with whatever I did.
37:48You're content with whatever I did.
37:50It happened with my first film.
37:56When I see it back, when I see it, I think it's a stinking feeling.
38:05Same thing happened with me with Jersey.
38:07I'm going to go to the blog.
38:08So, I actually fear visiting my films again.
38:14So, it's a problem.
38:15One, two years after that, I'm feeling like this, I'm feeling like this, I'm feeling like this, I'm feeling like this.
38:20Are you doing that?
38:21What you did?
38:22I'm feeling like this.
38:24I think I'm feeling like this.
38:25For me, I heard that animal, first cut was 3.45.
38:28For me, I'm feeling like this was 3.30.
38:32When I was in the pressure, I was in the 7-7 days.
38:403.23.
38:42Yes, I was in the middle of 7-8 minutes.
38:46I was in the final Netflix.
38:49I was in the theater one week, and I was in the theater one week.
38:55It was a great day.
38:57That's why I was so upset.
39:02I was so upset.
39:04I was so upset with Arjun Reddy director.
39:06I was so upset with the Netflix version.
39:09I was so upset with him.
39:12I was so upset with him.
39:14But how do you feel?
39:16Arjun Reddy has a lot of costume regrets.
39:19Costume regrets?
39:20It's not me.
39:21It's not me.
39:22It's not me.
39:24It's not me.
39:26I have no idea how to show the scenes.
39:28I've seen a lot of scenes in Arjun Reddy.
39:30I've been so upset.
39:32He tried to get a shot.
39:34He kızs me.
39:36I'm sure I've got no answers.
39:38I never noticed this.
39:40She didn't want to show you.
39:42So you can see yourself consciously.
39:44It was so good.
39:46In the last scene.
39:48Two important women.
39:50So I thought that.
39:52I think you both of you have that in common.
39:54Some easter eggs you keep placing.
39:57That's actually more than for the audience.
40:02You are satisfied.
40:04You are satisfied.
40:06You are satisfied.
40:08You are satisfied.
40:11In Kingdom also a lot of these things you have put.
40:15First scene, last scene, starting end, cut.
40:20It's a complete feeling.
40:22I have no idea.
40:24For example, I started to play a voiceover.
40:28I was saying, I don't want to play a voiceover.
40:30I don't want to play a voiceover.
40:34I felt like this was a personal note.
40:39I didn't play a Hindi.
40:43I felt like this was a lot.
40:49That was a voiceover.
40:52No, it's not atlantic.
40:53Inherent details.
40:55That post release you will realize.
40:58Sometimes no one will notice for years.
41:01But it's okay.
41:03When you watch a film, you know what it is.
41:05Director breakdowns, you can tell people.
41:08You can tell people.
41:09You can tell people.
41:10You can tell people.
41:11You can tell people.
41:12You can tell people.
41:13You can tell people.
41:14But these Hollywood directors do these breakdowns.
41:16Of how they planned the scene.
41:18And how they did this.
41:19In DVD, there's an audio clip.
41:21Throughout the film, there's a commentary.
41:23In old DVDs.
41:24Oh no.
41:25Director's commentary.
41:26It's nice.
41:27Especially David Fincher.
41:28It's very interesting.
41:29In David Fincher, there's no idea.
41:31There's no idea.
41:32There's no idea.
41:33There's no idea.
41:34Especially films like Seven, White Club.
41:36That's interesting.
41:37Sometimes when I work with you, when I work with him.
41:42There's a wonder.
41:44There's a feeling like that.
41:47There's a feeling like that.
41:50I don't know.
41:51Like, Sandeep, Arjun Raddila, the frame.
41:56In the frame, when we started shooting, he saw the lens in this day.
42:03By now, I think he knows lights, lenses, frames, etc.
42:08He saw the picture on the phone and he saw the frame.
42:14He knows in his head exactly what he wants.
42:20He doesn't know the term for it or something.
42:23By the end of the film, he was calling.
42:28Gautam also knows his shots and edits so much.
42:33He knows that I want the shot to be like this.
42:35If he's here, he's here. He's here.
42:38So I was like, we'll take a look at Rajamandri's work.
42:43I was like, this crystal clear idea of storytelling.
42:49I want to tell it in this way.
42:51I remember even that kiss scene in Mangalore.
42:54He's like, how?
42:59I was like, how?
43:01There is some, your brain works. The wiring is different.
43:07Somehow you're wired differently. You see things.
43:11Both of you, even he's like very certain on how he wants the frame.
43:17I really like your shot making.
43:23Maybe people who are learning that directors and cinematographers are very important.
43:29The way you compose shots, I can see the director.
43:35Who is with the character. I don't know.
43:37I really like your shot making. Right from Arjunetti.
43:41First of all, photography interest actually.
43:43Photography storytelling actually.
43:45Yeah.
43:46And this is Rajamandri.
43:47What's your name?
43:48What's your name?
43:49What's your name?
43:50What's your name?
43:51Yeah.
43:52I think, if you're in Hyderabad, everyone is a type of character.
43:56Yeah.
43:57It's a thick accent.
43:59I think, if you're in Rajamandri, you'll get that accent.
44:03What's your name?
44:04What's your name?
44:05You've been in Hyderabad 10 years.
44:0610 years.
44:0710 years?
44:08Yeah.
44:09That's right.
44:10That's right.
44:11That's right.
44:12That's right.
44:13That's right.
44:14That's right.
44:15You're in Hyderabad.
44:16I'm in Hyderabad.
44:17I'm in Hyderabad.
44:18You're in Hyderabad.
44:19You're in Hyderabad.
44:20I'm in Hyderabad.
44:21I'm in Hyderabad.
44:22I'm in Hyderabad.
44:23I'm in Hyderabad.
44:24You're in Hyderabad.
44:25So, finally, what are the last words?
44:29About Kingdom?
44:31How it is?
44:32How are you feeling everything?
44:35Your final words?
44:36Final words?
44:37I don't know.
44:38But yeah.
44:40I think we'll watch it in theatre.
44:43It's very fast. Hopefully everyone will like it.
44:47Early last five days, I think now it's time to go all out.
44:51So, it's a very bad thing, but deep down hard also.
44:58Keep tweaking something, changing something until that last moment where the hard drive goes.
45:05It's an obsession.
45:07I'm going to come back from the studio.
45:08And suddenly, even while coming back from the studio, we go back and do something.
45:14When we go to the mixing theatre, we're going to lock the door and we're doing some stuff.
45:22So, I think whatever time is left, I'll spend as much as possible.
45:27You'll have to go to the war and roll.
45:29Yeah, yeah.
45:30I'll go to the next Friday.
45:32But the producer is going to go to the show.
45:35Yeah, no, no.
45:40I think I have a feeling we are in a good place.
45:43Good.
45:45When you feel it's in a good place, I feel good.
45:48Thank you so much, Sandeep.
45:49This means a lot.
45:51You're welcome.
45:52You're welcome.
45:53I'm welcome.
45:53I'm welcome.
45:53I'm welcome.
45:54I'm welcome.
45:54I'm welcome.
45:54I'm welcome.
45:54Good luck, guys.
45:58Thank you so much.
45:58Friday morning show is going to be a good place.
46:02Superb.
46:02I'm excited for a lot of Bound.
46:05I'm hoping that you love it.
46:07Now I know the story and I saw the 50 minutes, so I can guess, I can connect the dots.
46:12Sandeep, I'm looking for an actor, cinema Bound, career, that's all I wanted.
46:20I wanted to make films, make some money, Sandeep, you're a superstar Vijay, you're a superstar Vijay.
46:29I think before I saw it in me, he saw.
46:32He wouldn't treat me as an actor, he would treat me like a superstar.
46:37Sandeep Kalala, I'm a superstar.
46:39Yeah.
46:40So, I know that's a good point.
46:42Vijay, you're an audience, you don't feel like it today.
46:48It's a good time, but it's a good time.
46:52Yeah.
46:53You're a good time.
46:54True.
46:55You're a good time.
46:56You're a good time.
46:58Yeah.
46:59So, he's waiting for that.
47:01I also want to give audience that.
47:04I want them so much love they've given me.
47:07Yeah.
47:08Whatever I am is because of the love, that obscene love that they've given.
47:13Gautam, it's on you, bro.
47:14Yeah.
47:15That's not hatred, that's pure love.
47:17Yeah.
47:18Super.
47:19Good luck, guys.
47:22We'll meet again.
47:23Yeah.
47:24Parties, sir?
47:25Yeah.
47:26Done.
47:27Super.
47:28After a while, you can see your spirit as well.
47:31It's already started.
47:32It's already started.
47:33It's already started.
47:34It's already started.
47:35It's already started.
47:36It's already started.
47:37It's already started.
47:38No, it's not.
47:39September end starts.
47:40Yeah.
47:41September end starts.
47:42It's already started.
47:43Yeah.
47:44That's the idea.
47:45Cool.
47:46Done.
47:48Cool.
47:49Super.
47:50See you guys.
47:51Thank you all.
47:52See you all in theaters.
47:53I'll see you soon.
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