00:00Sir, congratulations.
00:02Toxic is a mixed response from the box office.
00:07Thanks, sir.
00:08Thank you, sir.
00:10Sir, first of all, talk about the art director.
00:14All the cinema, the actions, the making, the making, the making are completely social.
00:21First of all, talk about the sets.
00:24We will talk about the sets.
00:28Sir, the set is a big issue.
00:32It is a big issue.
00:33It is a big issue.
00:37I think the film is a big issue.
00:41Sir, the topic of the toxic films is a big issue.
00:46The topic of the set is a big issue.
00:53I am not sure that I have decided to decide the first S.R.S.R.
01:00Since we were working in Mumbai, we were working in all set works
01:05and we decided that S.R.S.R. decided not to decide the S.R.S.R.
01:09in Bangladesh and the set works
01:24Okay.
01:29Okay.
01:42Okay.
01:49Okay.
01:56Okay.
01:58Okay.
02:05Okay.
02:06Sir, if you want to match the king's schedule,
02:10then you start to know about it.
02:13Okay, I'm going to call for two days.
02:16Who's ready to go for free?
02:18I said, you're not ready to go for free.
02:22You're going to call for two days.
02:24I'm not going to call for two days.
02:28I'm going to call for indirect activity.
02:30Maybe I'm going to call for doubts.
02:32I'm going to call for toxic.
02:35I'm going to call for you.
02:38Okay.
02:43I'm going to call for a global cinema.
02:45Global cinema?
02:46Okay.
02:48Global cinema.
02:50I'm not going to call for all directors.
02:54I'm not going to call for discussion,
02:57work and production.
03:03Okay.
03:04Okay.
03:04Okay.
03:04I'm not going to call for first number.
03:08I don't have a meeting.
03:09I'm not going to call for one place and I just have a job.
03:14Now I am happy.
03:15But I've traveled for a long time from past 10 to 12 years.
03:19From the beginning day of the film, I started the direction of the film because of the film.
03:32At least I started the full film and I started the set of songs.
03:39I started the sequence.
03:41I started to google the set of films.
03:47Okay.
03:47I think that's what I'm doing.
03:49I'm doing a discussion about the standout.
03:52Actually, the production design is a great way to get a production design.
03:57That's right.
03:59But, I think that's what I'm doing.
04:01I'm doing the miniatures.
04:03I'm doing the set-ups.
04:06But, I'm doing the miniatures.
04:09I'm doing the method.
04:11But, I'm doing the key models.
04:14I'm doing the same thing.
04:15I'm doing the same thing.
04:18I'm doing the same thing.
04:20There's a discussion.
04:22There is a friend of Prashantore.
04:25There is a friend of Prashantore,
04:26he's doing the same thing.
04:30There's a list.
04:32Okay.
04:32That's correct.
04:35When you're doing the first set,
04:36in Bengaluru,
04:38you should say,
04:38Can you tell us about the first set?
04:42No, the first set is the second set.
04:48The second set is a street activity in Old Goa.
04:52The second set is a street activity. It's a mother set.
04:55The first episode of the Portuguese attack, the Raya Apartment, the Opium, the wedding, the Jask and the Jask.
05:13There is a symmetry set in Bengaluru Palace.
05:17You don't have to look at the first teaser.
05:20The second set is the first set.
05:26If you look at the cinema, you have to look at the church, all the episodes, all the apartments, all
05:36the sets.
05:36The first set is the third set of an archival is a compounding area.
05:45You will also have to look at the single person and the third set is the first summer.
05:50But it's a good person that is a technician who is like a technician.
05:56For an East guy, we are like a continue work and keep it in touch.
06:08But it's almost all set in the set.
06:11You can't remember anything.
06:13The Bangalore set still in the old style.
06:17In the retro style of New York Town, there is actually Old Goa Street.
06:26There is a lot of street.
06:30There are cobblestones and cobblestones.
06:38There is a natural feel.
06:40There is a lot of rain effect.
06:44There is a lot of rain effect.
06:47I was born in a new year.
06:49What is this?
06:50What do you think of the sets?
06:51What do you think of the sets?
06:53What do you think of the sets?
06:56We have one of the first sets.
06:59One of the sets is the first one.
07:01It's called Pooja.
07:01It's a morning of Pooja.
07:05I was able to create a dry land on the ground.
07:15I was able to create a demo.
07:22I was able to create an exhibition.
07:28I was able to create an exhibition.
07:30I said in that video, this is a video.
07:34My company is talking about the set of Mumbay.
07:39100% Mumbay is talking about it.
07:42So, I tell you,
07:45we said that in Mumbay,
07:47we said that in Bengaluru,
07:50we said,
07:52we said that we said Mumbay is talking about Mumbay.
07:55That's how the joke is.
07:57Just on the, comedy conversation.
07:59Just on the...
08:00I know what we do here.
08:02We all have to go back here.
08:04I am a part of that.
08:06Abhimana.
08:07He's a great man.
08:09I don't know what to do.
08:12You should listen to a choreographer.
08:17And you can sing a song.
08:19And we can sing a song.
08:21We can sing a song.
08:22We can sing about the global cinema.
08:25We have to make this new development.
08:30We have to make this new development.
08:38This is our new development.
08:44If you have a producer, actor and writer,
08:50We were very interested in the director of Sahajwagi.
08:53We were very interested in the director of Sahajwagi.
09:03We were interested in the director of Sahajwagi.
09:10No, it's the very beginning. We didn't know each other, but we didn't know each other.
09:18So, we met Rajiv.
09:24The two are actually our model.
09:28First of all, in my 30-year journey,
09:34I am a lady director for the first time.
09:39Oh, super.
09:40When they come to the first time,
09:43they interact with different sets.
09:50They talk to each other in their language.
09:54They talk to each other in their language.
09:55I'm actually excited.
09:58They talk to each other.
10:00They talk to each other.
10:02They talk to each other.
10:03So, when they are in the second set,
10:12when they come to each other,
10:13they talk to each other and they love their happy,
10:15and each other, they she has to be happy with.
10:19They say that to each other,
10:22you feel your strength and skill.
10:26Only in the same case,
10:28I was told that I had a new device in the very beginning of my previous sales.
10:33If you had a list in a hotel or a list,
10:38if you had a list in Bengaluru, you would have a new director.
10:43If you had a new set, you would have a new set.
10:48I was told that I had a new meeting.
10:52I was told that I had a new director.
10:54So, I have to hear about it.
10:55I'm a little bit surprised,
10:56so Mr. Soumruwani said,
10:57why should I leave you?
10:59I'm telling him I have no trust in the SO.
11:04At a time, there are all of the artists
11:06who can be the same teams
11:08who can be correct in the same time.
11:12They will match the same teams.
11:15And these challenges don't get asked for research.
11:18It's the challenge.
11:21So, for Bangalore,
11:22I am a director.
11:25Okay. Super.
11:27I really appreciate each other's set.
11:32Even though they are,
11:34the Mozart set is super, super, super.
11:39But they don't expect me to do that.
11:43That's it.
11:44If you have a set props, set design,
11:50you can do that.
11:53If you have a discussion,
11:56if you have a set props,
12:00for example,
12:02a tub.
12:03A tub scene,
12:06actually, that's a discussion.
12:09Okay.
12:10In Mumbai,
12:12the tub,
12:12actually,
12:13that was the time for the 20-25 days,
12:17and the one who was a specialist,
12:19he didn't export it.
12:22In this case,
12:23it was a period of time.
12:26It's a challenge.
12:27I said,
12:28I'm a friend, Chetan.
12:33Yes, yes.
12:34I said,
12:35Chetan,
12:36what's the choice?
12:38There is a coffee blast
12:39in the coffee and the olmayation.
12:43We have the symmetry set up.
12:44That's what I say.
12:46I would like to say,
12:48in the to know that
12:48to come back in the 45 days,
12:49or people like the specialist.
12:52This is no matter.
12:53There is no matter.
12:55If you have a study,
12:56then you can do it.
12:59If you're like you're not confidence,
13:03you're not as confident.
13:05It's how it is kept our first time.
13:11It's not our time, it's very much detail.
13:14The most challenging parts are taken seriously.
13:22Our crew is at all the time,
13:28I think it's very important to me.
13:31Sir, the cinema is also worldwide, globally released.
13:35There are many different topics.
13:37Mixed reference is secondary.
13:39But in the cinema, there is a casino.
13:42There is a hotel.
13:45Do you have to recognize this set?
13:51Do you have to talk about this set?
13:55Do you have to talk about it?
13:56Yes, it is.
13:58For example, there is an apartment in a Raya apartment.
14:08There is a Raya Mane interior.
14:11The interior is not set in the street.
14:15There is no Raya Mane interior.
14:18After that, there is a casino.
14:20There is also a jazz club.
14:23There is also a dead end street.
14:27There is also a real club.
14:32There is also a structure and materials.
14:35There is also a wall hanging.
14:39There is a wall hanging.
14:40There is a production designer.
14:42There is aᅶつ estu story in a존ess.
14:43There is only a saqqas or scene as well.
14:51So, over a restaurant in a street,
14:54there is a drug versus clash.
14:56There was a church and a firing episode.
15:04You mentioned the wedding, fighting and firing.
15:10That's all.
15:12You started the circus episode in Mumbai.
15:17You started the exterior set up in Mumbai.
15:19You started to enjoy the cinema.
15:22In this film, you can enjoy the set in Bangalore, except for the snow house and the outside.
15:31In Bangalore, 70% of the sets are toxic in Bangalore.
15:38If this cinema is high-budget and high-budget,
15:45there are more than 50% of the set in Bangalore.
15:51In Bangalore, there are more than 50% of the set in Bangalore.
16:01I think it's only for the structure.
16:03There are more than 50% of the set in Bangalore.
16:10There are more than 50% of the set in Bangalore.
16:18Okay, sir.
16:21In this film, it's also a box of wheels.
16:26If you have family members, you can agree with your family or family.
16:35No!
16:41The set in Bangalore is very difficult to set in Bangalore.
16:47This is our family and friends.
16:52We have a book for the LSA, 15 years.
16:55We enjoy it.
16:57We have an involvement in the world.
17:03We have a dedicated dedication.
17:12If you look at the location, you can see a ticket.
17:17In this episode, you can shoot a ticket.
17:24We looked at the episodes.
17:27If you look at the environment and the environment,
17:31we don't have to talk about the cinema.
17:35We used to talk about every scene and frame.
17:39I don't think they were making the movie, because people are making the movie.
17:48So, I'm thinking of the only way I've been making the movie.
17:49But I've been making the movie for 4 years.
17:52Because, everyone has a visual aspect, everyone has a thought.
18:01If you want to get into it, you can't get into it.
18:08What is the mix-up response?
18:12I'm happy to have a lot of appreciation for my family.
18:16I'm happy to have a phone.
18:21I'm happy to have a phone.
18:24I'm happy to have a conversation.
18:25I have been doing art direction in this global level, and I have been working in my life and in
18:35my life.
18:38Finally, I have been working for toxic people.
18:43I have been working for romantic scenes.
18:48As a film director as a film director, do you want to take a look at the cinema?
18:56Very simple.
18:57At the same moment, at the same time, I will show you an English movie.
19:03Okay?
19:04Like a Hollywood movie.
19:05What is related to this movie?
19:07Sometimes there are scenes in sync, sometimes there are scenes in sync.
19:13I will show you an English movie.
19:17For example, the Indian movies were not in sync.
19:21You were the one who was in the 70s, 80s.
19:26You were the one who was in the 70s, 80s.
19:29I was the one who was in the 70s, 80s.
19:33You were the one who was in the 70s and 80s.
19:37You were the one who was watching Ramathar Ganga,
19:40The Indian moviesには their films in the 90s.
19:42I am thinking that there are a lot of sarcastic people who are at the 70s.
19:45I was thinking that in the 70s,
19:50the only 80s in the 80s.
19:54Here is no one who knows the 80s.
19:59A lot of sarcastic people.
20:01Hidden in 70s.
20:03It's a great idea of how the people are doing.
20:08I think that's all the people who are looking for.
20:14If you're looking for Hollywood, Bollywood, Hollywood, Sandals, Hollywood, Hollywood and all of them are all the time.
20:27I was shocked.
20:30But in that scenes, I was just a little bit more.
20:34That's why I was a little bit more.
20:37For example, I was just a little bit more.
20:42They were just a little bit more.
20:44They were just a little bit more.
20:48I have heard the story about this.
20:49I've heard about this.
20:53I say that you are a family,
20:56a star movie,
21:00you can see a sarcastic person
21:05in reality shows.
21:07we have double meaning words.
21:10I can say that.
21:13I will say that.
21:14I can say that.
21:16I can say that.
21:17But I was the one thing that I was the one thing.
21:21I was the one thing that I was the one thing that I was the one thing I was the
21:25one thing that I was the one thing.
21:29Yes sir thank you so much Mohan BKR sir and you ask you about your stories and that's why you
21:36get a little bit of a video.
21:38Thank you so much.
21:39Thank you sir.
21:41I'm very excited to have you the one thing.
21:54Thank you, sir.
