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00:00If you want to go to boarding school, I don't want to go to recess, I don't want to go
00:05to school.
00:06But do you want to learn Shiba or Shiba?
00:10No, Shiba didn't learn Shiba.
00:12How dangerous and dangerous can be seen in the cinema.
00:18Trolling is one kind of thing.
00:20In the cinema, we come to the culture and the morality.
00:24If you don't like Marathi people, you don't like this.
00:28We don't like this.
00:29How do you speak about Shiba or Shiba or Shiba?
00:34No, Shiba is not Shiba.
00:36We also have an expression here.
00:38It's an expression.
00:39It's all about the International Film Festival.
00:42It's like Marathi every single film.
00:45We've made this team.
00:47We've made the money.
00:48Who does this studio know?
00:50This remake, this remake, this remake.
00:53This remake, this remake, this remake, this remake.
00:54This remake, this remake, this remake, this remake.
00:57And our problem is that we know the original stories.
01:01If you don't have script writing,
01:04you don't have to say that.
01:06This remake doesn't work.
01:07What do you think?
01:08I don't know how marketing works.
01:11It's not in Hindi.
01:13That's how it works.
01:14If you show it, it's Hindi.
01:16I mean, I've made it.
01:16I've made it.
01:17I mean, you've made it.
01:18I mean, there are 10 great directors.
01:21I've made it in Bollywood.
01:22So you've made it in Hindi cinema for three or four years?
01:26Yes.
01:26Yeah, I'm good.
02:06Thank you very much, Nantar.
02:25What is the film about you?
02:27I am wondering if you have a title called
02:30You've seen the movie, but you're not a fan of the film.
02:33What is it that's a fan of the film?
02:35So, this is a fan of the film.
02:38But the film is a fan of the film, and the film is a fan of the film.
02:42We always think that the film is a fan of the film.
02:48But the film is a fan of the film,
02:50but the film is a fan of the film.
02:54So, the film is a fan of the film.
02:56And the film is a fan of the film.
02:58What is trolling?
02:59Trolling is a fan of Shabdik Hinsa,
03:03and then you come to the film.
03:05Some of them are viral,
03:08and in the comments section,
03:11they start the film.
03:14So, this is a fan of Shabdik Hinsa.
03:16Shabdik Hinsa is a fan of danger,
03:21and then you cannot see this in the cinema.
03:24But it is a child's point of view.
03:26I mean, you have a son of Lanmolain's point of view.
03:28If you are in the boarding school,
03:32I don't have a recess.
03:33So, I don't have the words.
03:41I don't have the words.
03:46It is a heart that you are thinking about.
03:51or a shabdic
03:53or a shabdic
03:53I have to die
03:55How did you say that?
03:58I mean
04:01I have to say
04:04something about Shiva or Shiva
04:05but I have to say
04:07rules
04:07that I have to say
04:09I have to say
04:10that I have to say
04:10that I have to say
04:11what I have to say
04:19when a month
04:20I have to tell you
04:23I could say
04:26that he was sick
04:27and he was vaccinated
04:32he was sick
04:34and he had to say
04:35and he was at the end
04:36If you do a good work, eventually, in a month, you will be able to do it in every crisis,
04:41and you will be able to do it in every crisis, and you will be able to do it in
04:48a month, and you will be able to do it in a month.
04:49I think that you will be able to do it in the cinema.
04:53Yes, it's a place.
04:55If you think about it, it's a place.
04:59If you think about it, it's better.
05:00Before boarding school, we'll be able to go there to the city.
05:06The first one is Shara's cinema.
05:08If there is a show, it's only a shiva's show history for you.
05:13In a way, yes, it is very interesting, but it's very for us to feel good in the cinema.
05:21That you have to understand your emotions.
05:26You have to understand your feelings, your nostalgia, and your family.
05:31You have to understand your nostalgia, your parents, your class structure, your social class structure, and other people.
05:48You write the same behind the scenes, that is why you learn the scenes.
05:57That is why you're talking about the scenes.
06:02In the cinema, I dream of seeing that scene, because I was not sure how old you're doing it.
06:10Because I got a teaser and I have to take a teaser.
06:14I think that you can take a certain performance from your performance.
06:22We were almost 15 years old in the world, all of Maharashtra.
06:29And we literally used a stereotype.
06:31whoseako is that Kolhapuri, Godjhik available for this section,
06:35does not like this individual character on Solhapur,
06:39neither like the Port Recur Bakery.
06:42We all live in Arifanyam,
06:46whatever goes on is known as Hiltaniak буд like this.
06:53We check out the website for Di withholdings.
06:57he was able to audition and get to perform the audition, round and workshop
07:01he was able to do the same actor and don't have to do the same thing
07:11he was able to do the same thing
07:12he was able to do the same thing
07:14he was able to do his character
07:17he said to him, he said to him
07:21he gave him a training
07:25I was able to shoot for a month and I was able to shoot for a month.
07:28I was able to shoot for a month and I was able to shoot for a week.
07:35But did you learn Shiva or Shiva also?
07:39No, Shiva has never learned.
07:41I was able to learn the 9 Shiva.
07:44So, I learned the 9 Shiva.
07:46I think it's interesting that all of these cities are going to be found in tier 2 cities.
07:58So, there are references to that.
08:03There are many references in the country and there are many references to it.
08:09So, I don't think so.
08:10I don't know that it's not a real deal.
08:12It's like a fact that
08:18it's not a real deal.
08:22The amount of exposure that you get
08:26that's not the deal.
08:28Definitely, it's not a real deal.
08:32It's a real deal.
08:35I think it's a real deal.
08:37I think it's a real deal.
08:38But I think it's a real deal.
08:39I think,
08:41the person who has a good deal.
08:43The person who has a good deal
09:05It's a good thing to say, and my personality is a good thing to say.
09:10So, I've been doing it for almost 2-3 months.
09:13So, there's an input in the story,
09:17that, first of all,
09:20there's a great film called Manoranjan Karanari.
09:24We didn't have a recess.
09:25So, when it comes to Bhagat, there's a voice week.
09:30It's a good thing to say.
09:31So, it's a good thing to say that it's a feminist film.
09:36Because, you know,
09:38everyone is a matriyakal,
09:41a matriyakal,
09:42a ila,
09:45shtriyana.
09:46We don't like Shivis.
09:48We don't have the patriarchy.
09:52It's a great thing to say.
09:57It's an input.
09:59It's an input.
10:00And, I mean,
10:01I've dropped the script.
10:04So,
10:06it's a great thing to say,
10:08that, you know,
10:09you know,
10:12you know,
10:13you know,
10:14you know,
10:14you know,
10:14you know,
10:14you know,
10:15you know,
10:22you know,
10:22what you're saying
10:25So,
10:27you really,
10:28you know,
10:28So, when they fought against them, they hit them a bit.
10:35So, what is this core?
10:37What is this source?
10:40So, we are going to fight against each other.
10:44So, when we fight against each other,
10:48we are going to fight against each other.
10:52So, we are going to fight against each other.
10:53We will fight against each other.
11:02It is a triumph.
11:03And we will fight against each other.
11:10It is amazing, it is a complete and amazing task.
11:15We will fight against each other and everyone forgive us.
11:19That's what we don't have to do.
11:21How did you know that you didn't have a selection for the cinema?
11:24Because of the cinema, it was a film of the Bapiyana.
11:26So, it was also a film of the same work.
11:31So, it was a very good actor.
11:34And he was a fine actor.
11:36Yes.
11:37Rajeshri, of course, has been through industry connections.
11:42And...
11:43So when I was in the role, I was in the country, so I didn't have to play the role.
11:49So I thought that Raja Shree had a test for him.
11:56So I thought that he was an uptown boy who was a kid.
12:01So I thought that Raja Shree had a test for him.
12:06So I thought that Raja Shree came out of the cinema.
12:10But in the last few years, you had a question.
12:15How much is the difference between Sujad Akkel and Sujad Akkel?
12:23I think that Marathi cinema is a difference between the difference between Marathi.
12:29And I think that's why I'm also confused.
12:34I am confused as to how to do it.
12:38One thing is that there is a very big budget name.
12:42If you want to do it, you don't have money.
12:47If you want to do it, you don't have to do it.
12:51Who is a filmmaker? I don't have to do it.
12:54I don't have to do it. I don't have to do it.
12:57I don't have to do it.
12:59I don't have to do it.
13:04Because of social media, there is no one.
13:06I want to do it.
13:08I want to do it.
13:09I don't know how much money is going to do it.
13:14What I will do is, I want to do it and I am going to do it.
13:17If you want to do it, you don't have to do it.
13:18If you want to do it, that's not the one.
13:18There are no other parameters.
13:19I will not do it.
13:21If you want to do it in the future, you will be able to do it.
13:22because of the social media, it's not because of the social media, but it's not because of the social media.
13:30So, there is no problem with the post.
13:33One of the whatsapp and forward is the one thing.
13:38One of the things that the cinema doesn't come, it doesn't come, it doesn't come,
13:42so from the house and the theater pool, we don't have it.
13:48It is not true.
13:49It is not true.
13:49It is not true, but the Marathi-manus is not true.
13:53We also have to play in the cinema so that this is a cultural relationship.
13:58It is related.
14:00Yes, it is.
14:01Right.
14:02Right.
14:02You don't have a good idea.
14:05You don't have to play a good idea.
14:06It is true that the people who are not aware of the world are the same.
14:09Yes.
14:10Right.
14:10But in the right, we have to play in the cinema.
14:12And that's the key to the fact that this is a adult film.
14:19So, there are some adult films in the world, and that's why we don't have a lot of adult films
14:23in the world.
14:24We don't have a lot of adult films in the world, but we don't have a lot of adult films
14:39in the world.
14:39We don't have a lot of adult films in the cinema.
14:48We don't have a lot of mental blocks.
14:52Soundscrutic, cultural, societal, or other mental blocks.
14:59Whereas, we don't have a lot of progressive films in the world.
15:04So, there is no match.
15:08If you match, you will have a lot of cinema.
15:12The flat cinema is not the same.
15:17The commercial films are commercial.
15:20You notice that there is a lot of people in the world.
15:26You don't have to do that.
15:29You don't have to do that.
15:30We don't have to do that in a lot of Marathi films in the world.
15:33If you're adult or naughty, sex comedy, jokes...
15:40It's a lot.
15:42If you're a society, you get to make a cinema.
15:47You don't want to do that.
15:49You don't want to do that.
15:51that the culture is very cultural and we can get that.
15:55If we get the audience, we can get the audience.
16:00And it's not.
16:01We can't think of the whole time.
16:06But we don't think that we can't do the culture,
16:09we can't do the culture, we can't do it.
16:13We can't do it.
16:16So, it's natural that you can reflect in the cinema.
16:22In the cinema, we have to come to the culture and morality.
16:27We have to come to the culture and morality.
16:30We have to come to the culture and morality.
16:48It's exciting to be a lot of fun in this cinema.
16:52Not only in this cinema, there is a lot of confusion.
16:57But we also have a lot of confusion about Shiva.
17:01That's right.
17:02But because of all of the titans, that Shiva doesn't exist.
17:06That's right.
17:06But in this cinema, there is a lot of confusion about Shiva.
17:11Do you understand that?
17:14Yes.
17:14Where did Shiva come from?
17:17I mean, the cinema was actually, it was a big deal.
17:21But when I was talking about Shiva, when I was talking about the language, I was talking about Shiva.
17:27When I was talking about the language, I was talking about Shiva too.
17:30Because my mind showed me that I would hurt the word.
17:36And that's why I was talking about Shiva's life.
17:40I mean, that's an interesting question.
17:45I mean, the story that was interesting.
17:46And the story of the physical violence had started.
17:51When she was talking about this, the idea of this.
17:54But it was hard to say that, when I was talking about physical violence, it wasn't right.
18:01I mean, you're talking about this cycle.
18:03That's right.
18:04That's right.
18:06But I'm a man, but I'm not an atheist when I was a man,
18:13but how do you think Shiva is given?
18:15No, not.
18:16I think that is what Shiva is given.
18:20I think that is what Shiva is given.
18:22I mean, Shiva is also evolved.
18:26There is a bit of interesting approach.
18:29I think that there is a linguistics PhD in my life.
18:34I think we can move towards the other side of the country.
18:36Today we are a person who is to learn about the BCMC.
18:40I think we will mute the subject.
18:43But then we...
18:45No, please don't mute.
18:46We will mute them.
18:48Today we are a man, a mother,
18:50and we are a man,
18:51and we are a Shiva.
18:54I think we have to say that
18:57I have to say that we have the British people.
19:00That's how we can talk about.
19:01Who knows?
19:03Ingrid is not the king of our people.
19:06Of course.
19:08Ingrid is a myth that we will not be a Mughlan, but we will not be a British man.
19:24We will not be a British man.
19:27They are attacking style.
19:30And divide and rule.
19:31Divide and rule.
19:33Bike and push.
19:35That means that they are conscious.
19:39That's what they are.
19:40So, they are a British man.
19:44Of course.
19:45In the house, there is a lot of people.
19:49So, you have come to this cinema.
19:53We are a Maharashtra.
19:55But in this cinema, you don't have to think about it.
19:59In this cinema, you have to think about it.
20:03You have to think about it.
20:05And you have to think about it.
20:07It's a festival round.
20:08It's a festival round.
20:09It's a festival round.
20:10It's a festival round.
20:11That's the official selection film.
20:13So, you don't have to think about it.
20:16If the title is a title, it's a film in India.
20:20It's an official international film festival in Goa.
20:24But it's a film that's a lot of good.
20:25That's awesome.
20:26To first, you have an award.
20:29The first international film festival.
20:30It's a lot of good.
20:33But that is...
20:34I think that the festival round...
20:36That's always a question of audience.
20:39So, there were some effects in the theater.
20:42That will take effect on the theater.
20:45So, what are we going to say?
20:45And in the future, we are going to find a lot of success.
20:49So, how many of them are going to be interested.
20:53But I think that this title is a controversy for the cinema, which is the title of the cinema?
21:03Yes, there is a title for the cinema.
21:08There are some trailers, teasers, and other trailers.
21:14This title is the title of the film.
21:18So, I don't want to give this title.
21:21The other thing is that you are not a shivy, but you are also an expression.
21:26If you are not a shivy, you are an expression.
21:28If you are not a shivy, you are an expression.
21:36Yes, you are a game, but you are a pure person.
21:40That will define whether it is a shivy or an expression.
21:45In the cinema, there is a very good fact that you have to verify that this is a very good
22:00fact.
22:01So, it is a very good fact.
22:03Do you like the whole cast or the other cast?
22:08Do you like the whole cast or the other cast?
22:09Do you like the whole cast?
22:11No, no.
22:12That is a human.
22:14That is a human nature.
22:15What it is a human nature is a human nature.
22:17When humans are into it, they can all change.
22:21In others we are absolutely not aware of how and how the human nature will be.
22:32If we do all this practices, the human nature will, the human nature will be,
22:38But where is it? And where is it? Where is it? Where is it? Where is it? Where is it?
22:46If you have the same, you have a sense, a sense?
22:51How does it get up to the world?
22:54Some of these are human beings.
22:57But you can tell that you are the best filmmakers that have the interest in the life of society.
23:05And in this industry, I think it's a glamour director.
23:11So, I think it's a great deal with the makers of DAWL, and I think it's a great deal with
23:16DAWL.
23:17I think we are going to talk about the same thing.
23:23What is the setting of the set up, studios, we are talking about it,
23:31and we are talking about it.
23:32It's a point of view.
23:34It's not a match for you.
23:36It's not a match for you.
23:37It's not a match for you.
23:38It's not a good film.
23:40It's not a bad film.
23:42We started the film, we made a team, we made a lot of money.
23:47Who would like to know that studio would like to be?
23:50We would have prepared a lot of ideas for our students.
23:56We would have prepared a lot of ideas for the film.
23:57How would it be? And how would it be?
24:01We would have reduced our knowledge.
24:03So, when we were told that studio,
24:06we would have to make a match.
24:09We would have learned our knowledge.
24:10This is what industry has taken.
24:14Our own burdens are broken on this.
24:18This isn't what we do.
24:20This is what we do.
24:22This new music opera, the new people, 4 new people.
24:27How many members have been doing this?
24:33That is a good idea.
24:35What's the answer about the studio's serial channel?
24:39and other people ask that if you have a few time in cash, you also work the influencer, that would
24:47be good
24:47you just can't put them back in a way, but if you do use whatever work at home, if you
24:51do
24:51it, you'll have free money, buy money with you
24:54so, the problem is that there is a match, there is a match
24:59when you can make this production in one leg.
25:01if you like it, you are doing it's original
25:06It's not original.
25:07It's a remake, that's a remake,
25:09Kaitri Hacker,
25:10it's a Kaitri,
25:11it's a great thing.
25:13And our problem is that
25:16I know original stories.
25:19But I think that's how much it is.
25:22But if I had to think about original stories,
25:24I would have to think that
25:25I would have to think about it,
25:27I would have to think about it,
25:27I would have to think about it,
25:30but I would have to think about it.
25:36If we were a character,
25:37I would have to think about it in the studios.
25:40But it was so illogical,
25:43you didn't spend a few years of cinema,
25:46our story is all the time.
25:48But we went to four years.
25:50I think it was so hard to think about it when the power of the world is so hard.
25:54Yes.
25:54So the stuff came when the truth was too hard.
25:58We never did a couple of decades,
26:00and we wouldn't have to think about it,
26:02because we won't have the lead.
26:02and I have this.
26:05Then we have to do collaborative.
26:06How do you think about it?
26:08How do you think about it?
26:08What are the scenes?
26:11What are the scenes?
26:14What are the studios that they are...
26:17What is a production house?
26:19Who is actually?
26:20Who is the studios that they are doing?
26:25Who will they tell you?
26:27Who will they tell you?
26:28Who will they tell you?
26:29I think that's wrong.
26:30Which is very wrong.
26:31Who will they tell you?
26:33You will learn to study from the PhD, PhD, scholar.
26:36Who is writing script writing?
26:39So
26:40I will do that.
26:42Who will I tell you?
26:45How scene works.
26:47How do you think you get that?
26:49Give me an analysis.
26:50Why doesn't work?
26:51You will tell them.
26:54How to do a poster.
26:56How to tell you a marketing.
26:57but the marketing and the mainstream is all off.
27:03It's not Hindi.
27:05It's the same thing.
27:07I mean, most of the Marathi is the show.
27:10I mean, I mean, if you have a show, I go and I go and I go and go and
27:14go and go and go and go and go and go and go.
27:16What is the show?
27:19Hindi is tough in the market.
27:21Yes.
27:21And that's why I didn't know that there was a lot of cinema.
27:27I thought that there was a lot of cinema.
27:29But there was a lot of cinema.
27:32I don't want to see it.
27:33I don't want to go to the country.
27:35I learned everything from the cinema.
27:40I went to three film schools.
27:43Master's and PhD.
27:45How did that happen?
27:47NYFA?
27:47Yes.
27:48How did that happen?
27:52But Bollywood is tough.
27:55You have been struggling for 3-4 years.
27:58I was in Mumbai.
28:01And there was a lot of pitching.
28:04But if you were doing it, Bollywood is coming.
28:08I would like to talk a little bit.
28:10I would like to talk a little bit about Vishantaram Bapu.
28:13He was making a lot of cinema.
28:15He was speaking a lot of cultural culture.
28:18He was speaking a lot.
28:21He was in Hindi cinema.
28:22He was in Hindi.
28:23He was in Hindi.
28:27He was in Hindi.
28:28He was in Hindi.
28:30He was in Hindi.
28:31He was in Hindi.
28:32What is the problem?
28:33I mean, there is a car.
28:35The car is cycling.
28:37Our people are not in Hindi.
28:42We don't have money.
28:44We don't have money.
28:44We don't have other people in the industry.
28:48We are cycling.
28:49But as we are cycling.
28:50It is the same thing around Bollywood in India.
28:53The great directors of Hindi or Bollywood are in Hindi.
28:59It was all for Gazala.
29:02You have been cycling.
29:03So, an apprentice would look at Adityasar.
29:08Aadityasar?
29:09What are those things?
29:10What are those things in the film?
29:14Not how many people can play.
29:15But it's not much of a vision, it's not much of a vision.
29:19I mean, the artigarian film is really doing a lot of cinema.
29:22You're doing Lakshman.
29:24Lakshman.
29:25It's a graph.
29:26I mean, it's a graph.
29:29It's a proper film that I have done a lot of experience.
29:33I mean, it's a great thing.
29:36I'm extremely proud of Lakshman.
29:38I'm so proud of that.
29:40In the last 10 big directors in Bollywood,
29:46we have arrived in Marathi.
29:48He's a big actor. Kishore's big actor.
29:51He's a big actor in the cinema.
29:55But he's got an account.
29:57What's that?
29:59What's that?
30:00He's cycling,
30:01and he's doing a lot of film makers.
30:05Because what is our benefit against Bollywood? Literature.
30:13That's a good thing.
30:15That's also Hindi.
30:17But Bollywood is not a good thing.
30:21In this way, we will talk about our stories in Hindi.
30:24It's not a big audience.
30:26That's a good thing.
30:27If you're a person, then you can become Hindi.
30:34It's not a good thing.
30:36If you're a person, you're a person, you should be a person.
30:42If you're a person, you're a person.
30:44That's right.
30:48I think that's why I am interested in the film makers.
30:50And I can't do this and love I know exactly what's the most important part of my life and how
30:55I can do it even if I can get you by doing it
31:01I don't want to get it to me
31:02I don't want to get it to me
31:14I don't want to make it to me
31:14You can write your questions from you
31:15There's some weird answers from you
31:16I don't want you to get it to me
31:16You can't have my answers
31:16You can't find the answers from you
31:17So you can't find your answers
31:18You can never find the answers from me
31:18The answers we can get my answers
31:21The most interesting question in Bollywood was in the first place.
31:30I think it was a business development.
31:33I think that it's 4 people.
31:36That's a democratic process.
31:39I think it's a dictatorial.
31:42I think it's a dictatorial.
31:47Yes, I will.
31:48So, we will be able to get this.
31:51So, Suja, you've got a Hindi cinema for 3-4 years.
31:58And what's your remake of the cinema?
32:04I think it's a film.
32:08In Hindi?
32:09Yes, but it's a film.
32:11I don't know if it's a film, but I don't know if it's a film.
32:16I don't know how to do it.
32:17You can do it.
32:18Yes, you can do it.
32:20Almost...
32:20When we think about AI...
32:23I think...
32:25We can do it in two years.
32:27In 2012.
32:28Yes.
32:29In 2012...
32:30It's the beginning.
32:31It's the beginning.
32:31It's the beginning.
32:32It's the beginning.
32:33It's the beginning.
32:34It's the beginning.
32:36It's the beginning.
32:39But...
32:39I think...
32:40It's the beginning to be a reboot...
32:43... to a Hindi audience.
32:46And we also see AI.
32:47Because I think,
32:48... there's a stand-up comedy show.
32:52So...
32:53I think...
32:54We're beginning to say...
32:56...about the chat.
32:58Do we have a breakup today?
32:59Do we have any help?
33:01Do we have any help to do this?
33:03I think we've all got it.
33:06I think I seem to relate.
33:07It doesn't relate, it doesn't relate to it.
33:09And there was a clip of Funtru's in the film.
33:14There was a picture of Obsession, a crazy girlfriend.
33:18So, what is Funtru's in the film?
33:20I didn't know that was a crazy girlfriend in the second half.
33:25So, who would be like that?
33:28I'm going to get my dad's.
33:29Obsession has been a long time ago.
33:31I don't want to talk about it.
33:33I don't know if that's what I'm talking about.
33:36It's a good remix.
33:39I thought I'd never go south.
33:43Can you tell me about Christopher Nolan's story?
33:46What happened to you?
33:48Your phone?
33:49No, no.
33:50Christopher Nolan is completely wrong.
33:55I was a kid with Nolan's family.
33:58I was in the world.
34:00I was in the world.
34:06So, I'm going to go very well.
34:10So, it's an accursed, of course.
34:14So, it's a set of AD videos.
34:20Basically, what ADs are doing?
34:22The director is studying.
34:24How do you do that director?
34:26That's how I do ADs work.
34:29Or, what's the plus point?
34:31How do you do that scene?
34:32How do you do that actors?
34:39Just 4 minutes later,
34:43they will be able to do that scene.
34:49I think that's what I do.
34:51What do you think?
34:52Southie Film School.
34:54How sweet.
34:56So, I have a question.
35:00In Marathi,
35:03there are 3-4 films released in Marathi.
35:06But, when I was released in Marathi,
35:08when I was released in Marathi,
35:09the first film is released in Marathi.
35:11Do you have any benefit from the Marathi?
35:13Do you have any solution to that scene?
35:18Yes.
35:19The fact that the backlog is still in 2-3 films.
35:23But, what I think is,
35:25it's less than making us.
35:28It's like,
35:28the film was made in Marathi,
35:30which was made in Marathi,
35:32so, I was released in 20 years.
35:35So, the film was made in 3-4 films,
35:38it's a backlog.
35:39It's all about that scene.
35:42But, I think,
35:43the film was made in a few years,
35:47I guess,
35:48we have been released in the production.
35:51So, today,
35:51we have learned,
35:53I think,
35:54there are 5-5 films,
35:56shooting,
35:57where are we coming in Marathi?
35:59What are we taking?
36:00I was asked,
36:01there are 5-5 films,
36:03on the daily basis,
36:04so,
36:04it's a great time.
36:05Now,
36:05we have started 3-4 films.
36:09One is in Moana,
36:10one is in Poonapurla,
36:12one is in Mumbai.
36:12I was very interested in that.
36:16When I was a kid, I was a kid in the 20th century.
36:22I was a kid in the Marathi film.
36:27I was a kid in that time.
36:29I was a kid in that time.
36:31I was a kid in that time.
36:33But the truth is that social media has been trolling a lot, so it seems to be a stand-up
36:42comedy show that it's a stand-up comedy show.
36:46So, what do you think about stand-up comedy shows? Do you think it's a good thing?
36:53I don't think it's a good thing.
36:59It's a good thing.
37:07I think there's a good thing.
37:10So, the truth has gone through this whole thing.
37:12I think there are content in that social media.
37:15It's a good thing in the case.
37:17And I think there's no doubt that there's no doubt about it.
37:20It's a good answer to the audience.
37:22And I think that my thoughts are very hard to say.
37:26So, because we all had a chance to say, when we were to say that, the idea wasn't going to
37:31have a pretty bad issue.
37:34But when we decided that, when we said that, we don't have the morality, we'll tell this, Anyways.
37:42But, we have to say that, you are there and you have that like button you go.
37:52and gives them content.
37:55And it's...
37:58It's a good thing to think about it, but...
38:05The way we see the results are good,
38:07we see the results.
38:10So, that's the reaction to it.
38:13Yes, it's a good thing to think about it.
38:17It's a good thing to think about it.
38:18It's a good thing to think about it.
38:20It's a good thing to think about it.
38:21isn't aware of the other person.
38:24No, I think I'm very aware of this.
38:27Do you think we could tell them to have used a dance comedy at the cinema?
38:32Look, there is no comparison.
38:35When when people came with that dance,
38:38when people got it, they gave it to their dance.
38:41Their dance is not that this dance is that dance.
38:43Their music is basic,
38:45at times of their art.
38:47So, if people get dark at times of their work,
38:49Yes, Dar, Ghann, Bulgar, all of us have to do.
38:52I have to do all the content and I have to do all the content.
38:59I have to do all the content.
39:03I have to do all the humor in my way.
39:08I have to do all the content in my way.
39:12This is a sense of humor.
39:15I have to do all the shows in our stand-up comedy show.
39:19Do you have any sound-screwers?
39:22Who's the sound-screwers?
39:24I have to speak in my house.
39:26I have to talk about videos about that.
39:30We have to talk about our lifestyle.
39:33I know that we have talked about Whiteside.
39:36We have to talk about a platform.
39:38It's a good thing to talk about.
39:40But it's about private viewing.
39:42Who would like to talk about that?
39:46You don't have to talk about your private viewing.
39:48You don't have to talk about your mobile.
39:50You don't have to talk about that.
39:53That's the morality.
39:55If you want to talk about it or not,
39:57you don't want to talk about it.
40:01You don't want to talk about it.
40:01That's why...
40:02I think you should have trolling.
40:05Why is it difficult?
40:06Good question.
40:06It's not true that we do all of that.
40:09And it's not how we do it at the moment.
40:12There is nothing wrong with it.
40:14You should have learned.
40:16If you think about it,
40:19you might want to talk about it.
40:21No.
40:22But we don't have to understand that.
40:25We don't have to talk about it.
40:27We will talk about jokes.
40:28So, it's important to have a little bit.
40:30You might have to talk about it.
40:31We don't have to talk about it.
40:33That's not what we had to do.
40:33No, not meters.
40:35No, no, no.
40:36I mean, that's why we had that conversation.
40:38That's why I thought that was that.
40:40If there was a lack of judgement, how to react, awareness, and a bad response,
40:47we told them that we were not aware of this.
40:53We thought that it was not so bad.
40:56But it wasn't replaced.
40:58I thought that it wasn't replaced by white side, I thought that was wrong.
41:00And I think that's what it is, I don't know what to do
41:04But I think that Shivya is a good idea
41:09And that's why Shivya is a good idea
41:11That is my politics of playing this game
41:19Everybody is playing their game
41:20It's my politics
41:23This is my game
41:25I don't want to think about remembering a lot of the topics
41:28I do have to remember that
41:30I do have to remember whatever the whole thing
41:39This is my cinema
41:41That's why I have to be the same
41:43It's my same
41:43And I don't know if it's my play
41:45This is our day
41:51So if we even play this game
41:52I'm playing this kind of game
41:53So, in this market, I would like to make an artist in the cinema, I would like to make an
42:00artist in the cinema
42:01When my audience opened up, I would like to say that my family would be my family
42:07So, in this situation, what do you think about this situation?
42:18I have never been a conductor
42:25I have always seen cinema to disrupt what is going on.
42:31What is it?
42:32In Marathi cinema, I don't know about love stories.
42:39It's all disruptors.
42:43Later, it was a great business for filmmakers.
42:48So, it was a way that opened up, disrupt the market.
42:53I have always told that we don't have stories.
42:57It was extremely international.
43:01So, I have always been in the space.
43:07But cinema…
43:09As good as me, Jimma and Bipan are disruptors in the market.
43:15Yes, yes, yes.
43:16Jimma disrupts that the cinema will not go to the cinema,
43:19the past cinema will not go to the cinema.
43:22Jimma will not go to the cinema.
43:24Jimma will not go to the cinema.
43:25The Bipan is not going to go to the cinema.
43:32Even if you have a sense of the cinema,
43:35you need to take a shot of the cinema.
43:37You need to cut the cut.
43:39I don't know.
43:39I have no idea.
43:40I have no idea.
43:41The tagline is one of the things you have to do.
43:46What do you mean?
43:47You have to write the censor.
43:48You have to write the censor.
43:48No, it's not.
43:49It's two words.
43:51You can write them by the way.
43:52I don't want to say anything about white bulls.
43:57What do you mean?
43:59If it comes to the censor,
44:02then you will be happy with the censor,
44:04that you have the tagline.
44:08I don't like that.
44:11I don't like that.
44:14I don't like that.
44:15I don't like that.
44:22I don't like that.
44:24I don't like that.
44:29I don't like that.
44:30But we have children's film society,
44:34and we don't like that.
44:36We don't like that.
44:39We don't like that.
44:39I think it's just about the NFDC,
44:43but we don't like that.
44:46I think it's a government.
44:48I think it's a government.
44:50It's a government.
44:51It's a government.
44:55What will it be?
44:58If it's a government,
45:01it's a government,
45:03so it's a budget system.
45:09I think it's evolving.
45:23I want to do something that I want to do.
45:27I want to say that you are saying that you are going to go to the cinema in the theater.
45:34You are going to come to the theater.
45:36Because it is a part of our life.
45:39And the cinema is not a good place.
45:42So, it is a good place.
45:43I don't think that we are going to come to the theater.
45:45I don't know.
45:46And Sujai…
45:47If you don't know what to say about it, just to say something.
45:51If you don't know what to say about Sujai, you can message me to social media.
45:55Yes.
45:55So you're ready.
45:58I'm a troll like Troll.
46:00I'm a troll like Troll and I'm a troll like Troll like Troll.
46:03I'm a troll like Troll like Troll.
46:04I'm not sure what it is.
46:05I think people are very familiar with the Sivan.
46:07It's a matter of the fact that society is a little realistic.
46:14But they don't have to shine.
46:17They don't have to shine.
46:18They don't have to be a little bit.
46:19That's how it's going.
46:23If you're not interested in supporting the other things,
46:26you can ask what they're doing or what they're doing.
46:29But, you've got to know what they're doing.
46:32It's a matter of fact.
46:33Thank you very much.
46:35I'm very proud of you.
46:36After you've talked a lot about your work on the show,
46:38we're doing a lot of work on our film.
46:39You've learned a lot about that.
46:41Thank you very much.
46:44I have a comment about this video.
46:48Please comment on this video.
46:51Please comment on this video.
46:51And please don't film the video.
46:52Don't film the video.
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