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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.
00:12Shabdik hinsha can be dangerous and dangerous in the cinema.
00:18Trolling is one kind of Shabdik hinsha.
00:20In the cinema, we come to the culture and morality.
00:23And the people who don't have the award for Marathi, they don't have the award for them.
00:29Shibyan's question, do you understand how it's going to be?
00:34No, Shiba is not Shiba.
00:36It's an expression.
00:37It's an expression.
00:39There's an award for International Film Festival.
00:42So, you can start a film from Marathi.
00:45We've made a team, we've made a lot of money.
00:48Who does this studio have to be?
00:50That's a remake, that's a remake, Kaitri Hagar...
00:53That's how Kaitri is going to be done.
00:56That's all.
00:57Our problem is that we know the original story.
01:01We start with script writing and tell them not.
01:06How scene works?
01:07What are we doing?
01:08We don't have all the marketing scenes...
01:11This is not Hindi.
01:13It's that thing.
01:14You don't talk to me, but you can go in Hindi.
01:17So you can go in to the back?
01:17In Bollywood, there are 10 big directors in Bollywood
01:21and even in Marathi, they have come here.
01:22So, Suja, this is 3-4 years in Hindi cinema.
01:26Yeah, yeah, yeah.
01:29Why are you here?
01:29Why are you here?
01:30Why are you here?
01:31Why are you here?
01:35Hello, Mitra.
01:38I'm your friend, Sagar.
01:39Welcome to Lokmat film in Cinema 360.
01:43Mitra,
01:43do you know,
01:44in the future,
01:46with a couple of them,
01:48because we have a lot of those who've progressed,
01:50or in the future we've also had a lot of the cinema.
01:55We're all thinking about this cinema.
01:58if you're interested in that,
01:59you're able to see it,
01:59and you're willing to see it.
01:59And we're using this cinema as well.
02:05We're in the future of this cinema.
02:08What do you think of this cinema?
02:10What would you feel of this curiosity,
02:11and what are you meeting on this?
02:12And today, we've been doing a lot of films, so let's see what's going on.
02:17So, welcome to Lofmat Filmy.
02:21So, Sujai, here's a lot of cinemas.
02:25What's your name?
02:28What's your name?
02:32What's your name?
02:33What's your name?
02:34What's your name?
02:35What's your name?
02:35So, this is a game.
02:37Yes.
02:38But, cinema is a good thing, but it's a good thing.
02:42We've always talked about the physical things, but it's a good thing.
02:50But, it's a good thing, it's a good thing.
02:54So, it's a good thing.
02:56And what's your name?
02:58What's your name?
02:59Trolling is a good thing.
03:01You have to get a good thing, and you have to get a good thing.
03:04In some cases, the show is viral, and the comment section started.
03:14So, it's a good thing.
03:16So, it's a good thing.
03:16So, as far as you can see, how dangerous and dangerous are, you have to find this.
03:23But, it's a child's point of view.
03:26The point of view, the point of view.
03:28For example, I was at boarding school in recess.
03:33I just thought that we had a chance to play it.
03:36So, I thought, what do you mean by your mind,
03:40and it's a way that the words of God will be able to do it.
03:45And I was like, if I was emotional,
03:47I was like, I'm like, I'm going to say it's a word.
03:54And I got it.
03:55How did you say that?
03:58Yes, I said that in your opinion, I said something about Shiva, but we have rules.
04:08We have to say something about that, we have to say something about that, we have to say something about
04:13that.
04:13I think what is it for yourself, what should I say?
04:20We have to say something about that event, and we have to say something about that event, so we are
04:34losing back, very.
04:36If you're going to play a good work, eventually, in a month, then you'll get a good one in every
04:43crisis.
04:43So, you'll get a winner.
04:47Or you'll play a good one in a month.
04:49I think that's a good idea for the cinema.
04:53Yes, I think it's a place.
04:55If you're a place where you're going, it's a place where you're going.
05:00When I was boarding school, I would have to play it.
05:06You first played a cinema.
05:08So you are a big movie and you have a great idea of a Shivan.
05:12In a way, yes.
05:16It's a very big movie.
05:18It's a very feel-good movie.
05:22We have a great nostalgia and nostalgia.
05:30So, but you don't have a nostalgia, you don't have a nostalgia, you have a nostalgia in your class, it's
05:44not a social class structure, you have to go through it.
05:48I was wondering if I had a question that I would like to ask,
05:52that the person who was like this and who was really learning the experience.
05:57That is an interesting thing for the cinema.
06:02In the cinema, I was able to make series of interviews,
06:06so I couldn't remember the end of it because I got this teaser.
06:12I think that the teaser is the one that I have ever seen in the first time.
06:22I have always told all of these people that I have ever seen in 15 years.
06:28I have seen a stereotype that I have seen in Kolhapur,
06:33I have seen a lot of people who are in the same way.
06:35I have seen a lot of people who are in the same way.
06:40I was able to sell it at home, and I was able to sell it at home.
06:48I was able to sell it at home, and I was able to sell it at home.
06:53So I was able to sell it at home for 40 people.
06:57And the proper audition, round, workshop was also able to sell it.
07:04The actor is not the only thing that he plays in schools or in schools, but he is not the
07:14only thing that he plays in 18 years, but the character is in a suit, and he talks to him
07:20and he talks to him and he talks to him and he talks to him and he talks to him.
07:25I think we have a shoot for a month
07:28so I think we are going to be able to do this for 30-40 years
07:31and I think we are going to be able to do this
07:35I think this is the first question
07:37did you learn Shiva or Shiva?
07:39No, Shiva did not learn Shiva
07:41I didn't learn Shiva, I didn't learn Shiva
07:45so he did not learn Shiva
07:47and it was interesting
07:49it was interesting
07:49I think that all of these cities are going to be
07:55in tier 2 cities
07:57so there are references
07:59there are references
08:02there are references
08:05there are references in Shahrath
08:05and there are references in Shahrath
08:09so there is no island
08:10I think that all of these are
08:13I think that
08:22the amount of exposure
08:24that is not the same
08:25that is not the same
08:27so definitely
08:29I think that
08:32I think that
08:33I think that
08:33I think that
08:33I think that
08:34I think that
08:44there is a lot of people
08:45something really important
08:48we are going to get to the
08:50of the city
08:51the music
08:53that is the music
08:54that is singing
08:55at the cinema
08:56there is a little bit of music
08:59that we can hear from the people
09:02about Shiva
09:04standing in the 의os
09:06and I think that
09:07that is why
09:10you are listening to
09:10and
09:11you are listening to
09:11almost 2-3 months ago.
09:13And there was an input in the story
09:16that, first of all,
09:20there was a film called Manoranjan Karanari
09:23that we saw in recess.
09:25When it came, there was a place where it was.
09:30There was a place where it was.
09:32It meant that it was a feminist film.
09:36Because, you know,
09:38you could find the material of a manoran,
09:42you could find the material,
09:42you could find the material,
09:44you could find the material,
09:45you could find the material.
09:49How would the material be true?
09:52Then, every other thing
09:54could take a good place to find it.
09:59And in that case,
10:01it has been dropped from the script.
10:04The script was made
10:06that the Shivya's greatest impact on the planet will immediately make it an immediate effect.
10:15How does Shivya mean to make it an immediate effect?
10:18That's an immediate effect.
10:21It's not that you don't like the Kaitri Bolun.
10:26But if you want to talk about it, it will hit the Shivya.
10:35What is this core? What is this source? We are doing a whole thing.
10:44When we are doing a whole thing, we are doing a whole thing.
10:50And we are doing a whole thing. We are doing a whole thing.
10:53But before the attack, the ability of people are not able to do it immediately.
11:05So we are doing a whole thing with power dynamics.
11:10It was a great goal. This was the challenge.
11:14completely. So that's why it's all that matters, that's what we don't have to do.
11:21How did you know that there was no selection in the cinema?
11:24Because there was a cinema in Nukta Shti's Bapyaan.
11:26Then there was a cinema in the same way.
11:30So that's why it's all about you.
11:34And he's a fine actor.
11:36Yes.
11:37Rajeshri, of course, is mighty through industry connections.
11:40And when he's in the role, he's in the country.
11:47So he doesn't have to do anything.
11:49So I thought that Rajeshri has been a test for him.
11:56He's a good actor.
11:58He's a good actor.
12:01He's a good actor.
12:03He's a good actor.
12:03He's a good actor.
12:05So Rajeshri was a good actor.
12:08And he's a good actor.
12:11But I'll tell you,
12:12I'm going to tell you,
12:15how much is the factor in the film?
12:19How much is the factor in the film?
12:23How much is the factor in the film?
12:24I don't think it's a factor in Marathi cinema.
12:31I don't think it's a factor in Marathi cinema.
12:37But I have a good actor.
12:42But I have a great actor.
12:43Couldn't have done anything in Marathi cinema cinema.
12:50And I ask,
12:50I think that he's a good actor.
12:51You can save a film actor.
12:53But I love that.
12:54I don't want to support the studio, I don't want to do anything else, so let's do a film.
13:01So, I think that this cinema space is for odd, where it is.
13:09And I think that there is a lot of money,
13:13where we can post every single person and connect,
13:17I think there is a lot of parameters,
13:20If you have a post for 15,000,000,000, then you can post it for 15,000,000.
13:23Why do you have a TV?
13:26Because of social media, you don't have to post it.
13:30So, post it is not a problem.
13:33One of the whatsapp and forward is the one thing.
13:37We have to use the cinema.
13:38But if you have a video, if you have a video, you don't have to use it.
13:42So, from their homes and homes, we don't have to worry about it.
13:49We don't have to worry about Marathi.
13:52You said that this is related to the cinema, but it's related to the culture.
14:00Yes, it's related to the culture.
14:01Yes, it's true.
14:02You don't have to worry about the culture, but you don't have to worry about the culture.
14:08Yes.
14:08Yes.
14:09But in the cinema, we also have to worry about the culture.
14:12And we have to worry about these new events.
14:15We have to worry about adult films.
14:18So, there are adult films in the world.
14:21And that's how we get to the culture.
14:24We don't have to worry about the cinema.
14:25What is the problem?
14:26We have to understand the problem.
14:28Because we have to understand the problem.
14:32We have to understand the problem.
14:34But in the time of our homes, we are very progressive.
14:39We have to understand the problem.
14:46We have to understand the problem.
14:49We have to understand the problem.
14:50We have to understand the problem.
14:55We have to understand the problem.
15:04So, we have to understand the problem.
15:10I don't know how to do flat cinema.
15:12The flat cinema is not a real thing.
15:17The commercial cinema is commercial.
15:20If you notice, you can see the same thing.
15:24You can see the same thing.
15:26The flat cinema is not a real thing.
15:29I don't think so.
15:30We don't have a lot of Marathi cinema.
15:34Adult, naughty, sex comedy, jokes.
15:39I think we should sit here in the cinema.
15:47We don't do that.
15:50We don't do that.
15:52We have to do that for the culture and we need to do that.
15:55If we don't do that, we will have a audience.
16:00And not.
16:01We don't have a lot of houses.
16:02We have a lot of time.
16:06But we don't have to do this.
16:12We don't have to do this.
16:13We don't have to do this.
16:13We don't have to do this.
16:17We don't have to reflect on the cinema.
16:20We don't have to reflect on the culture and morality.
16:27We don't have to do this.
16:32We don't have to do this.
16:35Whatever you surprise,
16:38whatever you shock,
16:40whatever you don't have to do in the cinema,
16:44we don't have to do this.
16:46We're starting to make a lot of fun.
16:48We're starting to make an exciting scene.
16:52There's so much of a cinema here.
16:53not only in this cinema,
16:56we talk about a lot of the stuff we have.
16:59We're going to be on the side of our show.
17:01We're going to be on the side of our show.
17:03But we're going to have an idea
17:04that we don't have to live in SHIV.
17:06But
17:07in this cinema,
17:09we haven't seen SHIV's
17:10What did you say about Shivan's work?
17:13Yes.
17:15What did you say about Shivan's work?
17:16I mean, it's actually the cinema.
17:21But when I was thinking about Shivan's work,
17:24it was Shivan's work.
17:27It was a good way to get Shivan's work.
17:30Because my mind showed me
17:32that I hurt the words of Shivan.
17:36And that's why Shivan's work.
17:38Okay.
17:41And it was interesting to me.
17:45When I was thinking about Shivan's work,
17:46it was a physical violence.
17:51It was a physical violence.
17:52It was a physical violence.
17:55It was a physical violence.
17:56It was a physical violence.
18:01It was a physical violence.
18:02Yes.
18:03It was an evolution.
18:04It was a physical violence.
18:06But I was thinking about it.
18:08But when we were in the situation,
18:10when we were in the situation,
18:12we were in the situation.
18:13What did you think about Shivan's work?
18:15Yes.
18:16What did you think about Shivan's work?
18:19Yes.
18:20What did we think about Shivan's work?
18:22Yes.
18:22I was thinking about Shivan's work.
18:26I was thinking about Shivan's work.
18:27I think it was interesting.
18:29I was thinking about it.
18:30I was thinking about the linguistic and PhD.
18:34I was thinking about it.
18:37I was thinking about it.
18:46That was a historical and PhD.
18:49Of course.
18:49I was thinking about it.
18:50I was thinking about Shivan's work.
18:54I was thinking about it.
18:54Of course.
18:55Of course.
18:58I was thinking about it.
19:01That's a myth…
19:03We are all Mughalans, but we are all the British people who don't like it.
19:11We are all the people who don't like it.
19:15They are all the attacking styles.
19:18Divide and rule.
19:19Divide and rule.
19:20Bike and pursh.
19:23They are all the conscious.
19:27So we are all the British people who don't like it.
19:31Of course, the people who don't like it.
19:37Swatha, you have come to the cinema.
19:42But in this cinema, you don't have any new ideas.
19:47You have to ask that you have a great cinema.
19:54What are you preparing for?
19:55It's a festival round.
19:57I don't like it.
19:58I don't like it.
19:58It's an official selection film.
20:01I don't like it.
20:04If you have a title,
20:06it's an official international film festival in Goa.
20:12It's a great film.
20:14I don't like it.
20:15I have all the awards.
20:19There's all the awards.
20:21There's all the awards.
20:22There's all the awards.
20:23But the festival round,
20:24there's a lot of audience.
20:27There's an effect in the theatre.
20:29I think that the title is the title and the people who are in the world
20:34I think that's right, but I think it's a good effect
20:40I think the title is controversial for the cinema
20:49Is this the title?
20:51Yeah, I think it's the title for the cinema
20:57There are some trailers, teaser, bugun, and the other ones.
21:03This title is a game.
21:06I don't think I should give it a title.
21:09But the other thing, you don't have a shivy.
21:12It's an expression.
21:13If you want to make it a shivy, you can make it a shivy.
21:18If you want to make it a shivy, you can make it a shivy.
21:22It's an expression.
21:24If you want to make it a shivy, you can make it a shivy.
21:28That will define whether it's a shivy or a shivy.
21:33In the cinema, there is a shivy.
21:40There is a verification of the cast.
21:45This is a shivy.
21:48Do you want to make it a shivy or a shivy?
21:59Do you want to make it a shivy?
22:18Do you want to make it a shivy?
22:20It's something of a shivy as to pay a shiv Wow.
22:25Or do you want to make it a shivy or take a shivy
22:27If you wants to take a shivy, then let's take a shivy.
22:32But the shivy is done a shivy.
22:35From a shivy that there can be物 in has jim variya shiv.
22:46There is a lot of filmmakers who have the best interest in the industry and have a glamour director in
22:59this industry.
22:59So, what do you think of the filmmakers who have a DAWN?
23:03What do you think about it and how do you think about it?
23:09I mean, when we talk about the set-up or the studios, we talk about it.
23:20We talk about the point of view.
23:22We don't have a match.
23:24We don't know what we're doing in cinema.
23:25I don't know what that is, so I can't get to know what the film is like.
23:32I'm going to make this team, I'm going to make the money,
23:35I'm going to make this studio.
23:37We've got a lot of questions,
23:40we've got a lot of questions about how to make the cinema and what to make the film.
23:49I've got four names in my own,
23:51when we were talking about the studio,
23:54we would have to know how to match,
23:55what we could do and how to match.
23:57Because I don't know how to learn our work.
24:00It's called industry,
24:01and we could have to get a burden.
24:06We could do it, we could do it,
24:08we could do it, we could do it,
24:10we could do it, we could do it,
24:12we could do it,
24:13we could do it,
24:15I don't think it's all the creative process.
24:21It's good,
24:22I mean, every studio
24:25or serial channel
24:27you can do it,
24:28you can do it in cash,
24:32you can do it in cash.
24:33You can do it in cash,
24:35you can do it in cash.
24:36You can do it in cash,
24:37you can do it in cash.
24:42So,
24:43the problem is,
24:44that it matches,
24:46in a way,
24:46you can do it in cash.
24:47I've reached that point,
24:50it's like the удalineer version.
24:53It's like the film,
24:54these are original.
24:55The remake,
24:56that's a remake,
24:58if you have to play out,
25:00you can try to play out,
25:00you can try to play out,
25:02you can try to play out.
25:02And I think
25:03that's the problem that,
25:04I know the original story to know.
25:07And then,
25:09how much of a match is?
25:09We have to admit that we need to understand the original story.
25:15We need to make this music.
25:19And one and two suggestions are called collaboration art.
25:24We have to make the suggestion of the studios.
25:28But it's not a logical question.
25:30You didn't have a movie for one time.
25:33You have two different stories.
25:36You have to be a movie.
25:38You were so nervous about it.
25:40You were so nervous about it.
25:42Yes, but you were so nervous.
25:46You were so nervous about the cinema.
25:49We had a lead and we had a lead.
25:53So, you were able to collaborate.
25:54How do you think about it?
25:55How do you think about it?
25:56How do you think about it?
26:01The studio is a production house.
26:07Who is it?
26:08The studio is a production house.
26:10Who is it?
26:14Who is it?
26:15I am too.
26:16He is doing this.
26:18Which is very wrong.
26:19Who is it?
26:21Who is it?
26:21Who is it?
26:24Who is it?
26:25Who is it?
26:27Who is it?
26:29Who is it?
26:30Who is it?
26:33Who is it?
26:34What is it?
26:37Give me an analysis why it doesn't work.
26:40That's how you are doing it.
26:42Who is doing posters or marketing.
26:47Who is it?
26:48It's not because of the idea.
26:51This is not Hindi, that's how you do your work.
26:55Most of our Marathi culture, I mean, if you don't have any culture, you can go to Hindi.
27:02You can go to Kanta and Kanta.
27:04Yes, I mean, Kanta and Kanta and Kanta.
27:07Hindi is tough in the market.
27:09Yes.
27:09It's tough.
27:11It's tough.
27:11It's tough.
27:12It's tough.
27:13It's tough.
27:14It's tough.
27:17It's tough.
27:18But you can't go to the cinema.
27:20I'm not sure how to go to the country.
27:23I've always been in the cinema.
27:28I've been in the film school for three films.
27:31Master's and PhD.
27:33Then, how do you do it?
27:34Yes.
27:36How do you do it?
27:38It's tough for me.
27:38Because of the last year.
27:41It's tough.
27:43It's tough for Bollywood.
27:44It's hard to try 3-4 years as your struggle.
27:46It's hard for me to go to Mumbai.
27:50It's hard for us to go to the public.
27:52But what you do, I'll teach Bollywood.
27:55I would like to ask a little bit about Vishyantaram Bapu.
28:01He has made a lot of cinema.
28:03He has been doing a lot of culture.
28:06He has been doing a lot of culture.
28:08He has been doing a lot of cinema in Hindi.
28:11He has been doing a lot of cinema.
28:15Is it Marathi?
28:17He is not a Marathi man.
28:18He is not a Hindi man.
28:20Why are you talking about this?
28:21He is a car.
28:23We are working for a lot of people.
28:27We are not working for a lot of money.
28:32We are working for the other people.
28:35We are working for a lot of companies.
28:37I am working for a lot of people.
28:41He is working for Lush.
28:46He is working for Lush.
28:48It was a whole of Gazola.
28:52So, I think we have to ask Aditya Sarpodda.
28:57It's a Gazola.
28:58There is a film in which people are in the film.
29:04But the question is, it's a Gazola.
29:06It's a Samir Vidwan.
29:08It's a film in the film.
29:10It's a Lakshman Utagar.
29:13It's a graph.
29:14I mean, I mean, I think it's a great film that's a proper Marathi film.
29:21I mean, I think it's a great thing.
29:24I'm extremely proud of that.
29:27But I mean, that's it.
29:30I mean, if Bollywood has 10 big directors in Bollywood,
29:34that's why Marathi is coming.
29:36He's also doing the best, Kishore.
29:38Kishore is doing the best.
29:39He's not in the South Sextra cinema,
29:42I didn't know anything, but I wanted to give you an idea.
29:45It's a big deal.
29:46So, what is it?
29:47It's a cyclical.
29:49It's a big deal.
29:51It's a big deal.
29:54Because what's your benefit?
29:57Against Bollywood, it's a big deal.
30:01It's a big deal.
30:03I mean, it's Hindi too.
30:05But Bollywood is not a good deal.
30:06I think that Bollywood is not a good deal.
30:09We have to talk about our stories from Hindi.
30:12Our audience is not a big deal.
30:16So, you're going to be a guest now, but you're going to be a Hindi.
30:23So, we're going to be a go-to-to-to-to-to-to-to-to-to-to-to-to-to
30:28-to-to-to-to-to-to-to-to-to-to-to-to-to-to-to-to-to-to-to-to
30:29-to-to-to-to-to-to-to-to-to.
30:30This is my life that I have been with Bollywood only three years.
30:34This is my first filmmakers.
30:38I have been doing Bollywood only one year or not, but it's all the time.
30:43And when I get to do this, I think it's a small thing,
30:50it's a small thing, it's a small thing, it's a small thing,
30:52it's a small thing.
30:53I would ask him to say,
30:59I'm going to give you some questions.
31:02I'm just going to give you some questions.
31:06I am very interested in Bollywood.
31:12I think there are many questions.
31:16I think this actor and that guy, I think this is a 4-year-old.
31:21I think that this is a democratic process.
31:27I think the Minister has a dictatorial.
31:33I think this is a actor and that guy.
31:36So, this is the answer.
31:38So, Sujai, in 3-4 years, we have been playing Hindi cinema in 3-4 years in 3-4 years.
31:44Yeah, yeah, yeah, yeah.
31:45And, Bhara, what's your remake of the cinema?
31:52I think you can do it in Hindi.
31:56In Hindi?
31:57Yeah, but in Hindi.
31:58I think you can do it when you do it when you do it.
32:02Yeah.
32:04You can do it.
32:05You can do it.
32:05Ya, just do it.
32:06It is so, you can perform it.
32:07You did it in a little while.
32:11We could do it in two years.
32:14We 100 and a year.
32:16Okay.
32:17The 2012.
32:18I should complete it with the chat GPT and the rest of it.
32:22And, in the film, it was working really.
32:27But, I think,
32:29I just wanted to put a reboot in the commentary on Hindi footha.
32:33and the A.I.
32:35Because it was a stand-up comedy show.
32:41So, I mean, it was a big deal.
32:44In the chat with me,
32:46How did I break up today?
32:47How did I do that?
32:49How did I do that?
32:51I was prepared for that.
32:53Is it related to that?
32:55Is it related to that?
32:57There was a clip in the chat.
33:02There was an obsession with the crazy girlfriend.
33:06So, what did I do?
33:08I didn't have a crazy girlfriend in the second half.
33:13So, who would be like that?
33:16I'm going to get my obsession.
33:19I'm going to get my obsession.
33:19I don't have to worry about it.
33:21How did I do that?
33:23Yeah, it's a good remake.
33:27I don't have to worry about it.
33:29I don't have to worry about it.
33:31Do you understand that Christopher Nolan's parents
33:33didn't have to worry about it?
33:34What happened to your parents?
33:36No.
33:37Your phone?
33:37No.
33:38Christopher Nolan is not complete.
33:43I was a kid.
33:46I was a kid.
33:46I was a kid.
33:47I was a kid.
33:57I was a kid.
33:58Yeah, I was a kid.
34:01I was a kid.
34:02I was a kid.
34:05I was a kid.
34:06After that, you got to see my parents in the second half.
34:09What were you doing?
34:10Is that an episode of the acting director?
34:12What was the acting director doing?
34:15What would you do?
34:20How would you do the acting director?
34:23How would you do acting director?
34:26I'd like to try and do the acting director.
34:26I'm like, I was like, this is the acting director.
34:27It was just 4 minutes ago, it would be a place where it would be a place where it would
34:35be a scene.
34:37It would be nice.
34:39What do you think? It's a Southie Film School.
34:42How sweet.
34:44Now, one question is,
34:48in Maradi,
34:49In this case, it was released in 3-4 films in 1-4 films.
34:54But why did this release release in 1-3 films?
34:59Do you have any benefit from this film or do you have any benefit from this film?
35:02Do you have any solution to this film?
35:06Yes.
35:07The backlog is still in 2-3 films in 2-3 films.
35:11But what I think is, is making us less.
35:15I mean, this film was made by Maharashtra Chambar Marathi Cinemain, so I got 20 years old.
35:23So, these films that we have in 3-4 films, are back-locked.
35:27This film is all about that.
35:30But, I guess, this film is still a year.
35:35I guess, in fact, we have a lot of production in this film.
35:39I mean, today, we have a lot of work.
35:40So, I mean, we have a lot of work.
35:44How can we shoot a Marathi film?
35:48So, we have a lot of work.
35:52So, we have a lot of work.
35:53We have 3-4 films.
35:57One is Pune, one is Pulla Pulla, one is Mumbai.
36:01So, I mean, this is a lot of work.
36:04When I was a kid, I was a kid.
36:08So, we have a lot of work in the 20th century.
36:10When we were a kid, we were a kid, we were a kid.
36:15I was a kid, and we were a kid, and we were a kid.
36:19So, I mean, it was a kid, and we were a kid.
36:22So, I mean, it's a kid.
36:24So, we did a lot of work.
36:25There is a lot of trolling, but it seems that it's a stand-up comedy, Praneet Moray.
36:34So, what do you think about stand-up comedy shows? Do you have any advantage of that?
36:41I don't think I can do Praneet Moray.
36:45What do you think about stand-up comedy shows?
36:51I think it's a show.
36:58So, there is a content in that case.
37:05And I don't want to do that because I want to do the audience.
37:10So, I think it's a great deal.
37:13So, if it's going to be a topic, then there's a reason to do it as always.
37:21That's the case.
37:22And that's what I say about that.
37:26But I don't know what to say about morality.
37:29But I wish everything that you are doing and you are doing and all that to them
37:39I'd like to give you content
37:42I mean to say..
37:46I don't know what that is
37:49but
37:52I think we all have to do what we're doing
37:57So, that's more of the reaction
38:01Yes, it's more of a time to play with a kid
38:03he takes awareness
38:05he takes a lot of attention
38:09to get out of it. I don't think I'm aware of it.
38:12They're very aware in my mind.
38:15Did you say that you can say that if you're seeing Dada Kohn in the cinema or cinema?
38:20Yes, there is no comparison.
38:23If your kids are looking for Dada Kohn, it's Dada Kohn.
38:29If you don't get Dada Kohn, it's that much more.
38:31The humor is basic.
38:33You don't require Dada Kohn-
38:35You don't have to figure dark humor in the world.
38:37Yes, Dhar, Ghann, Bulgar, we all have to do it.
38:40We all have to do it and we all have to do it.
38:47We all have to do it.
38:51My dad says that I have to do it.
38:56We all have to do it and we all have to do it.
39:03Do you guys think about stand-up comedy shows?
39:07We all have to do it.
39:09What does it do?
39:12We all have to do it and say that…
39:14We all have to do it.
39:18We all have to do it.
39:18We all have to do it, we all have to do it.
39:21We all have to do it.
39:22We all have to do it as a platform.
39:27This is all about private women.
39:30Who would you like to say that you would not be a bad person?
39:34You would have to be a bad person in your private view.
39:36You would have to be a bad person.
39:41If you would like to be a bad person or not, you would have to troll you.
39:49You would have to troll you.
39:53Why is it difficult to do today?
39:54Today, Praneet is not a bad person.
39:56or the work I did before, or the work I did before,
40:00but it's always the best.
40:02And I always think that you need to know.
40:04But what I'm saying is that I think you need to know
40:08about the Sanskrit first, then not.
40:10I'm not aware of that, but I'm aware of that.
40:13And I just think that in a few hours,
40:15I'm aware of that.
40:16So that's not the test, I know.
40:19I'm aware of that.
40:21But I'm not aware of that.
40:26That's how I thought it was.
40:29Lack of judgement, cuss, react power, awareness, hushari, that's what I thought.
40:37He is not so aware and hushar.
40:44But it won't be replaced.
40:46White side, white side, that's what I thought.
40:49That's how I thought it was.
40:51That's what I thought.
40:52But I thought, that's what I thought.
40:55That's what I thought.
41:02That is my politics of playing this game.
41:07Everybody is playing their game.
41:10This is my politics.
41:12This is my game.
41:13I don't know about politics, politics, politics, structure, etc.
41:20Just like a superficial level of cinema.
41:25But it's my game.
41:27Because that's my knowledge.
41:29Because I don't have any ideas.
41:31But there is a lot of things like that in my movies.
41:38I have no idea of it.
41:42I have no idea of it.
41:48When my audience is open will, my family is in my own place.
41:56One of the things that we are talking about, what do you think about it?
42:06I have never been a contributor of that.
42:14I have always seen cinema, to disrupt what is going on.
42:19But what is the serious thing?
42:20In Marathi cinema, the love stories were told.
42:25I didn't know the love stories.
42:27It was a disruptor.
42:30It was a great business.
42:37But it was a way that opened up, disrupting the market.
42:41It was a way that we had stories.
42:45It was an extremely international thought.
42:50So, I think it was a way that it was in the space.
42:54But the cinema…
42:57As good as me, it was that the cinema and the vibe were disruptors in the market.
43:04The cinema was disrupting the cinema.
43:06It was built in the cinema.
43:08The cinema was built in the cinema.
43:12They were built in the cinema.
43:13It was built in the cinema.
43:16And now, our…
43:19Do you want to put the sensor on the screen in the cinema or cutting?
43:26No.
43:28The tagline is the one thing.
43:32What do you mean by the sensor?
43:36There are no two words.
43:39You can't even write a white bullet.
43:45What did I say?
43:47When I came to the censor,
43:50I thought you would be happy to be the censor.
43:52I thought you would be the tagline.
43:56I thought you would like to do that.
43:58I don't think I would like to do that.
44:03I would like to do that.
44:05I would like to do that.
44:07I would like to do my own morality.
44:09I think I would like to do my own morality.
44:12I would like to do my own morality.
44:16It's not true.
44:18I think that my children's film society can be made by the cinema.
44:24They can be made by the contents of the screen.
44:27I think that I was like this.
44:29I was just going to be a director of NFDC.
44:31I think that I was going to be a part of it.
44:34I will have a high degree?
44:36I am going to be a part of it.
44:41It's a very good idea.
44:42The government will be able to make the government
44:45and make the government's way more than the government.
44:46If the government is not allowed to make films,
44:51then they will be able to make the budget system in the NFDC.
44:57So, it's evolving.
45:01This is what we're doing.
45:03So, you have a great pleasure.
45:07You are full of the work, but I encourage you to do much work.
45:15You are saying something and you want to think that you are going to the theater to the cinema.
45:21You have to think that you are coming.
45:24Because that's why you are living in our lives and not living in this cinema,
45:29it's just a dream.
45:31I would say that it's not a dream.
45:33Good night!
45:34And...
45:34I thought that you should have said something about the issue.
45:39And you would message to me on social media.
45:43So you're ready.
45:44What do you mean? I am a troll like a chitra-tukla troll.
45:48I am a troll like a chitra-tukla troll.
45:49I am a chitra-tukla troll like a chitra-tukla troll.
45:51So that's what I mean.
45:53I mean, people are very familiar with the Sivan.
45:55The problem is, the problem is...
45:58I think that society is a little realistic.
46:01I mean, if people have feelings, they know they do. They move with a shining system.
46:06They think there's a lot of things.
46:09People, if you have learned about the other way, the response is needed.
46:14If you have learned about the story, it is a good thing.
46:19Thank you very much.
46:22Thank you very much.
46:22I come back to you about the film and you've learned something that's being done.
46:29Thank you very much for your time.
46:32Mitran, this is all about you.
46:35We are going to comment on this video.
46:39Please comment on this video.
46:39And please don't film a film update.
46:40Please don't film a lot.