 Beauty, beauty, beauty, beauty, beauty, beauty, beauty. I'm reminded of your mother. Josh! Hey welcome back toaso jointly due to corporate, I'm my mother. And you can follow on instagram Twitter for Juicy content. Your breasts aren't saggy enough. You can follow on youtube. And Twitter for Juicy content. I might have some rocking breasts, Mal. When she was in her 20's and 30's, My mom was a sexy woman. That's weird. Was your mom a sexy woman? I don't know. I wasn't around. Really, you don't know that? You haven't seen pictures of your mom in like 20s and 30s? My mom was an absolute jaw-dropping, turn-your-head, sexy woman. Today, we have, you have a sexy mom? I'm proud to have a sexy mom. Well, just stop talking about it. Today, we got a interview about the cast of Vikram. Vikram? Sorry, not Vikram. Oh. Vikram is in it, PS1. Oh, okay. Sorry. But that's equally exciting for me. Yes, obviously we love this with obviously Film Companion. Oh, great, love her. She does a great job with her interviews, and so let's just get into this bed. Oh, this is gonna be very, very rewarding. Here we go. We want Film Companion first of all. First of all, this frame is just, there's too much talent, beauty, star power. It's like, I feel like we don't even have to talk. We can just sit in the room. Oh, I'm sad. I'm sad, Ash, isn't there? It's totally me, I'm sure. Yeah, we're so happy to be on your show. Thank you. The trailer looks spectacular. I cannot wait to see this film. Vikram sir, I wanna start with you. Now, you of course worked with Manisa before. You've done Ravan, and I haven't read the book. I haven't read Pony and Sarvan, but from what I've read around it, I believe that Ravan and Aditya Kalekaran are so cut from the same cloths, right, they're little frenzied, little distorsion. And both of them are in love with Aishwarya, and both of them don't get her. Actually, not with Film Companion. Which is what I told you many first said, you should do this. And that's the first thing he said actually, you do this, if you wanna do this, we used to do another film. But then he said, you're gonna do this, but if you're willing to do this, we'll do this and I'm not gonna do it now. And I said, but sir, it's the same character and, like, as an actor, I'd like to try something different, but this will be too planning on having Aishwarya again. He said, no, you can do it. But then I realized that, I mean, as an actor, you can really explore, there's so much to be explored inside you, which you've never done before, and I'm so, I mean, I felt very good that I could bring that out and when I see the frame, then I see my character, I realize there's so much difference between the two. But the emotions are... I haven't seen Ravan, but we've seen Clebs, he looked nothing like that character, though, I've seen. But tell me, do you ever ask money so why he sees you like this? That's very sad, because I've always told him, I wanna do a, you know, like a Bond film or something really suave. No, not happiness, I just wanted... No, he's really good with style and romance, I said, yeah, this is romance, I said, not this, I need to look, I wanna look nice, I mean, while I still have time. I wanna look stylish and swag, and... He said, no, take it out of your dictionary, let's do this, come back, come back. But I don't know, maybe he sees a tragic hero, I mean, do I look like that? Very sad, you know, it's not possible, you know, right? Not at all. Maybe he's in his eyes, I look like that. You know, a lot of actors who work with money sir always say that it's like going to university, right? And Kathi, I believe you were the best student of this university. You've been doing very wrong things. But you've also, of course, been money sir's A.D. Now, did that help you to be a better student than everybody else? Better make him feel more comfortable, talk about it, great schooling, yeah, money's A.D. But with money sir, I think, as an A.D., what he expects you is to be 10 times of him. He says, I've done 15 films or 40 films, when I joined him, this is, you've not done one film yet, so I would expect you to be much eager, much more passionate than what I am. So that's how we started. So we have to be on heels to not be shouted at, to be able to, you know, work on sets, that's how attentive we have to be on sets. So that's where I learned my basics. But when, with money sir, I think he always gave me a space to question him or, you know, clear my doubts. So that has really helped me because most people have scattered off to him. But from the beginning, he's given me that space where I could go and say that, sir, I'm not liking this performance of this actor, or I'm not liking the way this actor is dressed right from my first film. So I think he gave me that space to get close to him, talk to him. We'll get shouted at. You know, he doesn't stop us from questioning him or asking him. But tell me, to pitch your performances, was the book required reading or did he want you all to work off? Great question. Of the screenplay. Great question. So did you get sort of Kalki plus Manisa's vision or did he want you to first see Kalki's vision? What did you want? Not at all. I don't think we needed to have read the book to be in this film. But this is Mani Ratnam sir's Puneen Selban. That's how I located it at least. And I was in the process of reading the book. So there were a lot of things that I just think I went and met Manisa, totally unlearning everything. So it was his vision that at least I tried to bring out. And what about the rest of you? So for me, he said, no, don't read the book. He told me not to read. He said, you read the script and then you read the book. So I just read the script, I gave whatever I felt about the film, I told him. And then I went back and started reading the book. But that was also important. But Manisa would get irritated. I would come and ask him questions that he would say, did you read the book in the morning? We are doing the film, not the book, read the script. But I think for me, I really enjoyed reading that book after so many years, getting to know so much about our history and the writing of Kalki. He wrote poetry inside a novel and the explanations of each character. No, there will be thoughts of each character before a character meets another character. Those are so many insights which you can take. Probably it won't come on my face, but I'm aware of it. So I wanted to be prepared that way. And I'll read for you. For me, when I asked him whether should I read the novel first, because I've heard the novel, my mother saying, you know, reading it out to me. Your mom had read it out to you. Yeah, she's a literature student. So Tamil literature student. Oh my. At a very young age, I've read it. This is probably the Bible of literature, Tamil literature students. But when I asked Manisa, he told me, try. That is a very suggestive way, which I remember because five volumes, you cannot finish it. What character is he? Yeah, it's a big one. I don't remember the name. I don't remember the name. The names are... He was the lead, though, right? Suddenly, the script reading happened. So when I went there, I saw a screenplay sitting on the desk, not just dialogues. So Puneen Salon as a novel, as a book, is different in a way when it is taken to the screen. So the screenplay was much closer to my character. You know what's fascinating to me is that, of course, it's such a male world, right? This world of these cholas of a thousand years ago, but the women are such key players. Yeah. They are the players. They're not just there as props. Heck no. No. They're the ones, like, running everything. They're like... And the men are doing what they're doing for them. Yes. And they're obviously restricted by gender, but they are propelling the narrative. Yes. They're controlling everything. That's what they're doing. The confrontations between your character and Nandini is the spine of this... The men are the hands, the women are the brain. How did the two of you get into these women's heads? I mean, was it hard to place yourself, or is it that kind of novel? And it's timeless, because it speaks to every decade. It is timeless. Yeah. Sorbita. Actually, we have a stark difference. There's a stark difference between everything I've done so far. I've not played someone who's so innocent, and Manisa was very clear-headed about what his idea of innocence was. He didn't need it to be coy. Even absolute truthfulness is also innocence. So that is the version of innocence we went for. And I've not played a part that's a bit like a bumbling babbling bird. So it's a bit like that. A bumbling babbling bird. There's a certain joy, a lightness. And that's new for me, because I think I've been, I've mostly been playing past that had a certain... An edge. Genesequa? Singularity of emotion. So for me, it was new. It was pleasurable. It was very enjoyable, because I was able to be that version of myself. I was discovering myself. Well said. That just made my heart happy. And for sure, can you? Not mine. Actually, I would say Kundawai was a bit of a rebel. Because like you said, back in that era, you know, a woman even voicing her thoughts was kind of unparalleled. She did so well. I've known a princess coming in, walking into a courtroom full of men and kind of saying what she wants to say. Right. And we kick-started my day one with that scene. Which I'm like a really, like many dialogues and like with some... Wow, that was her day one. I was a bit... Be kind. I was a little nervous because I had to give money to serve what he wanted. But that part of feeling and being empowered is something I took from today. I just fitted into that era because besides the way she looks, her physicality and the... She belongs to that era, but she's actually a today's woman. She's model. Yeah, because she's voicing her thoughts. She believes like she has to do what she has to do irrespective of what the men think of her. So I kind of enjoyed that. You know, like she said, we didn't have to be coy and I think women are so strong. And then, again, the face-off with Mandini. The strongest. She has to have a certain personality type for that because Mandini is also a very strong personality type. Yeah, yeah, yeah. Yeah, so that part of it, I really enjoyed playing that. And Manisa had told me just one thing before he was like, always keep in mind Jaila Litaama, you know, the way she walks and her confidence. You don't necessarily need to feel it inside. I mean, I'm sure you would even relate to that me go through mixed emotions with him, but you just got to keep that confidence. The exterior, you know? Like even when she needs to have a meltdown, there's a scene like that. She can't do it. She has to have a certain confidence because she's a princess. And Manisa would keep instilling that in my head, saying that be a princess. Think, think, think that you're one, you know? Start acting like it hold your head high always. So I kind of went with that in every frame that we shot. It came across. That reminds me of how we had the opposite thing for me. You can go back to being depressed after cut. Yeah, I mean, that's challenging to always be happy and happy. But I believe you got us shouting because you were looking down. And obviously, you as the titular Oden Selvon cannot ever look down. Oh, it's funny. And you never looked down. I remember who you was. Not even when I was getting down this case. I was commenting with my feet somehow, you know? But it is that he gives you a certain guideline for the character which we need to follow or which will help us to get into the skin of the character. So sometimes things like this happen. And that's when you know exactly what he wants. That emotion comes out of it. We have to bring it out of him. So he says, point and seven doesn't look down. That's it. After that, I never looked down. It's been a couple of years. He's seen the problem. In fact, I really like what Ravi said yesterday that Manisa does not direct you to act. He explains his vision of a character. So you know, you kind of got so instilled in you. He's a great director. Automatically, that's why the actors in this film directors should never tell an actor how to act. Tell him what you want. Let the actor do the thing. He never teaches you how to act. He makes you understand. He gives you all the tools. And what the character wants. You focus on the objective of the character. He's the narrator, right? But he's playful. He's flirtatious. He's comical. But he's also regal. How do you understand that? Like I always say in every interview, when I met men, I didn't have a problem. I knew how to strike an equation. I was also trying to read history to understand how the society was. Like when they see king, they say co, which is equal to God. So it is not your prime minister or it's not your president. For this generation, for us to understand who's our leader, they put the king in the pedestal of God. So how we react to a king is very different. Or how we react to anybody else in our society is very, very different. I was trying to understand that. So it doesn't seem similar to how we do anything today. I was trying to figure that out. But when it comes to meeting Nandini or when it comes to meeting Kondavayi, and then when I meet Konin Selvan, I think I become his friend. But all these people have never met before. So Manisha would give me insights into what is the equation with them. He's someone who can befriend anybody. So when I meet Nandini, I have thousands of thoughts running in my mind. I should not give away what I know, but I should try to get something from her, but I'm also smitten. So all those attributes have to come together. These insights Manisha would give me. Sir, I don't want him to be innocent here. I want him to look intelligent. That's how he would brief me even as we go through the scene. But with Kondavayi, he has to impress her. He wants to impress every girl. He doesn't even spare a Fisher woman. So that's how he is. But when it comes to Kondavayi, all this journey he wants to meet the princess, somehow he wants to know whether she likes him. He wanted that attribute. But when it comes to Kondin Selvan, he would have a completely different brief. So that way, I think we were exploring the character together. That's what Manisha says. Any character, we both are going to explore. It's not just your job or my job. So come with me. It's openness of discussing with me. We'll explore it together. That's how he takes us through. But you know these characters that all of you are playing, they've been lumped for generations. Everyone who's like these... And they each have a fan club and they're fan clubbers. Exactly. They fight amongst themselves. They see that Kondavayi is the best she is for Nandini Nairu. And they do. And they could be like... The guy who's saying it could be my fan, but he'd say, Manavayi is the best. You know what I'm saying? That's right. So, when you were doing this exploration, when you were sort of co-creating with Manisha, did you have pressure thinking of all these people who have a visual in their heads, right? Of what each character should be like? Yeah, you got to get that out of your head. When we first read the books, we all had... I got triggered. Manisha, that's just... You could have never matched that explanation. No. Exactly. So did you think of... Unless you're the actor who played Hagrid. Then you can't. The most accurate casting I've ever seen. Play him like this. Yeah, you can just go to the text. We're just really worried that I'm not in the novel that much. I come very greasy. So that was their only concern. Oh no, your fans are worried about that. That was the only thing. Because it's a multi-star cast. Right. It's very important for us there. So that was the only thing they were worried about. They put easy there and stuff. Which, I mean, it didn't matter to me because this has been a character that I've always loved since childhood. To the extent that when I wanted a name, my name is Kenny, and I was actually thinking, why not keep this Karigal, you know? But then there was already another actor called Karigal, and so I had to let that pass. So that's the impact he's had on me. And I was bent on doing this. I said, no, I'd love to do this. And I didn't have that thing of like, will I be able to match the... Because I have Manisha there, and you have your own way of presenting something. And like you said, it's again a challenge for me. It should be very different from Veera. So all that, it kind of triggered a lot of interest in the character. Did you all feel the pressure? Yeah, of course we did. Especially you, right? Yeah, no, no. A titular character, yeah. First of all, Manisha made us understand how important this was and don't take it as a pressure. Take it as a responsibility. And you look at it in a positive way, you know? So I would say this character, however you play it, whoever you play it, this is this bunch of actors, this set of actors who are playing it now, after 10 years, somebody else will play it. That's what I thought. So this is not something, you know? This is it, you know? You can make sure. You cannot be flawless, never. See, you can make mistakes, not a problem. It's like getting a car. So the car is the same. The audience will put an extra bumper for it, you know? They'll put excess tickering for it. That's their choice. But the car is the same, because Puneen Selvam's character has been etched in the book. So that is not going to change. So I would play it, like, I'm the car. You do whatever on top of it, your imagination, you put whatever you want on top of it. I don't care. But my responsibility is to deliver the car to you. Right. That's how I play it. But, you know, Ravi, you tell this lovely story about how your father, the veteran editor, was such a passionate fan of the book that he would, like, rent a cycle to go and get the magazine when the book was, as a serialized form, it was coming out in the magazine. So what was your first response when Manisha said, you are going to sell for it? I just went out. Actually, I checked for somebody else in the room, you know, for a proof. So that, you know, he will not take it. Did that really happen? You all heard that, right? I need to give it in writing. Something. Should I come, Karthi, and make him talk to the world? Whatever. So that was going on in my mind. A thousand things were going on in my mind. But on top of it, the happiness was peak of it. You know, I was so happy that this film is being made. Yeah, it's been a long time in the world. And you know what? I've been in the industry for 20 years. Manisha didn't call me for even one movie. Yeah, you've never worked with him. Yeah, I never worked with him. So I was thinking, but maybe I'm not a good actor. Maybe he doesn't like me. What is the... Then he called me for this film. The best one. So that is, it made my whole family happy because, you know, they were fans of the book, Manisha and me. Okay, what was this set like? You guys had shot two films in 150 days. And, I mean, what a galaxy of stars. That's the characters itself. I've read, there's over 50 characters in this book. What was this set like? Was it like an army operation or was it like a boot camp? Every Manisha film is like going to war. Yeah. Respect to how many characters are there. Because he doesn't like to shoot anything simple. Vikram sir was saying a very interesting story from Ram. Please tell us. See, he does his blocking up every shoot. He says, okay, it's six o'clock and we'll be ready to go to our rooms. And you say, no, come, come, we need to do blocking. And we go there and they say, you know, wear the costumes and things like that. So we block the shot and very complicated and he says, go. Next day, we'll be traveling somewhere else. See, it's the same location. No, it's a different location. Then he puts you on a boat and it's that round person we call it. And it keeps turning. What's he saying in Ram? Yeah. And then he said, okay, get on it. I said, okay, I'm going to cross. He said, no, no, that the scene is on the boat. I said, okay. But sir, and he said, okay, no, stand, stand, sir. I can't sit. And then he made me stand. Then he said, okay, spin it. Spin, sir. And he now say the dialogue. So I had to think where's Ash. So because he likes to make it difficult, he likes to take us out of our comfort zone and you know, have us there. So I asked him, why didn't we do it? That was too easy. Let's do something different. That's how he does every scene. So it was different. Like what Karthi was saying, it's going for his shoot is like going to war. But imagine doing a film which is about wars. He can imagine. It was like really the biggest thing. We had to go to war. Yeah. And we have to be there. We'll keep you from overthinking. Yeah. Head to be done. Get you out of your head. Get you out of your head. Jewelry and blah, blah, blah. The costumes. They used to buy. They used to have a lot of scars before going to war itself. And it was like, strenuous. I mean it's one of the most difficult films I've ever done. But I'm sure all of us, if he calls us again for another part of this, we would again jump in and say, let's do it. We just love to do it. Punish us. We don't want to do it with us. Yeah, but we won't give him a choice. Should we wake him at 2 o'clock in the morning? Yeah. And then we go to get ready and there are already a lot of people waiting for us. Wow. And then we travel for one hour by road and then one hour by sea. And then one day I remember we were crossing on the highway. We were figuring out where is the spot because we go for the exotic locations where nobody has been before. That's how Manisha finds places to shoot. And then we're moving in and then we see like 3 o'clock or 4 o'clock early morning. And there's so much of light. And we say, which town is up at early morning? And then we realize it's our unit. Yeah, it's not a city. It's your cooking and there are people who are making the pasta. It was like a town, you know? Somewhere nowhere in the island. So many vanity vans. Wow, that's a group. My God. And they've been up for hours. That's so exciting. That's the production. That's how we were working. And it's fun. I go in the morning and we're looking at Ravi getting ready where we bump into each other. We drink coffee, they call for makeup. So we are not coming. But there's no choice here. We're getting ready. But the thing is we had each other. We had each other to talk to. I think I would never forget it. All of us prisoners to this crowd. Withdrawals, one for shoot was done. Because things got too easy after that. Every other film is too easy now. The truth is, and Shogadha, you will have a sense of this, is that at least here in Hindi cinema, it's very hard to do multi-stuck cast film. It's just very hard, especially heroes. There's not many heroes willing to work with each other. And it's amazing to me that all of you are in this movie. Clearly he calls and... Is everything flopping? You probably should. Everybody here wants to work with everybody else. Why wouldn't you? Everyone has been a hero or is a hero? And everyone has been a hero. It's like that. Everyone, but we never do it for anybody else, for any other story. I'm sure he's not had this in any other film too. Every character's edge is so grand. Like you said, even the women are so strong. In fact, I think her character is more princely than the two of us. You know, she's the one who calls, she's the administrator. But I am in love with her. Her and Shwari are in charge, man. The dude is small. But she's taken the reins. So that's how this went. London is again a very strong personality. So every character, so everyone, even if it's one scene, they're going to be there. Yeah, it has impact. And another thing is we also feel we want to be a part of this. Not that it's been like 70 years since the books come on and everybody's been wanting to make it. But also because we all love this work and I think beyond it being a hit or whatever, we just want to be there in that film and remember. Because when he asked me, this was the second time we're starting this, I said, no, I just want to be a part of this. I mean, I don't care about anything. I just want to be there. You know, we show my grandchildren and say, I was a part of Pune itself. Exactly. Obvious one, what have you got? Exactly. I have to add, like, you know, when you say it's kind of, you know, difficult to put together a multi-starrer in Hindi, where there's, because I think characters are measured, the roles are measured at a script level itself. And I think when someone's worked hard enough to build a fan base, a box office market, or where they can guarantee footfalls, and, you know, it's a lot of hard work. So I think people, actors, want to protect that and not just give it away. So if I were to think it from an actor's point of view, I mean, it seems understandable. And I do feel, I mean, I feel like one, because it's Maniratnam sir, where there's a certain adulation. So there is a willingness to walk the extra mile. But more than that is the fact that everyone's character is miraculously relevant and absolutely distinct. So there's no way one could be, it's not like everyone fighting for the same thing. But at the same time, I mean, everyone's fighting all the time for the same things. And yet their pursuits are still very different. Their passions are very different in color. So I think nobody feels compared, nobody feels jeopardized, in respect of the length of the role. So I think that had a large role to play. Otherwise I would think that it's how bizarre that these three men who are such popular actors are coming together or women to do something where once one feels a little less, that would seem weird to me as just a queer. But it makes sense purely because I think they're writing and the way it's been distilled into a screenplay sort of grants everybody that dignity. That's wonderful. I always believe that we don't choose the characters. The character chooses us. That's what I believe. So it's chosen us, I believe. He's amazed. And I have to say about Karthi, about Malpisa, you're saying. Without Karthi, I wouldn't have been able to do this one. He's like a brother to me. Come on, say it. Anna, I'm coming to you. No, I'm your fan. Come on, that is different. This is different because Karthi had more action sequences than me. He was tired. And I used to go crimp at him. Karthi, what is he doing? And he bears his one pain, bears my pain, and gets ready for the next shot. He takes me to horse riding also because Karthi, horse riding, I'm very scared. No, no, without him, really. As you said, no, the topic came multi-star. Without this bonding, we call it bonding, whatever, the affection, it wouldn't have happened with Vishwamita. We were all playing table tennis and all. You had us and you were perpetually tripping on us, which was your entertainment. So, yeah. And there is that man, that passionate man there. When he is there, that vibe, that energy automatically comes. He used to be an assistant director, when he had no scenes. Really? You used to be an assistant director. What did you do? I've been mad. There's a scene where all the bunch of people have to come into the Dharba. And I think we were all getting ready and had to go and waiting to serve the action and move and all that. And suddenly, there's a lot of skirmish behind us. All the junior artists are getting scared of what's happening because somebody is pushing from behind. Then we realized Vikram sir is pushing everybody from behind. He was not an AD doing that job. So, they didn't know where to look at. They just looked there. He used to stare at people like that. He was there on set, helping us around. And I have to say, when we were sitting on sets and talking, this is not a multi-stellar where one is beating the other. It's not that. It's complimenting each other. Like a cricket team or a football match, where you pass the ball and take it and get the goal. That's how we saw it. As a team, we have to do it together. And he was saying something, no, I want to be stylish as well. Do you think you're not stylish as well? Come on, come on. I was saying it, you know, like we've seen films, you know, the English films, where we've seen heroes being so large. I don't want to compare and put him on par with anybody. He's got his own place. And the way he carried himself, the way he's riding the horse, the way he walks as a prince, I think is something. Please. In a swag. In a swag, guys. Always sees a man's man, you know. Yeah, yeah, absolutely. Yesterday, you know, I asked, when I was talking to Madhisar and Erar and Ash, I said, well, you know, there is this label that it is the Tamil game of thrones. And they're like, no, no, no. Maybe game of thrones is the Tamil for himself. Yeah. Yeah, it's the English for himself, you know, exactly. So I am almost to the end, but before I go to share, I have one non-paste one question for you, because it's haunted me and I know it's been many years since 96, but was there no way for Janum and Ram to be together? I don't know what the film had worked. Did Madhisar do this film? Director of that film? No. Whenever we get together. That's right. I don't know. I mean, there's another film that I've done called... I totally forgot she was the one in 96. Yeah, I did too. I don't end up with the love of my life. So I started to think, is that what works for me these days? I don't end up with my hero. We did, like, you know, debate on that. 96, he was very sure they can't end up together because she's already married, right? No, yeah, you have... Maybe that wouldn't work. I don't know. It sucks, but that's why it works. I hate it. I still hate it. It's really happy you didn't kill him. Yeah. I haven't... I just want you to reach me. Okay, last question is, you know, for... you all know the content, you all know the book, the film, for many people in this part of the world, they're not familiar with this world, right? What is the one thing that really excites you about PS1 that you think people should come to the theater for? Kati, let's start with you. Why me? You know, like you said, you're knowing about Harry Potter. You know about a lot of the things. But we have so much of treasure, literally treasure in India. How much of us really know about all that? You know, it's high time, you know, like, we've seen children, you know, buying these Iron Man's hands or, you know, playing with something from West. Thanks to Rajmolli, sir, our kids started picking up the swords and, you know, pressuring our own culture. We are still looking up for Western content. We are still thinking that's something large. But we have so much in ourselves. And I think the literary treasure that we have, I think PS1 is bringing it out. And Manisar is bringing it out. And when we have a master storyteller bringing out such a well-written novel, I think there's fireworks should be expected there. Lovely for you. What do you love most about the story? I think the story needs to be told. And we would say, you know, in Hollywood, James Cameron took Avatar for 12 years. Manisar is taking it for 15 years. He's been having it with him for so long. 40 years, 40 years, he's been wanting it so much. 15 years, at least, he's trying to do it. Yeah, exactly, yeah. But 40 years, it's been inside. The genius is out now. So for that, you know, people should see this hard work of his, us and their own stories, their own stories, people's stories. Nice. Yeah. I actually feel a lot for what Karthi said, because I do feel like Indian history or Indian cultural background, even through a little bit of fiction, historical fiction, we have a lot less representation of that in our pop culture. And there's something so beautiful and so inspiring that one can find when we spend time with it. So I feel like this film offers a glimpse into that. I think a little bit of what the three of them said, and so the grandeur. I mean, for Manisar's vision, I think people need to come out there and see what we've all done, you know? We present this to them proudly and now it's left to them. But it's a film that we're all so proud of. And obviously we want people to come and see that and to see Manisar's grandeur, the magnitude of it, the sets, the color, all of it, and the content of the film. It's so interesting. Like honestly, I didn't think I could pull off five volumes, but I couldn't put the books down. That's how interesting the story is, the drama is in the film. So I think that for the screenplay. Sir, last word to you. See, Bahubali is one of my favorite films, and I think that's something altogether different. But the richness and the grandiosity is there. But what Manisar is trying to do is his stake on that, where Ravi Do is a... I'm a crown prince, but I don't have a crown. And I'm always in leather and wood, then, you know, just a wee bit of gold. You wouldn't believe I just had this amulet or whatever, and I have a earring and I have this tiger claws or whatever, because that's our symbol. I don't have anything else. It's just that, though I'm a crown prince, because I'm in battle and I don't want the trappings of royalty. While Ravi will be in silk, he'll have, I think, a scene or two, he may have a turban. He doesn't have a crown. The crown comes already during the coronation, and thank God he couldn't wear it. How many kilos was that? Should be at this well. Quite a lot. So we had it that way. Everything will be as real as possible. He's trying to do that, which will be very interesting for an audience. I'm so sure after the movie is out, when you talk about that period, you're going to see Raja Raja Chaudhary and Aditya Kariga, or whatever, you'll only see them with that. You think of Gandhiji, you can only think of Ben Kingsley. Correct. So we're all very happy that they're going to look at us many, many times. That I'm sure will be a takeaway for the audience. I just had a small footnote. I think because we ended up speaking about war, it never occurred to me that this film is about war. I thought this was a film about love. Hante pursued lost blood for, and war is incidentally. So I do think this is a film about love, different forms of love, different shapes of it. I cannot wait to see it, though I have been told it will be only under 30 years. Thank you so much. We're all in the same boat. I should take it personally, none of you are seeing it. Thank you. I haven't shown it to them. The major thing, there was a lot in that, so it was a really good interview. As always, one thing you take from it is that the amount of respect that people have for Mani Ratnam. Yeah, of course. One of the first things you notice when people talk about Vishal Sir or Anirag Sir, all these people that they respect, it's always their name. It's very different than what we do here. It's more Mr. or if you're just good friends, you just call them. Marty. Marty, Leo calls him Marty. That's only them, though. But the amount of respect everybody has, these are all really big stars in their own right, but they're going to do whatever the hell Mani Ratnam says. He demands that kind of respect and power and the amount of, obviously there's certain things that separate great directors and the fact that he spends just so much homework, but also he has everything ready, but he's also like this is a collaboration for the artist. So here's all the information. Here's all the tools. Now you go do your thing. And not all directors are like that. No. Some are very silent. Even successful directors, they're either silent or they're dictatorial to the point where you know this is not a collaboration. This is all about them. And you're just a pawn on their chessboard rather than a collaborator in their tapestry. I think, I think Quintin's, he notoriously like hates improv, I think. Really? Yeah. Because I think he's like, I fucking wrote the words. You're going to. That doesn't surprise me. It's Quintin. He's not known for being a nice guy. That doesn't surprise me. But I will say, and we've said this before, I just, it pains me to hear that there are some people who, and I'm not referring to them as actors, because that to me, what I'm about to describe is not an actor's mindset. It's a movie star mindset. I can't fathom reading a script and your primary concern is how much screen time am I getting? Yeah. That is just antithetical to everything I could imagine about why I would want to do a character or a film or a show. A lot of stuff that they were talking about, it's very Indian cinema. The amount of screen time, multi-star stuff that people don't want to do. Yeah. Why wouldn't you want, like here, you'll see, especially in the fall, like right now, Amsterdam, I promise you everybody's happy to be working with each other. Yeah. You know, Margot Robbie isn't thinking, I hope people aren't looking at Christian Bale. It's like, no one's counting, or when you're on screen with De Niro, I don't want to be upstaged. Well, then do a good job and you won't be. Yeah. I just don't understand. It's obviously very different, because it's obviously such a star-driven industry. For the longest time, people came to the theater to see, obviously, that's very much changing now if you look at just what's happening at the box office. That's a good thing. So hopefully it's going to be like, all right, we're just going to put good actors in good roles with good writing. And taking nothing away from his acting, but doesn't Karan Johar say that in the Bollywood book opening about Big B, about as wonderful as it was for the angry young man that created the star and created the driven, that's the reason you go see the film, versus seeing it for the artistry. Yeah. But another really good interview, loved obviously PS1, I'll have to definitely watch it again before the second one comes out. Absolutely will. I can't wait for the second one to come out. She said, I was wondering where Ashwari was, but she apparently did an interview with Mani Radnam and Ashwari. Where is that one? It looks like it's right there. Oh, there it is, I want to see that one. It's probably a really good interview. I would love to interview all. Well, one of them is our non-bar. One of them is already our non-bar. Yeah. The other two, I don't know if they're non-bars or dusts or I don't know. Well, I'd assume Mani's going to be a non-bar. Well, I think there's a mix there. I assume Ashwari is... I don't know what she is. I don't know if she's Damakas. Hey, babe. Ashwari is South Indian by birth, right? Yeah, I thought so. So, oh, be our non-bars. All of you. I can't wait for it. Let us know if there's other interviews we should write to down below.