She Was Meghana, But You Don’t Know Ananya Yet | Ananya Sharma on MAMA Matters
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Title: She Was Meghana, But You Don’t Know Ananya Yet | Ananya Sharma on MAMA Matters
Author Name: MAMA Matters
Description: She was Meghana. But there’s so much more to Ananya Sharma. ❤️
From becoming a household name through 30 Weds 21 to building her own identity as an actor, creator and woman in the entertainment industry, Ananya Sharma joins MAMA Matters for one of her most honest conversations yet.
We talk about life after Meghana, fame, social media, acting, rejection, OTT, the Telugu film industry, being a woman in entertainment, relationships, mental health, money, ambition and the person behind the public image.
What does fame really cost?
Does being a woman in the industry come with a different set of rules?
And how does Ananya want the world to see her beyond the character that made millions fall in love with her?
This is Ananya Sharma!
Unfiltered, Unapologetic and More Than Meghana.
🎙️ Watch the full conversation only on MAMA Matters.
#AnanyaSharma #30Weds21 #MAMAMatters #TeluguCinema #TeluguActress
Transcript:
(00:00) I will never date an Arjun but I understand Arjun. [music] People make sexist jokes. [music] I pretend like I don't get it. And then I ask him to explain the I act stupid. I like that. I like making people uncomfortable. [laughter] >> How do you guys deal with fame? >> No.
(00:21) No. I see you on day and my relative was on the bed and the doctor just came and told me we are doing everything we can but you know you know call the people that you need to call. He walked away and the nurse behind him asked me for a selfie and I yelled at her like anything. >> What is freedom? >> Boys live outside the box and come into the box when they do something wrong.
(00:40) Girls live inside the [music] box and they go outside. If they do something wrong, they have to live inside the box again. >> And what's your like an RNG marriage system? [music] >> It's a heavily patriarchal process. >> It is. >> It is just taking a woman and shoving her into a system that's never going to let her be beyond what she's supposed to be.
(00:58) thing in what I've observed is all of [music] my friends want independence from parents. They want them to not question them. But I feel like independence parents [music] I have friends who say [music] don't depend on them. If you're depending on them, listen to them. >> What is that one useless talent you have? >> I don't have useful talent. I think debating is a talent.
(01:24) >> Very emotionally down when it comes to the work. Even if you argue with her, [laughter] you should argue with my mom. [laughter] Exactly. People who saw this as a product made more money than people who saw it as a passion. >> But I feel if you're just going by the numbers, you are never making art. >> Women in Telugu film industry, what do you think? Is it strong enough? >> Not at all. cuz man written by women.
(01:59) >> According to you, what is bold character? Like >> the industry defines bold as someone who wears short clothes. I do have a problem with one scene in Arjun which is the first kiss where he kisses her on the cheek. >> Intimate scene happening or that kiss scene happening. The camera [music] is in white.
(02:16) Imagine I've seen 100 films when intimate scene happen [laughter] value for time alone time. The hierarchy is the worst thing of film industry but people are treated so differently based on the level they work at. So it's very sad. Let's talk about the making of Hi. >> Okay, >> let's talk about how it happened. >> When Saiaru first told me about Hi, >> it was a completely different story.
(02:51) It was a love story between and how they change each other's lives. And then one year later he came and said completely different. >> So you were part of this from initial days first. >> Yeah. Yeah. This the first idea came about 3021 immediately Tarvata. >> Okay. >> So I did a song called Lollipop >> and this director was the writer and producer of that song. Okay.
(03:19) >> And that was his trial on Mata to just see how he can testing. >> It's not related to high in any way. He just wanted to test out production at La manage cameras and everything. >> And it's his debut as a director. >> Uh yeah as a director. Yeah. >> He didn't direct it. He just wrote it. But that was his creative debut I would say.
(03:39) >> So Danik Mundu he produced I think Gali sat. >> Uh so then he told me this idea of this unique love story different Hyderabad setup >> but then nothing happened with that and I thought you know shelf one year later he came back and said completely different >> and the idea was to have four lives and it's completely different to the primary story >> to have four lives intertwined with each other.
(04:07) butterfly effect laga all happening in Hyderabad. So he wanted to show Hyderabad in a slum dog millionaire light >> in that. So I want to go around the primary crowded spots of Hyderabad the Sikindraad all of those areas that are very Mumbai vibes. Sure. So Alan we had a crew of on set we had him me and Kamill were the actors >> three of us were the actors and then he was the director also so he acted and directed in it and we had two cameramen most of the time that was our crew >> we had one ad who was responsibility was to move the cars move our cars anything
(04:51) yeah or if we were shooting on the road and responsibility was vehicles so he was the only one using his brain to direct. Nobody else did anything. He was the one who knew Kakari. >> So there's only one AD for entire project. >> There were two ads. >> Okay. >> But one was not on set most of the time because we didn't have the space on the road.
(05:16) One more's responsibility was cars and logistics and all of that. >> So most of the scenes we had two cameras and one drone. So on the days that we had drone, we had the drone people also come in. So I don't think you guys done without lights. >> Yeah, with no lights. Absolutely no lights. It was all sunlight. >> All natural light. >> All natural light.
(05:39) So and but to make up for it to make it balanced, he put double the budget of the shoot into DI. >> Yeah. >> To balance it all out. >> And he wanted a very interesting work. Entire cinema. You guys worked without lights and >> Yeah. >> Very very fascinating. without any we had mics that was the only thing we had for yeah to dub it later but yeah absolutely it was very short film >> but it was very >> how was for you like experiencing that those kind of sets you were already you worked in commercial movies yeah it ruined commercial movies for I don't
(06:14) want to go back to commercial movies in the it was so challenging there was one in a particular scene if we had to do the action sequence >> we had to split up because two separate things happen. >> So he told us that you have you know the story enough so you do your scene by yourself. >> So me and Mahesh is the guy I fight with.
(06:36) >> So we had to figure it out and camera we had to direct ourselves and do the whole thing imagining how he would want it. >> But action scenes because there's so much action scenes also right? >> Yeah. >> Choreography and all very pre-production work you used to do practice. Yeah, we rehearsed for 4 days.
(06:52) We rehearsed with cameras actually. >> So 2 days we just rehearsed the action sequence >> and 2 days we rehearsed it with cameras. How camera will move aim shot >> and then uh they had we had five cameras that day >> and five cameras hierarchy was set. >> Choreography was pretty challenging like five cameras.
(07:11) It's it's very challenging task. >> So we did test shoot every single day. We did test shoot and the editor would edit it also. >> Okay. So we knew exactly where the cut would be. >> So there is no typical monitor. Someone is sitting behind the monitor. >> There's no monitor only. [laughter] Short chudom was not a concept. Short chudom was something that happened very rarely if my director didn't have clarity on what happened in the scene.
(07:38) Okay. >> So this is art of making cinema. Absolute art of making cinema because balance having five cameras and five operators sitting and having a real real shoot when you're shooting in a control environment studio environment. Yeah. But when you're really shooting a real location that right >> and uh so movie the serious fight happens and the crowd around starts taking videos.
(08:10) >> Okay. So that worked out in our favor real people and they went to a real person and said but tell me this footage people putting on internet and all that those things didn't happen >> first of all we were not big enough stars for them to be bothered they just thought serious okay no and and director we would say short film >> short film so they were not that curious about it but we didn't really worry about it while it was still fine because so shooting dates were around 30 35 >> but postp production how long they sat
(08:54) for >> post-production still happening we finished shoot December last year post is still happening that's a gorilla shoot post is taking a little longer a lot of jerks and all >> yeah piece it all together and everything >> but very interesting dude is shooting with such a small cameras and making for mainstream cinema because >> it's pure director conviction because he completely understand the art >> art of making cinema >> and it's also not a straightforward story. It's not like a love story.
(09:23) There are so many characters so much chaos is happening. We come in and they come in and okay follow. So the chaotic scenes and every scene we are fighting and arguing and a lot is happening and something I really admire about the director is he never told us to act for the camera. >> He would first say and we would do it and he would tell the camera to follow that somehow.
(09:53) >> So that gave a lot of creative freedom to do what you want. Technically that guy is very very strong like because he believes in his completely his vision is vision. We had no idea how it's going to piece together how it's going to happen. Tell me this for example I I've seen this uh when I personally working in projects and all independent filmmakers like indie filmmakers thought process typical industry people there will be a lot of conflict interest so your crew entirely independent film making mindset or you have industry
(10:36) union people and also there >> we had no union people because like I said it was just us >> just us But all of these people none of us came from indie film making >> place. We had that mindset. We had that zeal to do something. It worked out. But Saiger also came from a proper commercial cinema background since 2008 writer executive producer proper commercial space.
(11:02) He just wanted to shift it now. >> But that's that's really interesting because all his films were proper budgeted films and proper commercial films from there >> you still stick to what he want to do. >> Yeah. and being that first time filmmaker >> and then budgets and all how was it like do you you can talk about budgets like I have no idea but I just know that he put extremely less money into the shoot >> okay >> than postprouction postuction because he felt that that is what final look
(11:47) not shoot >> and also one thing uh any filmmaker or producer should focus is you know to invest money on what you what you see on for example if you see a 70 mm or if you're watching something on TV this is a big time learning a lot of producers and new age directors also should look into you know that's so much see sometimes I demand there are location that demands having caravans that location demands having certain facilities is because and you know right proper gand >> but apart from that just because it's a
(12:30) commercial set you need to have everything which gives so much drama >> the hierarchy primarily eats up so much resources >> that creativity resources >> rather you do that in a min and sit with the artist and pay them more so that they'll contribute more >> a set of learning >> so but this will be a good example I guess I should sit with the director >> you should >> I should sit with and I need to talk about the process of film Because that will actually helps a lot of filmmakers, young filmmakers. This is possible.
(12:59) >> That was his entire point. True >> is that we lost and came into a space where we don't need to >> see because the moment OTT start dictating content industry >> because the moment OTD is buying for higher rates, hero reminisations everything went up crazily. >> I feel the moment now the ODS are decreing again.
(13:23) M >> even though you worked in a big project you know how how the experience was now you see dictating lot of producers realized it >> reminations cut down so over the period of time it will be like okay you do content >> and put it in >> like especially go around content only rest everything will vanish >> that's what I I think uh >> I had this experience with the not >> where week and on Friday I was doing good numbers and everyone was very happy and I went to their office on Tuesday and they were all talking about another project and I said
(14:06) Friday you know and they're like no next project so I that really hurt me like [laughter] one weekend that's all >> true it's very corporate format And they are way too targetd driven. So whatever you for example you're not from IT background you're from mechanical. >> No no no CS yes >> oh you're from computer scient.
(14:33) >> So when people working in corporates that's what they used to feel it's very concrete jungle mechanical working the money. >> Now creative industry also to an extent all these perform exactly like because they're corporates. Yeahine passion is overrated over the period of time. I really feel because for example people who studied in Hollywood, people who study in film schools outside India has a different perspective of seeing cinema versus people who do.
(15:13) Exactly. People who saw this as a product made more money than people who saw it as a what do you call passion. >> Yeah. >> For example, for every one lakh directors, you might find one rajimal year. >> But when you see a corporate formula, you'll see a lot of directors >> because they crack the industry. Yeah. down the line.
(15:36) >> But I feel if you're just going by the numbers, you are never making art. So true. >> So that risk taking comes from passion. >> Maybe not money. No, that's so true because region for example, >> why micro drama and all working well in north India? Why it is not working in South India? when I was sitting and talking to those people and all theater cinema is a celebration for south Indians.
(16:13) >> Yeah. So watching content on OTT adop on phones so phone content >> so that's why all this vertical series you'll see all this Kbox kind of thing happening in Telu also right >> this all happening because India compared to India that's why this micrama taking time if you see urban India like Hyderabad and other cities like still thing but if
(16:59) you see north >> lot of places they adopted vertical series >> yeah so much if you see the so-called you worked also the environment >> so true and And biggest shocking point is for your followers on G when the teaser clean no one expected this side of you. >> Yeah. >> Because you took a gap for a while [laughter] this kind of role.
(17:34) I didn't expect how was your reaction like like how your followers reacted to this? I think my friends always saw it coming. I've been a person who likes action doing action. I would jump that was my thing. And first acting when I started professionally acting also I always told them I will be an action actor. >> That is the end goal.
(17:59) >> So for them it was not a shock. But I think people who saw me online and people who know me but >> roles you've been doing over the period of time >> they kind of fixed that oh 30 21 it's calm silent roles I think that one pose I have after him and you know action scenes I thought director would have worked on your hairstyle.
(18:33) >> Did anyone ask like >> his idea was that hairstyle? But then he finally decided on that hairstyle. But you know that hairstyle also how you would do it. We had no hair stylist, makeup artist, nothing. So that was a hairstyle. But this big time challenging for you also, right? Yeah, it definitely was.
(19:01) Lucky thing is outfit throughout the movie. It's almost just the same outfit. >> It happens in a day. >> It happens in two days, but there's no outfit change or two days. >> So, we had no caravan because there was no outfit change. >> If you had to use the restroom, you have to hold it and there. There's nothing else you can do.
(19:17) >> Public places. >> Yeah. And you obviously can't go into public, but you had to >> get power through there. >> So, that's how we shot it. But yeah, it was challenging. But now looking back I wouldn't have it any other way. Now going into a caravan seems boring like [laughter] >> and in Kukati when you especially when you're doing these kind of film like very challenging real locations and with like limited crew internally you keep keeping up your mental health to the point because it's easy to get frustrated because world
(19:57) So how was that you're tackling with your mental health keeping your anxiety level? We had a lot of fights, a lot of but also again my director s maturity but we had a lot of fights. Everyone on set it was everyone was on edge >> but it was always a set. >> True. He made sure that everything was sorted and >> but yeah in that that's a trade-off we make >> I've seen even when we did a recent project >> like we lose sometimes it's not that intentionally because >> things work and then someone will trigger because
(20:32) getting triggered >> is something especially you are in this industry >> uh it's very very important to keep your things in >> you got triggered >> solid [laughter] It would especially happen when it's too sunny >> or when not because of situation. Those things make you even worse. >> You're already pissed and then oh my god it would.
(20:59) >> And what is that one thing you never spoke on internet so far? >> So many things. I'm a very private person. What is that one thing you never >> about my family? I will not speak about it now also but I don't speak about my family much. >> What is that one thing you never spoke? You're going to spoke. Speak now. Sorry.
(21:22) You're going to speak now. >> Uh I don't know the >> number of films I rejected. >> Ah I can say [laughter] number of films rejected. I don't count but I rejected a lot. >> Lot. I was rejected from a lot of >> what was the reason you get you rejecting filings and you got rejected. >> I got rejected I think main thing is that I look too young >> for the role maximum that's what I've gotten.
(21:54) >> Sometimes it's because I refuse to do an intimate scene or a kiss scene because I don't think it's necessary. That's sometimes a reason. >> Other times I think they don't like my performance. >> There's only two reasons. see that I don't like the story or I don't like my role [laughter] and they >> so majority of the time do people approach you just because okay she will be a padding for this project to balance the ecosystem I've seen this happening >> okay she did this she did this but that is not at all intentional it's more of okay
(22:28) that's how the system works I don't think it's out of a bad place but that's the fact for female actors I've met >> female actors are there for padding. So I had to reject so many oh I don't want that want my story let pravin come and help me >> so true let's talk about women in industry >> are the women in I really I ask all the female creators >> the role of women in Telugu film industry what do you think is it strong enough [snorts] >> not at all >> we're not even close we we're just we're just at the starting See being a
(23:10) youngest actor and you also in a creative perspective what do you think because the female we've seen is more into custom side of it. >> Yeah. Yeah. >> But rest of the craft why it is what do you think should change? I think people should start like putting a condition that female crew member >> direction at least one female crew member because the last project I worked in there were four women on set >> and one of them was costumeumer one was my makeup and hair stylist and two of us were actors that's all everyone else
(23:48) were men >> so situation what else we can't say that women work equally well because that is obvious Yes, I think now it should be forced upon the industry to say you have to >> because having a 60 people crew of men and one female acting >> in that particular it at a point you think it get it gets uncomfortable right because >> it is >> because not all the craftsmen are well educated enough to be that provide that comfort for the women >> and it's not comfortable most of the time commercial set It's like it not
(24:27) everyone is a safe person. Also, I would say there are a lot of bad people on set especially in the film industry. >> People have zero respect for female actors. >> So, Atlantic cases low not having a woman around you who understands. >> True is horrific and I can't imagine >> but there's a long long way for us to go.
(24:52) >> Absolutely. I feel uh balanced not just because see for example people who misbehave they're everywhere for example since we are talking about industry >> what I feel is having those 20 people crow with the seven eight women will make so much comfort for the artist who are performing and also I come they can't go and talk to uh you can't go and just share your things with random men but women feel little comfortable talking to fellow women.
(25:26) that that's how we are we as a gender gender or what do you call hormonal thing or whatever it is the feminine always want to have this incline talk to a feminine >> yeah and I also think it makes the stories better >> a little female perspective >> will help from a very solid >> male perspective >> so having women in the direction team in the writing team will give a different perspective on things that probably people don't know >> obviously You can't expect a man who's lived like a man a man's life to understand a female perspective
(25:59) >> because man written by women but or else there are few more directors like men written by women but when I watched I was I loved it to an extent like because this is very strong writing a female role and that story I hope you problems with but the character wise the way Samantha characters was written so solid >> and something I loved about the character is she's a very homely person >> but she also fights and she also has this powerful side to her which is we always separated them she fought in a very woman oriented
(26:48) cinema literally. Ah exactly >> but that is a beautiful writing in mind like she is a feminine but she got this energy. Yeah, she have that that nature is same. Going back to but the character I play is a very childish, very girl all throughout the end until she fights. >> So I really like that about her. >> Enabling Yar inside.
(27:31) >> Yeah. It's not that she's anything different. Just because she stands up and hits someone doesn't mean she has to be a masculine person. >> So true. >> She's a very feminine, very heirl, >> but then she can take a stand. I really like that. >> So true. That's so true. So Mina to blip. >> How was the Josh? >> Oh, it was always high.
(27:56) >> So you see yourself >> at like for example you transforming. What was the homework went through for you yourself? Is it completely you sitting with the director or not? >> Yeah, I think for Hi, for Magna it was very easy and is a very normal girl like everyone else >> but Lana is a very quirky girl >> and d my main homework was to just trust the director.
(28:24) First time I went on set, first few days of shoot because you're already into that genre for a while. >> Yeah, because we are so subtle. >> We who we are as people in general, subtle people, >> but he wanted a character that is hyper >> and I was like, but he said you trust me, I will make it work in edit. So I think two days of shoot he said and I did and I think after one week of shoot I understood I understood how she behaves and homework was just trusting him blindly going in and I understood
(29:15) so character. >> Yeah. Yeah. And I feel like because I was a very very calm person but I feel 1% hyperactive >> someone should enable you. >> Yeah. >> So how was it with your family like when you playing this role and all like your parents when the initial time or >> action? No, no, no. They knew.
(29:40) My mom definitely knew. And she was waiting. And something very fun, a fun detail is actually bangles. So, she takes a bangle stick and hits. And because of the context that the hitting happens, I can't tell on camera. Spoilers. >> Yeah. But the context low, >> it's fine. It's the context. [laughter] A girl is insulted. Okay. >> By a man, so she hits him with bangles.
(30:13) So very nice [laughter] people for example choosing choosing choosing bold characters either mandra two things happens when I noticed when any female artist or male even male artist when they're doing bold two things happens. So see according to you what is bold character like and why people just choose it or not to choose it.
(30:55) I think bold to me is Va in objection. My lord, that's how I define bold >> is someone who's not afraid to speak their mind. >> True. >> The industry defines bold as someone who wears short clothes or someone who does intimate scenes on screen. I don't like that definition. >> True. That's a very wrong definition as a bold >> even for example you being you're standing for yourself and you're walking out.
(31:16) >> Yeah. such being both so bold but even but industry it's it's very badly narrated. >> Yeah. >> So for example what was the question is a very bold character and while they're taking a second to take it I like that I like making people uncomfortable. [laughter] >> Wow. >> [laughter] >> I always, you know what else I do when people make sexist jokes or any homophobic jokes? I pretend like I don't get it >> and then I ask them to explain the I act stupid
(32:02) >> and beyond a point they can't explain in they explain they have to say that I'm making fun of the gender. >> True. >> So they just get very uncomfortable and I really like it. explaining that is the biggest unover like >> and that's my revenge that I take on people when they do that I'm like what what do you mean [laughter] >> true the the initial journey with chai biscuit how it started on India like >> I auditioned for chai biscuit and I got into sketch videos >> was it for girl formula >> it was for chai biscuit in general boy
(32:30) formula girl formula >> and uh then they were planning 30 21 audition so what is the gap between You joining SK 2 30 21 >> it was 2 months I think 2 3 months maybe maybe a little more >> until >> maybe a little more but it was just months it was definitely within a year for sure within 6 months I would say I think >> interesting but this acting purugu when it started >> it started in 10th class >> honor >> I had a dream once it's a very famous story I tell every I had a dream once that in my classroom and I was a big Hello fan.
(33:18) [laughter] So he's like okay so he said >> and that's when I realized that I wanted to do it. That was consciousness promo [laughter] by fans. It's a very famous story. >> [laughter] >> I'm like reality school. [laughter]
(34:06) >> Cool. So before chai biscuit >> I did nothing. I did college theater. >> Theater. >> You were into theater. Okay. >> I was into my college theater. I didn't do professional theater by decoda. >> But all acting everything I learned there. >> And theater. >> Yeah. >> Okay. I learned I think my milestone learning acting was there then for camera it was in chai biscuit >> then a different side of acting was high >> these are my milestones >> because what is the common what is the difference like switch of the difference
(34:39) you you noticed between cinema to chai biscuit to cinema [clears throat] >> creativity drop >> droph >> yeah okay >> because I was talking to your crew Also creativity was the first priority. As an actor, as a director, as anybody you could come and tell every single detail was noted >> and 301 phone is always on speaker.
(35:15) There's just one scene, just one scene where Priti has to listen to a conversation she has. So, Yeah, we did the whole series that her phone speaker is broken. So attention to detail. >> But then cinema if I tell they're like no one will notice. [laughter] >> So that it's very herodriven and that things. It's not very it's not a very creative space.
(35:45) >> It's a and in you have to act in a da off camera. They have a box. You have to act in the box. So if you raise your hand, you have to raise it till here. So it's seen in the camera. So it's very >> So no liberty to move your hands. >> Yeah. You can't move here and there if you want to.
(36:02) At the hyo, it was not there. Like I said, he gave us that. >> But body language, you have to move your body only in the frame. You can't do it out of the frame. It was very artificial acting. >> What what is that regular comments you hear about people talking about your acting and this side of acting? I think constructive criticism is very rare.
(36:22) >> People just talk that say that I'm ugly, I shouldn't be here, whatever. But I think some hate comments I've seen is that my expression is same everywhere. >> And I don't really think about that. >> Maybe it's true. >> Maybe. But I don't think I can work on it actively and do anything. So I'm sure directors will not cast me over the period of time.
(36:50) We as a humans evolve. >> See that was not your deliberate attempt probably that makes >> but I believe that either as I go on I'll keep learning or if I don't have it in me I'll [snorts] be out of the industry never cast if I don't have the skill. So let's talk this very interesting topic. How do you guys deal with fame? Because it comes with lot of other things also, right? Like losing your private life or >> how was it for you?
(37:37) >> I was so stupid because I always thought I wanted to act and I never considered acting comes with fame. So that was the first time I realized oh if I want to be a big I have to deal with this considered quitting also because I couldn't do it >> unnecessary attention right >> unnecessary and as far as like you see me people who know me I'm a very private person I do not I don't even go to parties I don't do anything >> so to have so many people look at me talk about talk to me talk about me then I always want space and metro loa people
(38:15) come and talk to me and I don't like people in general I don't like crowds in general so it was a very disturbing thing for me if I could choose to not be famous I would choose it >> it's a side effect >> because I always say my friends also I want to get rich not famous >> yeah famous is a side effect in that's something that byproduct >> true because I always feel humans should have that uh private life not getting everything on internet or people giving so much attention.
(38:45) >> Yeah. >> Because I've seen especially for the female artists or female creators unnecessary attention >> there is a level of dehumanization that happens. People don't consider you to be humans. >> Now I was saying no IC and my relative was on the bed and the doctor just came and told me we are doing everything we can but you know you know call the people that you need to call.
(39:12) M a moment he walked away and the nurse behind him asked me for a selfie and I yelled at her like anything but they don't consider humans emotions there is some heavy thing happening >> no consideration >> let's talk about cinema versus >> I used to loved I believed >> to for new creators like me also >> to come till cinema >> now it's become too corporate too numbers driven to be creative Yes.
(39:41) What is that one thing that for example your your generation actors key what is that one thing that pushes you to go sorry is it financial financial independence it is is it insecurities around it those kind of conversation do happen uh conversations I've not heard but roles roles that are not primary roles curiosity It's it's coming from the acting culture of Hollywood.
(40:15) You know, acting is a whole thing. People are actors without having a break. >> I feel like you were not an actor if you were a junior artist. >> You know, you're a junior artist. Even a junior artist is an actor. And our culture where people look at acting as a craft and they're proud of it. They're very happy and they're very proud and they come and show they go to workshops to improve their acting.
(40:48) So there is more emphasis on the craft than the role and the break. They of course want it. There's more emphasis on that. So our culture you being an act acting space in that way. So what is an advice you want to give to next generation artist if you want to be if they want to choose acting as a mainstream profession? Uh I will say that don't make this the profession that you get money from.
(41:12) >> Okay. >> This you should have in a place where you're getting your money from and this is a hobby. If not you can probably pick scripts for a year two years then you need to have money. You need to pay rent you'll pick anything >> and once you pick anything you are going to get anything in solid roles because we can't do anything but the industry works on type casting.
(41:35) M >> I did two sister roles and I did them because I wanted to learn how it works in a big set >> but nobody saw it like that. They just saw a sister role and I got so many sister roles in every such a problem. >> Every I have been offered a sister role [laughter] >> and I was like I really >> fortunately not but you know and so you have to pick a side sometime either you have to work for money or you have to work for passion I will say never be in a position where you have to work for money.
(42:08) >> Sure. But don't you think so at a point everything is capitalistic? side which gives you regular money so that yeah >> especially I think there's another angle also if they get desperate people start taking advantage >> so true >> if if they know that you need a job they're going to put you through hell to give you that job >> so never be desperate always have a backup net always be steady and stable and be okay with saying no >> true >> and over the period of time people start acting acting acting getting that frame
(42:43) You're so into acting that you should start acting outside also. [laughter] >> I hope I'm never there. >> No. >> Yeah. >> I've seen a few of your press meets and you'll feel awkward. I noticed it all these press people will ask those center figures questions. [laughter] Then people ask the wrong questions. In real life, I'm the kind of person if I will tell shut up.
(43:21) >> I'm that kind of person. I can't do that in a press meet. If they're asking a question to someone else objection, >> there was a particular person who was calling Srians Nouvu. He was way younger. But he was saying that was extremely disrespectful. she cons will not say anything because he's a sweet person.
(43:43) I was getting very angry and I was holding my mic and I was like okay don't say don't give an and I have a very expressive face >> yeah so don't like don't change your expression keep smiling keep smiling I have to control my face a lot content creation the way content creation like everyone is a content creator M >> now content creation become a full-time profession.
(44:14) >> Yeah. >> So how you balancing these brand deals and are you still doing? >> I just do brand deals. That's the only content I make. >> Okay. >> So Instagram paying you well like brand deals and all. >> I mean it's fine. It's a bonus money. It's not like >> it's just good extra money sometimes. >> But there are people I know who are full-time content creators.
(44:39) I am not Instagram and I'm barely active on my manager calls me once a month. He's like please and then I post something. [laughter] So but there are people who actually put in efforts into their Instagram. I know they get lacks and lacks on it >> and very luxurious life lead with that money >> and how how much accountability you should have when endorsing a brand.
(44:59) >> Nothing. >> You don't mind? I don't believe it because I think it's it's obvious that someone's paying them to say something >> and I think as viewers it's our responsibility to use our head >> and say okay while they are telling us to let's say drink a pesticide >> will we drink it it's on us we need to take that decision you can't say he told so I did it running >> so there is a side of society says that people who got followers people who are public figures they have so much accountability on them.
(45:39) I don't believe that. >> So you don't agree with >> I don't believe that in cinema also that cinema only good people glorify good message. I don't believe that. I think a story is a story ad is an ad. Your opinion is your opinion. And I think we should encourage people to be more critical thinkers and say even if you appreciate someone because end of the day they're humans.
(46:06) >> So true. >> Making someone an idol will mean whatever they say is right and nobody's right all the time. >> That's so true. I heard that story. He's like so that made that store owner think is a big brand and put his products in the and my friend came and said see such nice business idea. I said [laughter] so true everything actors also I've seen them say oh I slept on the station maybe you're saying that because now you're famous if not
(46:51) you would just be a person on the station so true one there's who is that one actor career which actually inspired you or you admire him more >> Priyanka Chopra but then Telante Hey, Anushka Shetty ma'am. >> Anushka >> because she came in as a proper commercial actress >> and when she transitioned to this person that we just go to theater to experience until her she's no less a star than any of her male co-stars >> transition.
(47:25) >> So I feel that very fascinating. >> Very interesting. So what is it Priyanka Chopra side of you really like? >> Priyanka Chopra I read her book and finished Dani. Oh no >> she wrote a biopic. Yeah 10 years before she became a Hollywood actress. >> She went there and tried her music career and it didn't work.
(47:50) It was a disaster. >> She came back did films and then went back as an actor. So that idea that she held on to that for 10 years and she didn't think she thought and she went there and and something else is but she's still a star here. She's still relevant in India. So true. She's she people didn't forget her here. So that's something she managed to maintain everything everywhere.
(48:20) >> So true. And balancing work life. So how is your work life balance works? >> I am very particular. >> I believe that we work to live to travel to spend time with our friends and family. We have to work. >> So I never let work be a reason I don't live my life. I am okay if I lose a film. >> I am okay if I lose money because I have to spend a day with my family.
(48:46) I will spend that day with my family. >> I should learn this. [laughter] I was shooting Lucky Basar >> and I had a trip planned with my friends to Manali and Chapina one week I'm not available but they wanted last minute we have to shoot we have to shoot I said no they said we'll double your this thing money we'll pay you double I said no they said we'll pay you triple I said no and then my friends were like you know what if they arrogance I don't care and I had the best trip in my life and that day shoot was canled
(49:18) [laughter] >> so Yeah, I knew they would do that because they won't think about it. I would have lost the shoot also. I would have lost the trip with my friends. >> Yeah. And yeah, life always comes first. uh during a time Vijay Vijay spoke about this on internet >> with I just remember [laughter] he explained a beautiful way very poetic
(50:06) 11 years old. They ask me what is that kiss? When you are in relationship, when you get to that age, that's how you express your love. If someone is hitting someone, there is this objectifying woman on big screen happening. He told in a tell me in a very poetic way a beautiful that is very artistic that that's why you express >> I was very outraged about hate for Arjuni >> because when Arjuni came out I was 17 years old I think I was not a grownup but I could still see the beauty of it.
(50:57) So true. So grown up because even Sep mentioned there was never a closeup intentional closeup to look make audience look here >> because there was a very beautiful uh intimate scene happening or that scene happening the camera is on wide >> imagine I've seen 100 Telop films when a intimate scene happening not [laughter] literally on imagine 70 mm camera I've seen there's the camera on thighs.
(51:29) >> Yeah. >> So, how objectifying was that? >> They won't see it. There are people who get triggered, people who get things s of the day education is not uniform here. >> Yeah. >> Because there's the poverty everything social aspect you are okay with that kind of scene. You were offended by this on camera.
(52:07) why we are like so into because I haven't seen any close-up on them. It's always a whenever there's something else >> and there was no objectification of anybody in that. >> Exactly. >> And and something that surprised me more is people had more problem with the intimate moments >> than with Arjun doing drugs. I'm like if you want to question the film question that at least society useful what logic are you speaking people are kissing people are making out >> and there there is situations where driven and the age groups were defined well
(52:42) >> so it do happen >> and then the there's other side of Bollywood saying that why woman is so submissive in that >> but woman is not seem that's a very wrong narrative But I do I do have a problem with one scene in Arjuni which is the first kiss >> where he kisses her on the cheek. >> I don't like that. >> But the point is I can differentiate it.
(53:08) >> I can say I don't like that scene but I like the movie. >> I can say I don't I will never date an Arjun but I understand Arjun. >> Why should Arjun be a perfect character? >> Why can't Arjun be a person that you hate? What's wrong in it? >> True. >> But should be very individual thing. Bunch of people that was very wrong narrative.
(53:36) Somewhere society is still impossing precondition. The conditioning is not going. >> Can I also think there is another factor to it is filmmakers should understand there is morally right and wrong. >> Okay. Filmmakers should come out and say, "Okay, the hero did this, but that's not a correct thing. But still, the hero did it.
(53:55) " >> But I've seen a lot of filmmakers defend it. >> Oh, hero is doing drugs. Well, they're going to defend that the hero hero is doing drugs. That's not correct. As a filmmaker, say whatever you want. Can as a person, you have to say the right thing. >> That's what I believe. >> And why why do you think there set up women attracted to toxic men? We are traumatized.
(54:20) [laughter] >> Women are traumatized. >> They have PTSD. They have first everyone has father issues, mother issues. >> So condition. So they look for men who oppress them. It's the prophecy they are fulfilling. >> That's a serious That's a root cause. >> That's a root cause. that a man is going to come and love you so much that you will not feel less.
(54:54) They will not settle for less. >> Parenting is such a drama right of time and so obviously girls will go to men like that. >> So what is freedom? For example, parents letting you do whatever you want or parents giving you making you understand how freedom looks like. >> Freedom is what men have. If there's a son in a home, >> he's not put in a box and said, "I'll let you go out of this box.
(55:31) " He's out of the box. You get it? Get what I'm saying? Boys live outside the box and come into the box when they do something wrong. Girls live inside the box and they go outside. If they do something wrong, they have to live inside the box again. >> So freedom is very different for men and women.
(56:01) I think freedom, progressive freedom for a girl is what boys are born with. That is the level of freedom. And if they are just let go from society, from expectations, I think girls will do a lot better in life. women of your age group. A bunch of girls, girlfriends, all you guys sitting and talking about a woman who is super what do you call what do you call she's enjoying her full-fledged freedom or woman start pointing out that woman who is actually having freedom why do you think those kind of conversations
(56:44) happens >> just jealousy [laughter] >> you know I've heard this >> jealousy comes in the form of jokes >> because we can't handle She's doing everything she wants. She's happy. What what should we do? We feel like rules follow. But reality is arrange in-laws. I'm generalizing a lot. It's not always the case, but I'm saying >> no.
(57:19) If you go against your family or you do what your family says, end of the day, you're going to be in a system that's heavily patriarchal. Mhm. >> So people who have arranged marriage, they feel but they see love marriages living the same life and they get jealous. They're like, "Shit, I should have broken the rule." >> And what's your like RNG marriage system? >> I don't like it.
(57:42) >> I mean, it works a lot of the time >> I don't like that system. I don't like how much of a deal it is hopeless. So to link linking to income to family, it's too business deal for me. >> [laughter] >> So yeah, arrange marriage comes with lot of terms and conditions, a playlist of things need to be done, tick boxes, like
(58:28) it comes with it, the program structure. >> Yeah. And I don't believe that obviously they don't have a place in love. >> But what I feel is when it comes to arranged marriages, it it fit rightly for a generation, >> it worked for well for a generation because true. M >> actually problematic marriage. I'm not denying the fact >> but our generation or Janzi is the next generation
(59:16) they got to know that arranged marriage became super problematic. >> Yeah. And they can what if for example if I take my parents my mom for example my mom she got arranged marriage when she was minor >> and then the relationship was not defined well >> there are a lot of things there's a huge age gap between them but I'm I saw my mom the way so much she was so much into my father and then that's so much because my childhood is such a drama because of parents fighting.
(59:50) >> It happened all my life. >> It triggers me. >> Parents shouting and all. I I don't know. I get very vulnerable. I think I get triggered very badly. But what I've seen is they all live in a bubble. They grew up in village. There's nothing personal. >> But now our generation is normalized that love everything.
(1:00:29) [snorts] >> It became like a micro like micro zoom into very tiny part. This is a problematic in arrange marriage. This is how problematic in ar marriage. But to arrange marriage was good for a generation but if they are if you say that the same thing should continue for the other generation I don't think so I won't agree >> I don't think are they good for the generation again like you said because they were not aware and then they're not entire people are like that ecosystem was like that normalize for example
(1:01:00) >> I'll tell you if I go to my hometown I stay for one day two day I'm okay for example kind of lifestyle I have M >> and third day I feel because I get bored of things and all >> and the same thing we are seeing other way around people are getting too mechanical this I'm under concrete jungle organic farming and all the slow lifestyle.
(1:01:31) Yeah, you can't. >> Yeah, that won't happen. It's a heavily patriarchal process. It is. It is just taking the woman and shoving her into a system that's never going to let her be beyond what she's supposed to be. >> It was an innately wrong thing that happened to women. There is no husband and stories were written like that over the time. Yeah.
(1:02:14) They never came out of it. So I think why should I do anything different than what he's doing? >> I think that's also shifting a lot. >> If you are living the way you want in this generation for example you are in relationship >> you are getting the kind of love you want. You are happy with the relationship you're again conditioned.
(1:02:45) So it's so much confusion for the generation and you'll see a very random decision. Yeah. men or women see for example our generation and kids coming up for example our kids generation and all the environment is changed but you won't condition the way right problem with our generation we have seen every face >> yeah see land huge for example like from landline phones to telegrams to think I've seen it probably
(1:03:30) seen right >> the empire entire shift happened >> because at a point it's getting things are getting very mechanical we are going to holidays >> but people in villages are adopting to technology now >> they are trying to get a cool TV at home I've seen people I've seen shift shift in process. So I feel every generation hopefully progressive problem instead of problem if our kids also our daughters also worry
(1:04:17) we failed as a generation if we didn't change anything till then. >> That's so true because next generation it should be >> it should be something different >> and complaining about parents or complaining about our previous generation or parent generation is we often listen to it >> how many of our generation people are actually putting efforts to make them understand >> I am >> I think it worked also >> because one big example is mommy acting I made her sit down and I said mommy major biome if I become an actor and she
(1:04:58) said now major biome is all the casting couch that happens >> and I explained to her that that only happens to people who don't have another option >> yeah I'm not desperate I don't have to prove anything to anyone all I'm asking you is you be there as support system if I need to fall back on something I will not look for anything else anywhere else and she understood that >> and she said yeah I get you I'm here whatever you need I mean >> so it should be a two-way street and I also think in what I've observed is all
(1:05:36) of my friends want independence from parents they want them to not question them but I feel like independence parents you should let them live their life but they don't do that they say I'm like, it's their money. Let them do what they want to do. If you want them to let you do what you want to do. >> So true.
(1:06:01) >> So I have friends who say don't depend on them. If you're depending on them, listen to them. True upbringing will define everything. >> After age, you can't control things. You would have cut that into roots because >> show me your friends I'll tell you where you end up or show me the neighborhood you grew up >> if you would have given everything at that point of leveling >> all of a sudden you putting them in a cage you don't know what happened next >> yeah it's just parents they need to be more aware of parenting I feel like
(1:06:46) parents didn't really think about parenting when they have kids they just had kids. >> It was all copyright. For example, even when I talked to my mother, she says, you know, we had we got married, we had a kid and there's no thinking. Now we me and my friends, we started already planning what we want to do when we have kids.
(1:07:08) How we going to raise them problem? Who will do what? Our generation thinks so much that we should not go wrong as parents. >> True. parents just there's no book also right I mean there's no because what is the biggest red flag in a person for you >> I think when they are an angry person >> I don't like that I want people to not be angry >> when you get uh And I get angry, but I don't scream.
(1:07:47) I don't yell at people and do anything. When I do that, it's actually going to translate. It's going to go to a point where that person has to apologize to me. >> So true. >> I don't like when people scream, yell, and they're like, "Okay, cool. Bye." Like, do something. So, it seems very performative. When we when we deal with lot of things outside home and >> that is very wrong thing because they are vulnerable because they have no idea what the you went through in your life outside the world.
(1:08:25) How how important is that like not to bring things from here to outside because you went through a lot of other things because that you choose it >> but yeah I think I don't >> I carry my emotion home >> and I tell people that I'm irritated it and they stay away from me for like an hour until I can figure it out.
(1:08:58) I don't direct it on other people and that's important. If someone else is pissed and let them have their moment, let them feel their emotion and they'll come back into your space when they ready. That's what I do. That's what my mother does. then it comes back. >> So the basic regulation of emotion is important. >> Let's talk about fame and money.
(1:09:32) >> You want to get super rich or super films? >> I don't want either but I'll take super rich. >> Super rich. >> So you ever felt like I want to dictate this world? like >> I want to sit in my small house with a lawn and trees and grow my food and have lots of animals. >> This kind of personality. >> Yeah. >> And I live so far from the city also.
(1:09:58) Moda. It's all ecosystem is maintained in our house. >> Yeah. >> Nice. >> We have we have snakes that come and go. We have rats. We have frogs. >> Wow. Okay. >> We have birds. >> And a lot of plants as well at home. >> Yeah. We have trees and it's all her work. We have rabbits. We have a dog.
(1:10:21) Want to have more as many as we can fit in there in our house. >> Nice. Living in a nice ecosystem. >> Yeah. >> Cool. >> And mind we don't kill it. Even if it's like a cockroach, anticro maybe sometimes mosquitoes maybe sometimes everything is welcome. Everything can live its life in our house. >> That's the kind of mentality we believe in.
(1:10:43) What is that one useless talent you have? >> I don't have useful talent. I think debating is a [laughter] useless [laughter] [snorts] acting. No one's using it. >> Exactly. Crazy statement. [laughter] Acting. No. >> I think useless talent is my debate skills. >> I'm very good at debate. >> I love debating. They have to debate me on like specific topics.
(1:11:23) >> Do you react to social sorry social what do you call social incidents like whatever happens in society it affects you >> of course >> you know you get triggered. >> Yeah very much. I'm a very uh revolution person. >> I want the world to be a better place. >> I'll scream for it always. >> Yeah, [laughter] >> I'm a pro CPM.
(1:11:51) >> Politically, I don't know. But >> ideology CPM >> Communist Party. >> Um party is political. >> H >> party is political. >> No, I'm telling you about communist. >> Um yeah, politics I don't know. I don't talk much about politics also. >> There's no point. We are the jokers. But ideologically, yeah, I'm a left-leaning person, liberal.
(1:12:19) >> Interesting. >> So, especially when people do something about women or dogs or animals in general, nature. >> I don't I forgot. Let's talk about feminism. Yes. >> What's your side of feminism? >> I'm a very strong feminist. like define feminist like this. >> Now in general the definition of feminism is equality of sexes.
(1:12:42) >> Okay. >> Equality of two genders. And to get there to get to equality we have to empower women because they are the one that that's oppressed. So I am a feminist. I'm very strong feminist. Your definition in understanding feminism >> versus your parent your mom is it same? Understanding feminism is same but applying it varies because she's my mom's a very empowered person >> as inuru she studied in a different state aput >> she has masters which even I don't have she has a master's degree she works she's an independent person she owns
(1:13:22) property she drives her own car so our generation that was a very step up >> if we go to a wedding she believes that a widow should not do anything. So feminism there's a boundaries around it. >> There's a boundary and that boundary is expanded for me because of conditioning. >> Yeah. Conditioning.
(1:13:43) I think she wants it. It's just so much in her head that it's a she cannot get past it. >> So true. >> So who cares and she says what if they do it and then someone blames them for something bad. I will say who cares but she does not say who cares. So the boundary is different. The definition is the same. >> I was very adamant from there.
(1:14:18) Now [laughter] God will make an example of me. >> Nothing happens that's fine dude. >> Yeah. If something happens just because before I stop taking those risk even though I was never a believer of lot of just as well >> I believe in superstitions as long as they don't demand anything of me it's fine doesn't matter but if they say oh widow should not do anything I will not
(1:15:00) >> so there is a line to my superstitions also >> absolutely because when the reason because my my dad passed away last year like before last Okay. >> So we were conditioned for one day to not to do any festival at all. >> After that also my mom was not actively participating in all the shivar whatever it is >> that bothers me a lot >> because what the point of me doing all this and I'm not even in a position to >> do an inclusiveness inclusive thing with my mom where my mom can part of this this what do you call any
(1:15:35) >> puja ceremony or something is keeping her away. The same thing my dad passed away 3 years ago. >> Same thing with my mother. She doesn't do a lot of things. She doesn't come uh up. When my dad passed away, they told my mom not to go out for 15 days or something. So, it's very impractical because she's a working woman.
(1:15:54) She has a job. >> And then I told her, if you're mentally okay, go out and work. She said no. And then she went out and apparently people commented on her coming out and she came home and said, I won't go. So it's very sad to see it's one thing to see going through something but to see our parents go through that hurts a lot.
(1:16:13) >> It's a completely different thing. Yeah. >> You know what the same conversation when was happening with my friend. Imagine you going to school you did some some random and the school school principal teacher complained parents. [laughter] Exactly. >> We don't mind principal saying that and our parents it's fine.
(1:16:43) >> What if our parents say >> yeah we exactly >> the same way we we are talking all about society but when it comes to our own parents it hurts so badly. >> Yeah. >> And we can't do anything also beyond the point. you're doing this this this you're managing everything but when it comes to a your own mom >> you're not able to a position to say that.
(1:17:11) >> Yeah. So sad because you can't push them too much also. You can't tell because like you went >> according to them. [clears throat] >> Exactly. >> They need to face the entire people. >> Yeah. >> I think I travel with them right because I live here. My mom lives in home. She's still working. M >> if I do something antisocial and leave >> that bothers me that's why I won't okay >> it affects me feel so helpless
(1:17:56) >> so helpless situation it becomes the fact of our life it stays with me >> whenever I go there talk with my I I even now till now I'm scared of saying goodbyes to people. Oh, >> even now from when I when I take from anything from bag or if I'm traveling to anywhere till now even I'll see the entire environment changes
(1:18:49) unnecessary and that makes me emotionally last years of my life I'm living. >> So whenever I come to India when I'm going I never tell them when I'm coming when I'm still scared because of the >> I'm very scared. It hurts me so badly. airport >> airport goodbyes are such a drama >> especially when you're living away from parents >> even still feel I'm very sensible very emotionally down when it comes to your mom even if you argue with her
(1:19:41) [laughter] you should argue My mom feeling she'll feel oh my god my mom has no filter. She has no sympathy that I'm talking to my daughter. [laughter] Oh my god. Why am I born? So whenever I fight with my mom, I never felt I felt why did I hear all of this? I was just abused in my own home. >> Value for time alone. Yeah.
(1:20:24) of example you may see other first hodies like all the directors the ops and all >> it's all sorted like even the set of first level actors second level actors character at least >> but people value the hierarchy is the worst thing of film industry I have seen I was shocked first time YouTube. I was shocked to see conditions where junior artists have to eat they have like I think the worst possible food available and it's just so sad to see but people are treated so differently
(1:21:11) based on the level they work at. So it's very sad. What is what do you think the fundamental problem? >> Classism is the fundamental problem people hierarchy >> dignity of labor as well. >> Dignity of labor that go for what reason I don't know feeling set of person so that flows down to every level. if I need XY Z person for my project like layers layers layers layers layers layers it goes on
(1:21:55) >> and the problem is anal people will play me because they don't think oh let's be fair to her they don't think that they think oh she doesn't know enough so let's take advantage of it why you people want managers and I'm just asking and all this you have no idea but things are not fair at all lot of things happens you need that
(1:22:39) filter not because we want manager to show up and all they become mandatory but they it become very problematic. >> Yeah. >> When they directly deal with actor so what what do you think the people who are what do you call reaching out to you or not main hod's right the people or the second casting people and all.
(1:23:02) So main what is that conversation that actually triggers what is not fair >> before I had a manager when I would talk to people it was a long time ago >> they would tell me numbers that are not even close to what reality is >> and because I was someone manager knows market [snorts] I didn't >> I would say okay they would say this is the best we can do and I would say okay if that's the best you can do I love the script let's do it >> then manager manager told me they are telling you half of what's actually possible. They they will say, "Oh, we
(1:23:35) cannot have a space for a caravan there, but you have to go to another artist's caravan and change." But they'll have three caravans for other artists because they demanded it and I was nice, so they make me adjust. So where people don't think they directly think so and one more thing for you especially >> I think two sides because you focus on the craft and you know much more than others.
(1:24:23) It's a small crew. Everyone does everything. True. So I came in knowing camera angles. So 180 rule or direction 80. I knew all of that when I came in. The advantage disadvantage is when you come from a space of openness coming to a space of in hierarchy you just can't function. That's the disadvantage. depends content creator >> they don't introduce me as actor they say Instagram >> I'm like please even the audience they say this is very sad
(1:25:19) supportive encouragement successful. For example, they define the successful in industry versus for example a successful film at a point you can't dictate things for example okay you you sorry >> to an extent you might dictate because you can pick scripts >> that's again gone this year you made a blockbuster >> scripts choose your particular >> then that's when the problem comes again.
(1:25:56) >> Yeah. >> You'll vanish >> again. >> So do you think that is what do you call success to an extent? I feel rather than that okay then sensible acting you can't level the playing field without playing the game. >> If you're off it whatever people are doing will be the only thing that's happening. Yeah. I did it because I wanted to do big things >> and to do big things I have to be here first because that's not giving me any happiness.
(1:26:39) >> Audience. So now I would rather I'll try my best to change what I can to make cinema better. If I can't do it, I'll retire. But I feel high kind of films whatever you did you should do that in a very early stage decision what you call this what you call could be trying out new things that's when you stand right but over the period of time you should have that independence to do whatever you want it's just like >> do something more be a actor want to act.
(1:27:26) >> All right, we'll wrap up this now. Thank you Ana. Thank you for >> Thank you so much. Thank you for the fun conversation. >> We'll again sit after high
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Title: She Was Meghana, But You Don’t Know Ananya Yet | Ananya Sharma on MAMA Matters
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Description: She was Meghana. But there’s so much more to Ananya Sharma. ❤️
From becoming a household name through 30 Weds 21 to building her own identity as an actor, creator and woman in the entertainment industry, Ananya Sharma joins MAMA Matters for one of her most honest conversations yet.
We talk about life after Meghana, fame, social media, acting, rejection, OTT, the Telugu film industry, being a woman in entertainment, relationships, mental health, money, ambition and the person behind the public image.
What does fame really cost?
Does being a woman in the industry come with a different set of rules?
And how does Ananya want the world to see her beyond the character that made millions fall in love with her?
This is Ananya Sharma!
Unfiltered, Unapologetic and More Than Meghana.
🎙️ Watch the full conversation only on MAMA Matters.
#AnanyaSharma #30Weds21 #MAMAMatters #TeluguCinema #TeluguActress
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(00:00) I will never date an Arjun but I understand Arjun. [music] People make sexist jokes. [music] I pretend like I don't get it. And then I ask him to explain the I act stupid. I like that. I like making people uncomfortable. [laughter] >> How do you guys deal with fame? >> No.
(00:21) No. I see you on day and my relative was on the bed and the doctor just came and told me we are doing everything we can but you know you know call the people that you need to call. He walked away and the nurse behind him asked me for a selfie and I yelled at her like anything. >> What is freedom? >> Boys live outside the box and come into the box when they do something wrong.
(00:40) Girls live inside the [music] box and they go outside. If they do something wrong, they have to live inside the box again. >> And what's your like an RNG marriage system? [music] >> It's a heavily patriarchal process. >> It is. >> It is just taking a woman and shoving her into a system that's never going to let her be beyond what she's supposed to be.
(00:58) thing in what I've observed is all of [music] my friends want independence from parents. They want them to not question them. But I feel like independence parents [music] I have friends who say [music] don't depend on them. If you're depending on them, listen to them. >> What is that one useless talent you have? >> I don't have useful talent. I think debating is a talent.
(01:24) >> Very emotionally down when it comes to the work. Even if you argue with her, [laughter] you should argue with my mom. [laughter] Exactly. People who saw this as a product made more money than people who saw it as a passion. >> But I feel if you're just going by the numbers, you are never making art. >> Women in Telugu film industry, what do you think? Is it strong enough? >> Not at all. cuz man written by women.
(01:59) >> According to you, what is bold character? Like >> the industry defines bold as someone who wears short clothes. I do have a problem with one scene in Arjun which is the first kiss where he kisses her on the cheek. >> Intimate scene happening or that kiss scene happening. The camera [music] is in white.
(02:16) Imagine I've seen 100 films when intimate scene happen [laughter] value for time alone time. The hierarchy is the worst thing of film industry but people are treated so differently based on the level they work at. So it's very sad. Let's talk about the making of Hi. >> Okay, >> let's talk about how it happened. >> When Saiaru first told me about Hi, >> it was a completely different story.
(02:51) It was a love story between and how they change each other's lives. And then one year later he came and said completely different. >> So you were part of this from initial days first. >> Yeah. Yeah. This the first idea came about 3021 immediately Tarvata. >> Okay. >> So I did a song called Lollipop >> and this director was the writer and producer of that song. Okay.
(03:19) >> And that was his trial on Mata to just see how he can testing. >> It's not related to high in any way. He just wanted to test out production at La manage cameras and everything. >> And it's his debut as a director. >> Uh yeah as a director. Yeah. >> He didn't direct it. He just wrote it. But that was his creative debut I would say.
(03:39) >> So Danik Mundu he produced I think Gali sat. >> Uh so then he told me this idea of this unique love story different Hyderabad setup >> but then nothing happened with that and I thought you know shelf one year later he came back and said completely different >> and the idea was to have four lives and it's completely different to the primary story >> to have four lives intertwined with each other.
(04:07) butterfly effect laga all happening in Hyderabad. So he wanted to show Hyderabad in a slum dog millionaire light >> in that. So I want to go around the primary crowded spots of Hyderabad the Sikindraad all of those areas that are very Mumbai vibes. Sure. So Alan we had a crew of on set we had him me and Kamill were the actors >> three of us were the actors and then he was the director also so he acted and directed in it and we had two cameramen most of the time that was our crew >> we had one ad who was responsibility was to move the cars move our cars anything
(04:51) yeah or if we were shooting on the road and responsibility was vehicles so he was the only one using his brain to direct. Nobody else did anything. He was the one who knew Kakari. >> So there's only one AD for entire project. >> There were two ads. >> Okay. >> But one was not on set most of the time because we didn't have the space on the road.
(05:16) One more's responsibility was cars and logistics and all of that. >> So most of the scenes we had two cameras and one drone. So on the days that we had drone, we had the drone people also come in. So I don't think you guys done without lights. >> Yeah, with no lights. Absolutely no lights. It was all sunlight. >> All natural light. >> All natural light.
(05:39) So and but to make up for it to make it balanced, he put double the budget of the shoot into DI. >> Yeah. >> To balance it all out. >> And he wanted a very interesting work. Entire cinema. You guys worked without lights and >> Yeah. >> Very very fascinating. without any we had mics that was the only thing we had for yeah to dub it later but yeah absolutely it was very short film >> but it was very >> how was for you like experiencing that those kind of sets you were already you worked in commercial movies yeah it ruined commercial movies for I don't
(06:14) want to go back to commercial movies in the it was so challenging there was one in a particular scene if we had to do the action sequence >> we had to split up because two separate things happen. >> So he told us that you have you know the story enough so you do your scene by yourself. >> So me and Mahesh is the guy I fight with.
(06:36) >> So we had to figure it out and camera we had to direct ourselves and do the whole thing imagining how he would want it. >> But action scenes because there's so much action scenes also right? >> Yeah. >> Choreography and all very pre-production work you used to do practice. Yeah, we rehearsed for 4 days.
(06:52) We rehearsed with cameras actually. >> So 2 days we just rehearsed the action sequence >> and 2 days we rehearsed it with cameras. How camera will move aim shot >> and then uh they had we had five cameras that day >> and five cameras hierarchy was set. >> Choreography was pretty challenging like five cameras.
(07:11) It's it's very challenging task. >> So we did test shoot every single day. We did test shoot and the editor would edit it also. >> Okay. So we knew exactly where the cut would be. >> So there is no typical monitor. Someone is sitting behind the monitor. >> There's no monitor only. [laughter] Short chudom was not a concept. Short chudom was something that happened very rarely if my director didn't have clarity on what happened in the scene.
(07:38) Okay. >> So this is art of making cinema. Absolute art of making cinema because balance having five cameras and five operators sitting and having a real real shoot when you're shooting in a control environment studio environment. Yeah. But when you're really shooting a real location that right >> and uh so movie the serious fight happens and the crowd around starts taking videos.
(08:10) >> Okay. So that worked out in our favor real people and they went to a real person and said but tell me this footage people putting on internet and all that those things didn't happen >> first of all we were not big enough stars for them to be bothered they just thought serious okay no and and director we would say short film >> short film so they were not that curious about it but we didn't really worry about it while it was still fine because so shooting dates were around 30 35 >> but postp production how long they sat
(08:54) for >> post-production still happening we finished shoot December last year post is still happening that's a gorilla shoot post is taking a little longer a lot of jerks and all >> yeah piece it all together and everything >> but very interesting dude is shooting with such a small cameras and making for mainstream cinema because >> it's pure director conviction because he completely understand the art >> art of making cinema >> and it's also not a straightforward story. It's not like a love story.
(09:23) There are so many characters so much chaos is happening. We come in and they come in and okay follow. So the chaotic scenes and every scene we are fighting and arguing and a lot is happening and something I really admire about the director is he never told us to act for the camera. >> He would first say and we would do it and he would tell the camera to follow that somehow.
(09:53) >> So that gave a lot of creative freedom to do what you want. Technically that guy is very very strong like because he believes in his completely his vision is vision. We had no idea how it's going to piece together how it's going to happen. Tell me this for example I I've seen this uh when I personally working in projects and all independent filmmakers like indie filmmakers thought process typical industry people there will be a lot of conflict interest so your crew entirely independent film making mindset or you have industry
(10:36) union people and also there >> we had no union people because like I said it was just us >> just us But all of these people none of us came from indie film making >> place. We had that mindset. We had that zeal to do something. It worked out. But Saiger also came from a proper commercial cinema background since 2008 writer executive producer proper commercial space.
(11:02) He just wanted to shift it now. >> But that's that's really interesting because all his films were proper budgeted films and proper commercial films from there >> you still stick to what he want to do. >> Yeah. and being that first time filmmaker >> and then budgets and all how was it like do you you can talk about budgets like I have no idea but I just know that he put extremely less money into the shoot >> okay >> than postprouction postuction because he felt that that is what final look
(11:47) not shoot >> and also one thing uh any filmmaker or producer should focus is you know to invest money on what you what you see on for example if you see a 70 mm or if you're watching something on TV this is a big time learning a lot of producers and new age directors also should look into you know that's so much see sometimes I demand there are location that demands having caravans that location demands having certain facilities is because and you know right proper gand >> but apart from that just because it's a
(12:30) commercial set you need to have everything which gives so much drama >> the hierarchy primarily eats up so much resources >> that creativity resources >> rather you do that in a min and sit with the artist and pay them more so that they'll contribute more >> a set of learning >> so but this will be a good example I guess I should sit with the director >> you should >> I should sit with and I need to talk about the process of film Because that will actually helps a lot of filmmakers, young filmmakers. This is possible.
(12:59) >> That was his entire point. True >> is that we lost and came into a space where we don't need to >> see because the moment OTT start dictating content industry >> because the moment OTD is buying for higher rates, hero reminisations everything went up crazily. >> I feel the moment now the ODS are decreing again.
(13:23) M >> even though you worked in a big project you know how how the experience was now you see dictating lot of producers realized it >> reminations cut down so over the period of time it will be like okay you do content >> and put it in >> like especially go around content only rest everything will vanish >> that's what I I think uh >> I had this experience with the not >> where week and on Friday I was doing good numbers and everyone was very happy and I went to their office on Tuesday and they were all talking about another project and I said
(14:06) Friday you know and they're like no next project so I that really hurt me like [laughter] one weekend that's all >> true it's very corporate format And they are way too targetd driven. So whatever you for example you're not from IT background you're from mechanical. >> No no no CS yes >> oh you're from computer scient.
(14:33) >> So when people working in corporates that's what they used to feel it's very concrete jungle mechanical working the money. >> Now creative industry also to an extent all these perform exactly like because they're corporates. Yeahine passion is overrated over the period of time. I really feel because for example people who studied in Hollywood, people who study in film schools outside India has a different perspective of seeing cinema versus people who do.
(15:13) Exactly. People who saw this as a product made more money than people who saw it as a what do you call passion. >> Yeah. >> For example, for every one lakh directors, you might find one rajimal year. >> But when you see a corporate formula, you'll see a lot of directors >> because they crack the industry. Yeah. down the line.
(15:36) >> But I feel if you're just going by the numbers, you are never making art. So true. >> So that risk taking comes from passion. >> Maybe not money. No, that's so true because region for example, >> why micro drama and all working well in north India? Why it is not working in South India? when I was sitting and talking to those people and all theater cinema is a celebration for south Indians.
(16:13) >> Yeah. So watching content on OTT adop on phones so phone content >> so that's why all this vertical series you'll see all this Kbox kind of thing happening in Telu also right >> this all happening because India compared to India that's why this micrama taking time if you see urban India like Hyderabad and other cities like still thing but if
(16:59) you see north >> lot of places they adopted vertical series >> yeah so much if you see the so-called you worked also the environment >> so true and And biggest shocking point is for your followers on G when the teaser clean no one expected this side of you. >> Yeah. >> Because you took a gap for a while [laughter] this kind of role.
(17:34) I didn't expect how was your reaction like like how your followers reacted to this? I think my friends always saw it coming. I've been a person who likes action doing action. I would jump that was my thing. And first acting when I started professionally acting also I always told them I will be an action actor. >> That is the end goal.
(17:59) >> So for them it was not a shock. But I think people who saw me online and people who know me but >> roles you've been doing over the period of time >> they kind of fixed that oh 30 21 it's calm silent roles I think that one pose I have after him and you know action scenes I thought director would have worked on your hairstyle.
(18:33) >> Did anyone ask like >> his idea was that hairstyle? But then he finally decided on that hairstyle. But you know that hairstyle also how you would do it. We had no hair stylist, makeup artist, nothing. So that was a hairstyle. But this big time challenging for you also, right? Yeah, it definitely was.
(19:01) Lucky thing is outfit throughout the movie. It's almost just the same outfit. >> It happens in a day. >> It happens in two days, but there's no outfit change or two days. >> So, we had no caravan because there was no outfit change. >> If you had to use the restroom, you have to hold it and there. There's nothing else you can do.
(19:17) >> Public places. >> Yeah. And you obviously can't go into public, but you had to >> get power through there. >> So, that's how we shot it. But yeah, it was challenging. But now looking back I wouldn't have it any other way. Now going into a caravan seems boring like [laughter] >> and in Kukati when you especially when you're doing these kind of film like very challenging real locations and with like limited crew internally you keep keeping up your mental health to the point because it's easy to get frustrated because world
(19:57) So how was that you're tackling with your mental health keeping your anxiety level? We had a lot of fights, a lot of but also again my director s maturity but we had a lot of fights. Everyone on set it was everyone was on edge >> but it was always a set. >> True. He made sure that everything was sorted and >> but yeah in that that's a trade-off we make >> I've seen even when we did a recent project >> like we lose sometimes it's not that intentionally because >> things work and then someone will trigger because
(20:32) getting triggered >> is something especially you are in this industry >> uh it's very very important to keep your things in >> you got triggered >> solid [laughter] It would especially happen when it's too sunny >> or when not because of situation. Those things make you even worse. >> You're already pissed and then oh my god it would.
(20:59) >> And what is that one thing you never spoke on internet so far? >> So many things. I'm a very private person. What is that one thing you never >> about my family? I will not speak about it now also but I don't speak about my family much. >> What is that one thing you never spoke? You're going to spoke. Speak now. Sorry.
(21:22) You're going to speak now. >> Uh I don't know the >> number of films I rejected. >> Ah I can say [laughter] number of films rejected. I don't count but I rejected a lot. >> Lot. I was rejected from a lot of >> what was the reason you get you rejecting filings and you got rejected. >> I got rejected I think main thing is that I look too young >> for the role maximum that's what I've gotten.
(21:54) >> Sometimes it's because I refuse to do an intimate scene or a kiss scene because I don't think it's necessary. That's sometimes a reason. >> Other times I think they don't like my performance. >> There's only two reasons. see that I don't like the story or I don't like my role [laughter] and they >> so majority of the time do people approach you just because okay she will be a padding for this project to balance the ecosystem I've seen this happening >> okay she did this she did this but that is not at all intentional it's more of okay
(22:28) that's how the system works I don't think it's out of a bad place but that's the fact for female actors I've met >> female actors are there for padding. So I had to reject so many oh I don't want that want my story let pravin come and help me >> so true let's talk about women in industry >> are the women in I really I ask all the female creators >> the role of women in Telugu film industry what do you think is it strong enough [snorts] >> not at all >> we're not even close we we're just we're just at the starting See being a
(23:10) youngest actor and you also in a creative perspective what do you think because the female we've seen is more into custom side of it. >> Yeah. Yeah. >> But rest of the craft why it is what do you think should change? I think people should start like putting a condition that female crew member >> direction at least one female crew member because the last project I worked in there were four women on set >> and one of them was costumeumer one was my makeup and hair stylist and two of us were actors that's all everyone else
(23:48) were men >> so situation what else we can't say that women work equally well because that is obvious Yes, I think now it should be forced upon the industry to say you have to >> because having a 60 people crew of men and one female acting >> in that particular it at a point you think it get it gets uncomfortable right because >> it is >> because not all the craftsmen are well educated enough to be that provide that comfort for the women >> and it's not comfortable most of the time commercial set It's like it not
(24:27) everyone is a safe person. Also, I would say there are a lot of bad people on set especially in the film industry. >> People have zero respect for female actors. >> So, Atlantic cases low not having a woman around you who understands. >> True is horrific and I can't imagine >> but there's a long long way for us to go.
(24:52) >> Absolutely. I feel uh balanced not just because see for example people who misbehave they're everywhere for example since we are talking about industry >> what I feel is having those 20 people crow with the seven eight women will make so much comfort for the artist who are performing and also I come they can't go and talk to uh you can't go and just share your things with random men but women feel little comfortable talking to fellow women.
(25:26) that that's how we are we as a gender gender or what do you call hormonal thing or whatever it is the feminine always want to have this incline talk to a feminine >> yeah and I also think it makes the stories better >> a little female perspective >> will help from a very solid >> male perspective >> so having women in the direction team in the writing team will give a different perspective on things that probably people don't know >> obviously You can't expect a man who's lived like a man a man's life to understand a female perspective
(25:59) >> because man written by women but or else there are few more directors like men written by women but when I watched I was I loved it to an extent like because this is very strong writing a female role and that story I hope you problems with but the character wise the way Samantha characters was written so solid >> and something I loved about the character is she's a very homely person >> but she also fights and she also has this powerful side to her which is we always separated them she fought in a very woman oriented
(26:48) cinema literally. Ah exactly >> but that is a beautiful writing in mind like she is a feminine but she got this energy. Yeah, she have that that nature is same. Going back to but the character I play is a very childish, very girl all throughout the end until she fights. >> So I really like that about her. >> Enabling Yar inside.
(27:31) >> Yeah. It's not that she's anything different. Just because she stands up and hits someone doesn't mean she has to be a masculine person. >> So true. >> She's a very feminine, very heirl, >> but then she can take a stand. I really like that. >> So true. That's so true. So Mina to blip. >> How was the Josh? >> Oh, it was always high.
(27:56) >> So you see yourself >> at like for example you transforming. What was the homework went through for you yourself? Is it completely you sitting with the director or not? >> Yeah, I think for Hi, for Magna it was very easy and is a very normal girl like everyone else >> but Lana is a very quirky girl >> and d my main homework was to just trust the director.
(28:24) First time I went on set, first few days of shoot because you're already into that genre for a while. >> Yeah, because we are so subtle. >> We who we are as people in general, subtle people, >> but he wanted a character that is hyper >> and I was like, but he said you trust me, I will make it work in edit. So I think two days of shoot he said and I did and I think after one week of shoot I understood I understood how she behaves and homework was just trusting him blindly going in and I understood
(29:15) so character. >> Yeah. Yeah. And I feel like because I was a very very calm person but I feel 1% hyperactive >> someone should enable you. >> Yeah. >> So how was it with your family like when you playing this role and all like your parents when the initial time or >> action? No, no, no. They knew.
(29:40) My mom definitely knew. And she was waiting. And something very fun, a fun detail is actually bangles. So, she takes a bangle stick and hits. And because of the context that the hitting happens, I can't tell on camera. Spoilers. >> Yeah. But the context low, >> it's fine. It's the context. [laughter] A girl is insulted. Okay. >> By a man, so she hits him with bangles.
(30:13) So very nice [laughter] people for example choosing choosing choosing bold characters either mandra two things happens when I noticed when any female artist or male even male artist when they're doing bold two things happens. So see according to you what is bold character like and why people just choose it or not to choose it.
(30:55) I think bold to me is Va in objection. My lord, that's how I define bold >> is someone who's not afraid to speak their mind. >> True. >> The industry defines bold as someone who wears short clothes or someone who does intimate scenes on screen. I don't like that definition. >> True. That's a very wrong definition as a bold >> even for example you being you're standing for yourself and you're walking out.
(31:16) >> Yeah. such being both so bold but even but industry it's it's very badly narrated. >> Yeah. >> So for example what was the question is a very bold character and while they're taking a second to take it I like that I like making people uncomfortable. [laughter] >> Wow. >> [laughter] >> I always, you know what else I do when people make sexist jokes or any homophobic jokes? I pretend like I don't get it >> and then I ask them to explain the I act stupid
(32:02) >> and beyond a point they can't explain in they explain they have to say that I'm making fun of the gender. >> True. >> So they just get very uncomfortable and I really like it. explaining that is the biggest unover like >> and that's my revenge that I take on people when they do that I'm like what what do you mean [laughter] >> true the the initial journey with chai biscuit how it started on India like >> I auditioned for chai biscuit and I got into sketch videos >> was it for girl formula >> it was for chai biscuit in general boy
(32:30) formula girl formula >> and uh then they were planning 30 21 audition so what is the gap between You joining SK 2 30 21 >> it was 2 months I think 2 3 months maybe maybe a little more >> until >> maybe a little more but it was just months it was definitely within a year for sure within 6 months I would say I think >> interesting but this acting purugu when it started >> it started in 10th class >> honor >> I had a dream once it's a very famous story I tell every I had a dream once that in my classroom and I was a big Hello fan.
(33:18) [laughter] So he's like okay so he said >> and that's when I realized that I wanted to do it. That was consciousness promo [laughter] by fans. It's a very famous story. >> [laughter] >> I'm like reality school. [laughter]
(34:06) >> Cool. So before chai biscuit >> I did nothing. I did college theater. >> Theater. >> You were into theater. Okay. >> I was into my college theater. I didn't do professional theater by decoda. >> But all acting everything I learned there. >> And theater. >> Yeah. >> Okay. I learned I think my milestone learning acting was there then for camera it was in chai biscuit >> then a different side of acting was high >> these are my milestones >> because what is the common what is the difference like switch of the difference
(34:39) you you noticed between cinema to chai biscuit to cinema [clears throat] >> creativity drop >> droph >> yeah okay >> because I was talking to your crew Also creativity was the first priority. As an actor, as a director, as anybody you could come and tell every single detail was noted >> and 301 phone is always on speaker.
(35:15) There's just one scene, just one scene where Priti has to listen to a conversation she has. So, Yeah, we did the whole series that her phone speaker is broken. So attention to detail. >> But then cinema if I tell they're like no one will notice. [laughter] >> So that it's very herodriven and that things. It's not very it's not a very creative space.
(35:45) >> It's a and in you have to act in a da off camera. They have a box. You have to act in the box. So if you raise your hand, you have to raise it till here. So it's seen in the camera. So it's very >> So no liberty to move your hands. >> Yeah. You can't move here and there if you want to.
(36:02) At the hyo, it was not there. Like I said, he gave us that. >> But body language, you have to move your body only in the frame. You can't do it out of the frame. It was very artificial acting. >> What what is that regular comments you hear about people talking about your acting and this side of acting? I think constructive criticism is very rare.
(36:22) >> People just talk that say that I'm ugly, I shouldn't be here, whatever. But I think some hate comments I've seen is that my expression is same everywhere. >> And I don't really think about that. >> Maybe it's true. >> Maybe. But I don't think I can work on it actively and do anything. So I'm sure directors will not cast me over the period of time.
(36:50) We as a humans evolve. >> See that was not your deliberate attempt probably that makes >> but I believe that either as I go on I'll keep learning or if I don't have it in me I'll [snorts] be out of the industry never cast if I don't have the skill. So let's talk this very interesting topic. How do you guys deal with fame? Because it comes with lot of other things also, right? Like losing your private life or >> how was it for you?
(37:37) >> I was so stupid because I always thought I wanted to act and I never considered acting comes with fame. So that was the first time I realized oh if I want to be a big I have to deal with this considered quitting also because I couldn't do it >> unnecessary attention right >> unnecessary and as far as like you see me people who know me I'm a very private person I do not I don't even go to parties I don't do anything >> so to have so many people look at me talk about talk to me talk about me then I always want space and metro loa people
(38:15) come and talk to me and I don't like people in general I don't like crowds in general so it was a very disturbing thing for me if I could choose to not be famous I would choose it >> it's a side effect >> because I always say my friends also I want to get rich not famous >> yeah famous is a side effect in that's something that byproduct >> true because I always feel humans should have that uh private life not getting everything on internet or people giving so much attention.
(38:45) >> Yeah. >> Because I've seen especially for the female artists or female creators unnecessary attention >> there is a level of dehumanization that happens. People don't consider you to be humans. >> Now I was saying no IC and my relative was on the bed and the doctor just came and told me we are doing everything we can but you know you know call the people that you need to call.
(39:12) M a moment he walked away and the nurse behind him asked me for a selfie and I yelled at her like anything but they don't consider humans emotions there is some heavy thing happening >> no consideration >> let's talk about cinema versus >> I used to loved I believed >> to for new creators like me also >> to come till cinema >> now it's become too corporate too numbers driven to be creative Yes.
(39:41) What is that one thing that for example your your generation actors key what is that one thing that pushes you to go sorry is it financial financial independence it is is it insecurities around it those kind of conversation do happen uh conversations I've not heard but roles roles that are not primary roles curiosity It's it's coming from the acting culture of Hollywood.
(40:15) You know, acting is a whole thing. People are actors without having a break. >> I feel like you were not an actor if you were a junior artist. >> You know, you're a junior artist. Even a junior artist is an actor. And our culture where people look at acting as a craft and they're proud of it. They're very happy and they're very proud and they come and show they go to workshops to improve their acting.
(40:48) So there is more emphasis on the craft than the role and the break. They of course want it. There's more emphasis on that. So our culture you being an act acting space in that way. So what is an advice you want to give to next generation artist if you want to be if they want to choose acting as a mainstream profession? Uh I will say that don't make this the profession that you get money from.
(41:12) >> Okay. >> This you should have in a place where you're getting your money from and this is a hobby. If not you can probably pick scripts for a year two years then you need to have money. You need to pay rent you'll pick anything >> and once you pick anything you are going to get anything in solid roles because we can't do anything but the industry works on type casting.
(41:35) M >> I did two sister roles and I did them because I wanted to learn how it works in a big set >> but nobody saw it like that. They just saw a sister role and I got so many sister roles in every such a problem. >> Every I have been offered a sister role [laughter] >> and I was like I really >> fortunately not but you know and so you have to pick a side sometime either you have to work for money or you have to work for passion I will say never be in a position where you have to work for money.
(42:08) >> Sure. But don't you think so at a point everything is capitalistic? side which gives you regular money so that yeah >> especially I think there's another angle also if they get desperate people start taking advantage >> so true >> if if they know that you need a job they're going to put you through hell to give you that job >> so never be desperate always have a backup net always be steady and stable and be okay with saying no >> true >> and over the period of time people start acting acting acting getting that frame
(42:43) You're so into acting that you should start acting outside also. [laughter] >> I hope I'm never there. >> No. >> Yeah. >> I've seen a few of your press meets and you'll feel awkward. I noticed it all these press people will ask those center figures questions. [laughter] Then people ask the wrong questions. In real life, I'm the kind of person if I will tell shut up.
(43:21) >> I'm that kind of person. I can't do that in a press meet. If they're asking a question to someone else objection, >> there was a particular person who was calling Srians Nouvu. He was way younger. But he was saying that was extremely disrespectful. she cons will not say anything because he's a sweet person.
(43:43) I was getting very angry and I was holding my mic and I was like okay don't say don't give an and I have a very expressive face >> yeah so don't like don't change your expression keep smiling keep smiling I have to control my face a lot content creation the way content creation like everyone is a content creator M >> now content creation become a full-time profession.
(44:14) >> Yeah. >> So how you balancing these brand deals and are you still doing? >> I just do brand deals. That's the only content I make. >> Okay. >> So Instagram paying you well like brand deals and all. >> I mean it's fine. It's a bonus money. It's not like >> it's just good extra money sometimes. >> But there are people I know who are full-time content creators.
(44:39) I am not Instagram and I'm barely active on my manager calls me once a month. He's like please and then I post something. [laughter] So but there are people who actually put in efforts into their Instagram. I know they get lacks and lacks on it >> and very luxurious life lead with that money >> and how how much accountability you should have when endorsing a brand.
(44:59) >> Nothing. >> You don't mind? I don't believe it because I think it's it's obvious that someone's paying them to say something >> and I think as viewers it's our responsibility to use our head >> and say okay while they are telling us to let's say drink a pesticide >> will we drink it it's on us we need to take that decision you can't say he told so I did it running >> so there is a side of society says that people who got followers people who are public figures they have so much accountability on them.
(45:39) I don't believe that. >> So you don't agree with >> I don't believe that in cinema also that cinema only good people glorify good message. I don't believe that. I think a story is a story ad is an ad. Your opinion is your opinion. And I think we should encourage people to be more critical thinkers and say even if you appreciate someone because end of the day they're humans.
(46:06) >> So true. >> Making someone an idol will mean whatever they say is right and nobody's right all the time. >> That's so true. I heard that story. He's like so that made that store owner think is a big brand and put his products in the and my friend came and said see such nice business idea. I said [laughter] so true everything actors also I've seen them say oh I slept on the station maybe you're saying that because now you're famous if not
(46:51) you would just be a person on the station so true one there's who is that one actor career which actually inspired you or you admire him more >> Priyanka Chopra but then Telante Hey, Anushka Shetty ma'am. >> Anushka >> because she came in as a proper commercial actress >> and when she transitioned to this person that we just go to theater to experience until her she's no less a star than any of her male co-stars >> transition.
(47:25) >> So I feel that very fascinating. >> Very interesting. So what is it Priyanka Chopra side of you really like? >> Priyanka Chopra I read her book and finished Dani. Oh no >> she wrote a biopic. Yeah 10 years before she became a Hollywood actress. >> She went there and tried her music career and it didn't work.
(47:50) It was a disaster. >> She came back did films and then went back as an actor. So that idea that she held on to that for 10 years and she didn't think she thought and she went there and and something else is but she's still a star here. She's still relevant in India. So true. She's she people didn't forget her here. So that's something she managed to maintain everything everywhere.
(48:20) >> So true. And balancing work life. So how is your work life balance works? >> I am very particular. >> I believe that we work to live to travel to spend time with our friends and family. We have to work. >> So I never let work be a reason I don't live my life. I am okay if I lose a film. >> I am okay if I lose money because I have to spend a day with my family.
(48:46) I will spend that day with my family. >> I should learn this. [laughter] I was shooting Lucky Basar >> and I had a trip planned with my friends to Manali and Chapina one week I'm not available but they wanted last minute we have to shoot we have to shoot I said no they said we'll double your this thing money we'll pay you double I said no they said we'll pay you triple I said no and then my friends were like you know what if they arrogance I don't care and I had the best trip in my life and that day shoot was canled
(49:18) [laughter] >> so Yeah, I knew they would do that because they won't think about it. I would have lost the shoot also. I would have lost the trip with my friends. >> Yeah. And yeah, life always comes first. uh during a time Vijay Vijay spoke about this on internet >> with I just remember [laughter] he explained a beautiful way very poetic
(50:06) 11 years old. They ask me what is that kiss? When you are in relationship, when you get to that age, that's how you express your love. If someone is hitting someone, there is this objectifying woman on big screen happening. He told in a tell me in a very poetic way a beautiful that is very artistic that that's why you express >> I was very outraged about hate for Arjuni >> because when Arjuni came out I was 17 years old I think I was not a grownup but I could still see the beauty of it.
(50:57) So true. So grown up because even Sep mentioned there was never a closeup intentional closeup to look make audience look here >> because there was a very beautiful uh intimate scene happening or that scene happening the camera is on wide >> imagine I've seen 100 Telop films when a intimate scene happening not [laughter] literally on imagine 70 mm camera I've seen there's the camera on thighs.
(51:29) >> Yeah. >> So, how objectifying was that? >> They won't see it. There are people who get triggered, people who get things s of the day education is not uniform here. >> Yeah. >> Because there's the poverty everything social aspect you are okay with that kind of scene. You were offended by this on camera.
(52:07) why we are like so into because I haven't seen any close-up on them. It's always a whenever there's something else >> and there was no objectification of anybody in that. >> Exactly. >> And and something that surprised me more is people had more problem with the intimate moments >> than with Arjun doing drugs. I'm like if you want to question the film question that at least society useful what logic are you speaking people are kissing people are making out >> and there there is situations where driven and the age groups were defined well
(52:42) >> so it do happen >> and then the there's other side of Bollywood saying that why woman is so submissive in that >> but woman is not seem that's a very wrong narrative But I do I do have a problem with one scene in Arjuni which is the first kiss >> where he kisses her on the cheek. >> I don't like that. >> But the point is I can differentiate it.
(53:08) >> I can say I don't like that scene but I like the movie. >> I can say I don't I will never date an Arjun but I understand Arjun. >> Why should Arjun be a perfect character? >> Why can't Arjun be a person that you hate? What's wrong in it? >> True. >> But should be very individual thing. Bunch of people that was very wrong narrative.
(53:36) Somewhere society is still impossing precondition. The conditioning is not going. >> Can I also think there is another factor to it is filmmakers should understand there is morally right and wrong. >> Okay. Filmmakers should come out and say, "Okay, the hero did this, but that's not a correct thing. But still, the hero did it.
(53:55) " >> But I've seen a lot of filmmakers defend it. >> Oh, hero is doing drugs. Well, they're going to defend that the hero hero is doing drugs. That's not correct. As a filmmaker, say whatever you want. Can as a person, you have to say the right thing. >> That's what I believe. >> And why why do you think there set up women attracted to toxic men? We are traumatized.
(54:20) [laughter] >> Women are traumatized. >> They have PTSD. They have first everyone has father issues, mother issues. >> So condition. So they look for men who oppress them. It's the prophecy they are fulfilling. >> That's a serious That's a root cause. >> That's a root cause. that a man is going to come and love you so much that you will not feel less.
(54:54) They will not settle for less. >> Parenting is such a drama right of time and so obviously girls will go to men like that. >> So what is freedom? For example, parents letting you do whatever you want or parents giving you making you understand how freedom looks like. >> Freedom is what men have. If there's a son in a home, >> he's not put in a box and said, "I'll let you go out of this box.
(55:31) " He's out of the box. You get it? Get what I'm saying? Boys live outside the box and come into the box when they do something wrong. Girls live inside the box and they go outside. If they do something wrong, they have to live inside the box again. >> So freedom is very different for men and women.
(56:01) I think freedom, progressive freedom for a girl is what boys are born with. That is the level of freedom. And if they are just let go from society, from expectations, I think girls will do a lot better in life. women of your age group. A bunch of girls, girlfriends, all you guys sitting and talking about a woman who is super what do you call what do you call she's enjoying her full-fledged freedom or woman start pointing out that woman who is actually having freedom why do you think those kind of conversations
(56:44) happens >> just jealousy [laughter] >> you know I've heard this >> jealousy comes in the form of jokes >> because we can't handle She's doing everything she wants. She's happy. What what should we do? We feel like rules follow. But reality is arrange in-laws. I'm generalizing a lot. It's not always the case, but I'm saying >> no.
(57:19) If you go against your family or you do what your family says, end of the day, you're going to be in a system that's heavily patriarchal. Mhm. >> So people who have arranged marriage, they feel but they see love marriages living the same life and they get jealous. They're like, "Shit, I should have broken the rule." >> And what's your like RNG marriage system? >> I don't like it.
(57:42) >> I mean, it works a lot of the time >> I don't like that system. I don't like how much of a deal it is hopeless. So to link linking to income to family, it's too business deal for me. >> [laughter] >> So yeah, arrange marriage comes with lot of terms and conditions, a playlist of things need to be done, tick boxes, like
(58:28) it comes with it, the program structure. >> Yeah. And I don't believe that obviously they don't have a place in love. >> But what I feel is when it comes to arranged marriages, it it fit rightly for a generation, >> it worked for well for a generation because true. M >> actually problematic marriage. I'm not denying the fact >> but our generation or Janzi is the next generation
(59:16) they got to know that arranged marriage became super problematic. >> Yeah. And they can what if for example if I take my parents my mom for example my mom she got arranged marriage when she was minor >> and then the relationship was not defined well >> there are a lot of things there's a huge age gap between them but I'm I saw my mom the way so much she was so much into my father and then that's so much because my childhood is such a drama because of parents fighting.
(59:50) >> It happened all my life. >> It triggers me. >> Parents shouting and all. I I don't know. I get very vulnerable. I think I get triggered very badly. But what I've seen is they all live in a bubble. They grew up in village. There's nothing personal. >> But now our generation is normalized that love everything.
(1:00:29) [snorts] >> It became like a micro like micro zoom into very tiny part. This is a problematic in arrange marriage. This is how problematic in ar marriage. But to arrange marriage was good for a generation but if they are if you say that the same thing should continue for the other generation I don't think so I won't agree >> I don't think are they good for the generation again like you said because they were not aware and then they're not entire people are like that ecosystem was like that normalize for example
(1:01:00) >> I'll tell you if I go to my hometown I stay for one day two day I'm okay for example kind of lifestyle I have M >> and third day I feel because I get bored of things and all >> and the same thing we are seeing other way around people are getting too mechanical this I'm under concrete jungle organic farming and all the slow lifestyle.
(1:01:31) Yeah, you can't. >> Yeah, that won't happen. It's a heavily patriarchal process. It is. It is just taking the woman and shoving her into a system that's never going to let her be beyond what she's supposed to be. >> It was an innately wrong thing that happened to women. There is no husband and stories were written like that over the time. Yeah.
(1:02:14) They never came out of it. So I think why should I do anything different than what he's doing? >> I think that's also shifting a lot. >> If you are living the way you want in this generation for example you are in relationship >> you are getting the kind of love you want. You are happy with the relationship you're again conditioned.
(1:02:45) So it's so much confusion for the generation and you'll see a very random decision. Yeah. men or women see for example our generation and kids coming up for example our kids generation and all the environment is changed but you won't condition the way right problem with our generation we have seen every face >> yeah see land huge for example like from landline phones to telegrams to think I've seen it probably
(1:03:30) seen right >> the empire entire shift happened >> because at a point it's getting things are getting very mechanical we are going to holidays >> but people in villages are adopting to technology now >> they are trying to get a cool TV at home I've seen people I've seen shift shift in process. So I feel every generation hopefully progressive problem instead of problem if our kids also our daughters also worry
(1:04:17) we failed as a generation if we didn't change anything till then. >> That's so true because next generation it should be >> it should be something different >> and complaining about parents or complaining about our previous generation or parent generation is we often listen to it >> how many of our generation people are actually putting efforts to make them understand >> I am >> I think it worked also >> because one big example is mommy acting I made her sit down and I said mommy major biome if I become an actor and she
(1:04:58) said now major biome is all the casting couch that happens >> and I explained to her that that only happens to people who don't have another option >> yeah I'm not desperate I don't have to prove anything to anyone all I'm asking you is you be there as support system if I need to fall back on something I will not look for anything else anywhere else and she understood that >> and she said yeah I get you I'm here whatever you need I mean >> so it should be a two-way street and I also think in what I've observed is all
(1:05:36) of my friends want independence from parents they want them to not question them but I feel like independence parents you should let them live their life but they don't do that they say I'm like, it's their money. Let them do what they want to do. If you want them to let you do what you want to do. >> So true.
(1:06:01) >> So I have friends who say don't depend on them. If you're depending on them, listen to them. True upbringing will define everything. >> After age, you can't control things. You would have cut that into roots because >> show me your friends I'll tell you where you end up or show me the neighborhood you grew up >> if you would have given everything at that point of leveling >> all of a sudden you putting them in a cage you don't know what happened next >> yeah it's just parents they need to be more aware of parenting I feel like
(1:06:46) parents didn't really think about parenting when they have kids they just had kids. >> It was all copyright. For example, even when I talked to my mother, she says, you know, we had we got married, we had a kid and there's no thinking. Now we me and my friends, we started already planning what we want to do when we have kids.
(1:07:08) How we going to raise them problem? Who will do what? Our generation thinks so much that we should not go wrong as parents. >> True. parents just there's no book also right I mean there's no because what is the biggest red flag in a person for you >> I think when they are an angry person >> I don't like that I want people to not be angry >> when you get uh And I get angry, but I don't scream.
(1:07:47) I don't yell at people and do anything. When I do that, it's actually going to translate. It's going to go to a point where that person has to apologize to me. >> So true. >> I don't like when people scream, yell, and they're like, "Okay, cool. Bye." Like, do something. So, it seems very performative. When we when we deal with lot of things outside home and >> that is very wrong thing because they are vulnerable because they have no idea what the you went through in your life outside the world.
(1:08:25) How how important is that like not to bring things from here to outside because you went through a lot of other things because that you choose it >> but yeah I think I don't >> I carry my emotion home >> and I tell people that I'm irritated it and they stay away from me for like an hour until I can figure it out.
(1:08:58) I don't direct it on other people and that's important. If someone else is pissed and let them have their moment, let them feel their emotion and they'll come back into your space when they ready. That's what I do. That's what my mother does. then it comes back. >> So the basic regulation of emotion is important. >> Let's talk about fame and money.
(1:09:32) >> You want to get super rich or super films? >> I don't want either but I'll take super rich. >> Super rich. >> So you ever felt like I want to dictate this world? like >> I want to sit in my small house with a lawn and trees and grow my food and have lots of animals. >> This kind of personality. >> Yeah. >> And I live so far from the city also.
(1:09:58) Moda. It's all ecosystem is maintained in our house. >> Yeah. >> Nice. >> We have we have snakes that come and go. We have rats. We have frogs. >> Wow. Okay. >> We have birds. >> And a lot of plants as well at home. >> Yeah. We have trees and it's all her work. We have rabbits. We have a dog.
(1:10:21) Want to have more as many as we can fit in there in our house. >> Nice. Living in a nice ecosystem. >> Yeah. >> Cool. >> And mind we don't kill it. Even if it's like a cockroach, anticro maybe sometimes mosquitoes maybe sometimes everything is welcome. Everything can live its life in our house. >> That's the kind of mentality we believe in.
(1:10:43) What is that one useless talent you have? >> I don't have useful talent. I think debating is a [laughter] useless [laughter] [snorts] acting. No one's using it. >> Exactly. Crazy statement. [laughter] Acting. No. >> I think useless talent is my debate skills. >> I'm very good at debate. >> I love debating. They have to debate me on like specific topics.
(1:11:23) >> Do you react to social sorry social what do you call social incidents like whatever happens in society it affects you >> of course >> you know you get triggered. >> Yeah very much. I'm a very uh revolution person. >> I want the world to be a better place. >> I'll scream for it always. >> Yeah, [laughter] >> I'm a pro CPM.
(1:11:51) >> Politically, I don't know. But >> ideology CPM >> Communist Party. >> Um party is political. >> H >> party is political. >> No, I'm telling you about communist. >> Um yeah, politics I don't know. I don't talk much about politics also. >> There's no point. We are the jokers. But ideologically, yeah, I'm a left-leaning person, liberal.
(1:12:19) >> Interesting. >> So, especially when people do something about women or dogs or animals in general, nature. >> I don't I forgot. Let's talk about feminism. Yes. >> What's your side of feminism? >> I'm a very strong feminist. like define feminist like this. >> Now in general the definition of feminism is equality of sexes.
(1:12:42) >> Okay. >> Equality of two genders. And to get there to get to equality we have to empower women because they are the one that that's oppressed. So I am a feminist. I'm very strong feminist. Your definition in understanding feminism >> versus your parent your mom is it same? Understanding feminism is same but applying it varies because she's my mom's a very empowered person >> as inuru she studied in a different state aput >> she has masters which even I don't have she has a master's degree she works she's an independent person she owns
(1:13:22) property she drives her own car so our generation that was a very step up >> if we go to a wedding she believes that a widow should not do anything. So feminism there's a boundaries around it. >> There's a boundary and that boundary is expanded for me because of conditioning. >> Yeah. Conditioning.
(1:13:43) I think she wants it. It's just so much in her head that it's a she cannot get past it. >> So true. >> So who cares and she says what if they do it and then someone blames them for something bad. I will say who cares but she does not say who cares. So the boundary is different. The definition is the same. >> I was very adamant from there.
(1:14:18) Now [laughter] God will make an example of me. >> Nothing happens that's fine dude. >> Yeah. If something happens just because before I stop taking those risk even though I was never a believer of lot of just as well >> I believe in superstitions as long as they don't demand anything of me it's fine doesn't matter but if they say oh widow should not do anything I will not
(1:15:00) >> so there is a line to my superstitions also >> absolutely because when the reason because my my dad passed away last year like before last Okay. >> So we were conditioned for one day to not to do any festival at all. >> After that also my mom was not actively participating in all the shivar whatever it is >> that bothers me a lot >> because what the point of me doing all this and I'm not even in a position to >> do an inclusiveness inclusive thing with my mom where my mom can part of this this what do you call any
(1:15:35) >> puja ceremony or something is keeping her away. The same thing my dad passed away 3 years ago. >> Same thing with my mother. She doesn't do a lot of things. She doesn't come uh up. When my dad passed away, they told my mom not to go out for 15 days or something. So, it's very impractical because she's a working woman.
(1:15:54) She has a job. >> And then I told her, if you're mentally okay, go out and work. She said no. And then she went out and apparently people commented on her coming out and she came home and said, I won't go. So it's very sad to see it's one thing to see going through something but to see our parents go through that hurts a lot.
(1:16:13) >> It's a completely different thing. Yeah. >> You know what the same conversation when was happening with my friend. Imagine you going to school you did some some random and the school school principal teacher complained parents. [laughter] Exactly. >> We don't mind principal saying that and our parents it's fine.
(1:16:43) >> What if our parents say >> yeah we exactly >> the same way we we are talking all about society but when it comes to our own parents it hurts so badly. >> Yeah. >> And we can't do anything also beyond the point. you're doing this this this you're managing everything but when it comes to a your own mom >> you're not able to a position to say that.
(1:17:11) >> Yeah. So sad because you can't push them too much also. You can't tell because like you went >> according to them. [clears throat] >> Exactly. >> They need to face the entire people. >> Yeah. >> I think I travel with them right because I live here. My mom lives in home. She's still working. M >> if I do something antisocial and leave >> that bothers me that's why I won't okay >> it affects me feel so helpless
(1:17:56) >> so helpless situation it becomes the fact of our life it stays with me >> whenever I go there talk with my I I even now till now I'm scared of saying goodbyes to people. Oh, >> even now from when I when I take from anything from bag or if I'm traveling to anywhere till now even I'll see the entire environment changes
(1:18:49) unnecessary and that makes me emotionally last years of my life I'm living. >> So whenever I come to India when I'm going I never tell them when I'm coming when I'm still scared because of the >> I'm very scared. It hurts me so badly. airport >> airport goodbyes are such a drama >> especially when you're living away from parents >> even still feel I'm very sensible very emotionally down when it comes to your mom even if you argue with her
(1:19:41) [laughter] you should argue My mom feeling she'll feel oh my god my mom has no filter. She has no sympathy that I'm talking to my daughter. [laughter] Oh my god. Why am I born? So whenever I fight with my mom, I never felt I felt why did I hear all of this? I was just abused in my own home. >> Value for time alone. Yeah.
(1:20:24) of example you may see other first hodies like all the directors the ops and all >> it's all sorted like even the set of first level actors second level actors character at least >> but people value the hierarchy is the worst thing of film industry I have seen I was shocked first time YouTube. I was shocked to see conditions where junior artists have to eat they have like I think the worst possible food available and it's just so sad to see but people are treated so differently
(1:21:11) based on the level they work at. So it's very sad. What is what do you think the fundamental problem? >> Classism is the fundamental problem people hierarchy >> dignity of labor as well. >> Dignity of labor that go for what reason I don't know feeling set of person so that flows down to every level. if I need XY Z person for my project like layers layers layers layers layers layers it goes on
(1:21:55) >> and the problem is anal people will play me because they don't think oh let's be fair to her they don't think that they think oh she doesn't know enough so let's take advantage of it why you people want managers and I'm just asking and all this you have no idea but things are not fair at all lot of things happens you need that
(1:22:39) filter not because we want manager to show up and all they become mandatory but they it become very problematic. >> Yeah. >> When they directly deal with actor so what what do you think the people who are what do you call reaching out to you or not main hod's right the people or the second casting people and all.
(1:23:02) So main what is that conversation that actually triggers what is not fair >> before I had a manager when I would talk to people it was a long time ago >> they would tell me numbers that are not even close to what reality is >> and because I was someone manager knows market [snorts] I didn't >> I would say okay they would say this is the best we can do and I would say okay if that's the best you can do I love the script let's do it >> then manager manager told me they are telling you half of what's actually possible. They they will say, "Oh, we
(1:23:35) cannot have a space for a caravan there, but you have to go to another artist's caravan and change." But they'll have three caravans for other artists because they demanded it and I was nice, so they make me adjust. So where people don't think they directly think so and one more thing for you especially >> I think two sides because you focus on the craft and you know much more than others.
(1:24:23) It's a small crew. Everyone does everything. True. So I came in knowing camera angles. So 180 rule or direction 80. I knew all of that when I came in. The advantage disadvantage is when you come from a space of openness coming to a space of in hierarchy you just can't function. That's the disadvantage. depends content creator >> they don't introduce me as actor they say Instagram >> I'm like please even the audience they say this is very sad
(1:25:19) supportive encouragement successful. For example, they define the successful in industry versus for example a successful film at a point you can't dictate things for example okay you you sorry >> to an extent you might dictate because you can pick scripts >> that's again gone this year you made a blockbuster >> scripts choose your particular >> then that's when the problem comes again.
(1:25:56) >> Yeah. >> You'll vanish >> again. >> So do you think that is what do you call success to an extent? I feel rather than that okay then sensible acting you can't level the playing field without playing the game. >> If you're off it whatever people are doing will be the only thing that's happening. Yeah. I did it because I wanted to do big things >> and to do big things I have to be here first because that's not giving me any happiness.
(1:26:39) >> Audience. So now I would rather I'll try my best to change what I can to make cinema better. If I can't do it, I'll retire. But I feel high kind of films whatever you did you should do that in a very early stage decision what you call this what you call could be trying out new things that's when you stand right but over the period of time you should have that independence to do whatever you want it's just like >> do something more be a actor want to act.
(1:27:26) >> All right, we'll wrap up this now. Thank you Ana. Thank you for >> Thank you so much. Thank you for the fun conversation. >> We'll again sit after high
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