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NewsTranscript
00:00:00Karthik Sibraj is a cinematic universe.
00:00:02If he is a cinematic universe,
00:00:04what would you say about this character?
00:00:08Wrong question to a wrong person.
00:00:10I don't have any answer.
00:00:12He's a MC and a Pisces.
00:00:18Let's see what we've seen.
00:00:20We've told a musical gangster story.
00:00:22We've told a gangster about what we've seen.
00:00:24We've seen a gangster about what we've seen.
00:00:26That's the sequel.
00:00:28We've seen a movie, a gangster,
00:00:30we've seen a genre shift
00:00:32and tribal issues.
00:00:34It's a political film.
00:00:38There are flamboyants in the craft.
00:00:40There's a pop-dop.
00:00:44It's consistent.
00:00:46Even though there are themes,
00:00:48genres, etc.
00:00:50You can easily say,
00:00:52Karthik Sibraj.
00:00:54It's a very custom director.
00:00:56a black man.
00:00:58There's a lot of fun.
00:01:00It's a very cool film.
00:01:02It's a very cool film.
00:01:04It's the great film.
00:01:06It's a very cool movie.
00:01:08It's good to see all the movies.
00:01:10It's a cool movie.
00:01:12I think it's time for you.
00:01:16Rajini is a separate genre.
00:01:20I have done it very well.
00:01:22You can do it very well with Rajini fans.
00:01:26It's very good.
00:01:32I think it's Mahan.
00:01:34He's very underrated.
00:01:38I was told the first Mahan, he was told the topmost Mahan.
00:01:42He was told the first time he was talking about the theater,
00:01:46so we can't see him in the first place.
00:01:49Not only in the first place, but also in the first place,
00:01:52there were a few public debate and we saw it in the last few days.
00:01:55Mahan, don't you want to celebrate?
00:01:57You want to talk about how much you can talk about?
00:01:59Mahan.
00:02:00Thank you so much for watching.
00:02:30We are here with Peter, Covin, Anto, Vignesh.
00:02:34So, Karthik Subraaj's advice is to talk about what you're talking about in Tamil cinema.
00:02:41So, let's talk about this.
00:02:47So, let's talk about this.
00:02:49First of all, I'll tell you about this.
00:02:51Karthik Subraaj Tamil cinema, what are you talking about?
00:02:56If a filmmaker has a treatment, they can be unique, and then they can define it.
00:03:02I'll tell you about a style.
00:03:04One author has a style.
00:03:06He doesn't have a style.
00:03:07It's very unique.
00:03:09There's a cowboy influence.
00:03:11There's a retro flavor in the treatment.
00:03:13There's a musical, color grading, etc.
00:03:15There's a lot of serious and dark humor.
00:03:18There's a style.
00:03:20There's a lot of influence.
00:03:22There's a lot of filmmakers.
00:03:24There's a lot of influence.
00:03:25You know, we're going to do the best.
00:03:26So, we have to take the best.
00:03:27There's a lot of inspiration.
00:03:29There's a lot of inspiration.
00:03:30There's some fun.
00:03:31There's also a lot of inspiration.
00:03:33There's a lot of inspiration.
00:03:34There's a lot of inspiration.
00:03:36There's a lot of inspiration for us.
00:03:37A director, a few years ago,
00:03:41he worked his idea.
00:03:42When he entered into cinema,
00:03:44he was a very popular format.
00:03:46And he's like,
00:03:47there's a lot of inspiration for us.
00:03:49The most important filmmakers are the most important part of the film.
00:03:53There is a short film culture like Rumbadima, Popeye, Alphons, Balajima.
00:04:01There are a lot of directors who are going to share it with each other.
00:04:07Obviously, the treatment is a unique filmmaker.
00:04:18The first question is that there are four sets of film makers that come in the world cinema.
00:04:31Each time in the cinema, there will be a wave.
00:04:36If you start a film maker, you will find a bunch of filmmakers.
00:04:39That's why there is a trend and a vision.
00:04:43There are many students, filmmakers, who are interested in a set of films with different voices.
00:04:52They are interested in the two years.
00:04:55There are four years.
00:04:57There are many short films that came to the film makers.
00:05:00The first time in the film maker started the first time.
00:05:03The set of filmmakers came to the Lokesh Karnagaraj.
00:05:06They came to the director of Maraja.
00:05:10They came to the first film maker and they came to the first film maker.
00:05:17I didn't find any voices until now.
00:05:20They came to the first film maker.
00:05:23They are still doing a proper cinema.
00:05:26So, they will be able to get the full credits.
00:05:29and even more, all the people who came to the first film were told.
00:05:41That they came to the first film maker and they came to the first film maker.
00:05:47I think there will be a wave in the same way, but I think there will be a wave in the same way.
00:05:52Even till location and location, there will be a wave in the same way.
00:05:57I think there will be a voice or a style in the same way.
00:06:02We will wait until the end.
00:06:04Yeah, yeah.
00:06:05I think there will be a change in the end.
00:06:06I think there will be a change in the end.
00:06:07After the end of the end, we will work in the end.
00:06:12We will see that formula and break.
00:06:17That is the trend.
00:06:19Okay, we will work in the end.
00:06:22We will showcase the audience and show it.
00:06:27That is the main stream.
00:06:31Now, we have to govern the end of the end.
00:06:36They have to govern the story and screenplay.
00:06:41So, you have to govern the audience.
00:06:43We have to govern the audience.
00:06:44We are now doing a screenplay.
00:06:45We have to pick a storyline in the audience.
00:06:47We will see the audience.
00:06:48We will see the audience.
00:06:52Let's try to explain the sequel.
00:06:54It is a sequel to the sequel.
00:06:57We will see what we can do.
00:06:59There was a musical gangster story, a filmmaker, a gangster, and we saw that.
00:07:05In that sequel, we saw a cinema, a gangster, and we saw that.
00:07:10It was completely a genre shift and a tribal issue.
00:07:12It was a political film, it wasn't for anyone else.
00:07:15We were judging it as well.
00:07:17But the scope of the movie is a route.
00:07:20It's a process of developing it.
00:07:22I think it's a great deal.
00:07:23Now, we have to see it again.
00:07:25Jigatana Doublex.
00:07:26So, yeah, actually, I think there's an extreme plot in all of them.
00:07:33Starting from Pizzas, there was a horror movie called Cadizia and a Haste movie.
00:07:43Then there was a ruthless gangster in our audience.
00:07:49Then there was a clown in Cadizia and gangster.
00:07:53Then there was an extreme plot in all of them.
00:07:57Then there was a lot of jigger than that.
00:08:02I had a lot of fun at school.
00:08:07Then there was a lot of fun.
00:08:13Then there was a lot of fun.
00:08:17Then there was a lot of fun.
00:08:21I had a lot of fun.
00:08:23Especially when we were in the first half,
00:08:25we were able to see the character and be ruthless.
00:08:29Then there was a lot of fun.
00:08:33Then there was a lot of fun.
00:08:35In the first half.
00:08:37The intro block was painful.
00:08:39It was a single shot?
00:08:41It was a single shot.
00:08:43Well, every time with one single shot,
00:08:45it worked well for a long time.
00:08:47In the intro block, in the middle, in the backlight, in the car light, in the gun, in the top of a sound.
00:08:58That's a bit of a problem.
00:09:01When I started the intro and started the show, there was another comedy show.
00:09:07There was a lot of time.
00:09:10There was a lot of time, gangsters.
00:09:14The comedy-humor is a big deal.
00:09:16It's not a big deal.
00:09:18It's a big deal.
00:09:20There are two extreme genres.
00:09:23It's a big deal.
00:09:26That's what I'm saying.
00:09:32I'll tell you the answer to the answer.
00:09:35The answer is,
00:09:37first,
00:09:38we don't need a masala cinema.
00:09:41We're looking for a kind of proportions.
00:09:44It's a good thing.
00:09:46We'll make a bit of a kind of proportions.
00:09:48We'll tell you don't.
00:09:57If you have a bit of a emojisian,
00:10:00it's a bit of a similar motif.
00:10:05Maybe, in the theater, we will talk about five years and ten years.
00:10:11I am very excited about this.
00:10:13This is a blend of two genres.
00:10:17It is very beautiful.
00:10:19It is very fascinating.
00:10:21The first part is the start.
00:10:25I am a gangster.
00:10:27I am a gangster.
00:10:29I am a gangster.
00:10:31We have experience.
00:10:33We have a connection between them.
00:10:35As I am connected,
00:10:37we have a connection between them.
00:10:39We are like,
00:10:41We are like,
00:10:43We have a audience.
00:10:45The second half is the first one.
00:10:49The genre is very slow.
00:10:51It is easy to plot.
00:10:53The last line is the audience.
00:10:55It is not a question for the first time.
00:10:59If it is not a question for the two times,
00:11:01Maybe it's a powerful work.
00:11:05But it's a slow genre shift.
00:11:07You can enjoy it.
00:11:08Now, when you come to the scene,
00:11:12the scene came to the scene,
00:11:14the scene came to the scene,
00:11:16and the scene came to the scene,
00:11:18and the scene came to the scene.
00:11:20What art do for him?
00:11:22The genre shift came to the scene.
00:11:25The genre shift came to the scene,
00:11:28and the scene came to the scene.
00:11:30The scene came to the scene.
00:11:32And the scene came to the scene.
00:11:34The scene came to the scene.
00:11:36And the scene came to the scene.
00:11:38That's obvious.
00:11:40I thought,
00:11:42I was told that a director's first film
00:11:44was a very special film.
00:11:46I don't have a backdrop,
00:11:48I don't have a talent
00:11:50to the audience mainstream.
00:11:52I thought,
00:11:54I was told,
00:11:55I had to take the budget.
00:11:57I was told,
00:11:59how fun was it?
00:12:00I was told that
00:12:01I was told that
00:12:02I didn't take the budget
00:12:03to get the budget
00:12:04and get the budget.
00:12:06I was told that
00:12:07I was a very young girl.
00:12:08I was told that
00:12:09that's the moment
00:12:10to come back to the scene.
00:12:11I was told,
00:12:12that the role of art
00:12:13is a movie
00:12:14of art.
00:12:15That's my responsibility.
00:12:16I'm told that
00:12:17that scene came from the scene.
00:12:18I've looked like
00:12:20the whole movie
00:12:21of art
00:12:23of art.
00:12:24It's an example of the wrong仁asion.
00:12:27So, you've got to see the word.
00:12:30We won't show them the wrong仁asion.
00:12:33If you want to see them, it's good to see them next time.
00:12:38You've got to see the result in the wrong仁asion.
00:12:41So, if you say yes, hands-on, let's change the word.
00:12:45You've got the right to see the right to see them.
00:12:49The right to say yes,
00:12:51I don't know exactly 3 crores, it's less than 1.5 crores, but I think it's about 30 to 40 crores.
00:13:06At that time, it's a very very good.
00:13:08But if you tell any of your pieces or pieces, it's a very good thing.
00:13:12But I'm watching this whole picture.
00:13:15I'm watching this whole picture.
00:13:20You can watch this whole picture so you can watch this whole picture.
00:13:24You're right, it's a very bad thing to see.
00:13:28It's a very small picture, it's an interesting character.
00:13:30It's a very nice thing.
00:13:32But I'm still interested in the movie here.
00:13:36There is a portion of the Jagemeetheanthra.
00:13:38In your eyes, you have to look at an S.J. Churya release.
00:13:41You will see the name of S.J. Churya release.
00:13:45May 10, 7 bar 5.
00:13:49We may not see such a name as the release.
00:13:53Now, with double X, it's a issue that we are here.
00:13:56All the issue is the name of the GenoSide.
00:14:00We will start to visualize the name of the GenoSide.
00:14:02That's why you have to visualize it as you can see it.
00:14:06Now, we have to talk about the war in the retro trial.
00:14:11We have to talk about the war.
00:14:13We have to try anything to address.
00:14:16There is also a short film in a short film.
00:14:19That's why we have to try anything to address.
00:14:23Yes, he has a political touch in the film.
00:14:34And, yeah, I repeat, if he said the main thing, it's the genre shift.
00:14:41That's a main thing.
00:14:43That's why I noticed that there are no films in the film.
00:14:46In the film, they use a character in the film.
00:14:53From Ziggur Thandaal, even Yerayu Veeel.
00:14:56Now, in the double-ex.
00:14:59That's a fascination.
00:15:02That's a higher dimension.
00:15:07A person who knows about cinema,
00:15:12he doesn't have any connection with cinema.
00:15:15How does cinema choose to be?
00:15:17How does cinema influence?
00:15:20How does it feel?
00:15:21It's a very poetic and beautiful.
00:15:23It's a very beautiful thing.
00:15:25I think.
00:15:29I'll tell you about two points.
00:15:32So, we're going to go to the theme.
00:15:35I'm talking about the craft itself theme.
00:15:37There are flamboyants in the craft.
00:15:40And you know, they are pop-downs.
00:15:44It's much more consistent,
00:15:46even though things,
00:15:47things, beyond what game,
00:15:49the film, jet, or anything.
00:15:51And we can easily say,
00:15:53that a character is a very custom production.
00:15:55It's a very easy thing.
00:15:57It's a very easy and easy thing.
00:15:58So, I think it's been achieved.
00:16:00There's a particular thing.
00:16:04In the Garth Isubraj movie, there are many interesting things about black and white.
00:16:12I don't believe it, I don't believe it, I don't believe it, I don't believe it.
00:16:15That's why we see all the characters in the movies.
00:16:19Good, bad, or bad.
00:16:21The situation will change.
00:16:24The characters will change.
00:16:26That's why we see all the characters in the first film.
00:16:32There are three characters in the first film.
00:16:35S.J. Surya, J. Siddhubadi and Bobby Sumbha.
00:16:38I thought you were going to tell Kalyana about it.
00:16:41That's what we're going to do.
00:16:43That's what we're going to do.
00:16:45I'm going to talk a little bit about it.
00:16:47They are the top three of you ranked.
00:16:53How do you rank it?
00:16:55I don't know.
00:16:57Mahan, Zigarth and Double X, Irevi.
00:17:00I don't know what's your first film.
00:17:02Mahan, what's your first film?
00:17:03Mahan, I was a very often working man.
00:17:07There is no one to address.
00:17:09There is no one to address.
00:17:10There is no one to address.
00:17:12There is no one to address.
00:17:14I don't know.
00:17:15It's not one to address.
00:17:17But I don't know.
00:17:193 friends, they met with a mafia and they had a conflict.
00:17:30But they had treatment and they had a problem.
00:17:34The area is in the area of the army, so it's Mahan first.
00:17:39And Jigrithana XX has already talked about it.
00:17:42You?
00:17:43I'm going to say Mahan third.
00:17:48The world is very important.
00:17:50The world is set in the start of the flashback.
00:17:57The characters are like Gandhi's character.
00:18:01They have moral dilemmas.
00:18:03What is happening, what is happening, what is happening.
00:18:05The separation has a little clarity.
00:18:08That's why I told Mahan.
00:18:10Second, I told Jigartha.
00:18:13As I said, the character arc is a ruthless character.
00:18:22The character arc is a clone.
00:18:27That's how I treat everything and everything.
00:18:31First, I told him that I was a favorite.
00:18:38I think this was a great idea.
00:18:43So, the character arc is in the theater.
00:18:48I always looked at the theater.
00:18:50I took a picture around the world.
00:18:54They looked through the art of the front role.
00:18:59It's a religion.
00:19:01It was a method that I felt like I was at my career.
00:19:03Because I don't have to see that.
00:19:05So, it's a very similar thing.
00:19:07I've heard that.
00:19:09So, I'm going to see that.
00:19:11I'm going to see that.
00:19:13I was going to see that.
00:19:15I was going to be a lot harder.
00:19:17Maybe, that's why I got a feeling.
00:19:19Maybe, if I'm looking now, I don't have a feeling.
00:19:23There are characters and plots.
00:19:25There are grey shades.
00:19:29There is a relationship point between Mahanli and Mahanli.
00:19:40But in the climax, everything will be done.
00:19:46Everything will be done with S.J. S.W.R.I.A.K. and dialogue.
00:19:51Everything will be done properly.
00:19:56There is a drama between a man and a woman who is talking about a man and a woman who is talking about a man and a woman.
00:20:12At this time, there is a film called Karthik Tsubraj.
00:20:17This is the first one.
00:20:21The second one, you accept it. We will have a lot of work.
00:20:28There is a book on the other side.
00:20:31But I will justify a separate genre as Rajini.
00:20:35I will have a lot of work.
00:20:37You will have a lot of work with Rajini fans.
00:20:40There is a lot of work with everyone.
00:20:43First, Jigadhanda, first part.
00:20:46That's it.
00:20:47Mahan, Jigadhanda, first part.
00:20:50Mahan, Jigadhanda, first part.
00:20:54So, actually, you all have to touch the Jigadhanda,
00:20:56and then we'll talk about the last time.
00:20:58We'll talk about the climax.
00:20:59So, when I'm in college, we'll talk about it.
00:21:01It's hard.
00:21:02How did you think about the climax of the Sari?
00:21:05How did you think about the Sari Tappu?
00:21:12We'll talk about the Sari Tappu.
00:21:14No, the Sari Tappu was released.
00:21:17It was released at what cost.
00:21:20But the Sari Tappu was released.
00:21:23But the Sari Tappu was released.
00:21:27That's why I think the Sari Tappu was released.
00:21:30I think the Sari Tappu was released.
00:21:33After that, both characters and the Sari Tappu were released,
00:21:37I think that everybody worked on a good thing.
00:21:41From the Vijay Sethivadhi, there was a S.J.
00:21:46From the Sari Tappu, you father, your mother,
00:21:48you father and your mother did a collaboration with you father.
00:21:53You dad used a relationship with you father.
00:21:55You dad used a relationship with you father and you father.
00:21:58You dad used to do a relationship with you father.
00:22:00How did your mom do something like that?
00:22:08He didn't get hurt, he didn't get hurt.
00:22:10That's why he did a release.
00:22:12His mom saw his dad as well.
00:22:18All of them were very good.
00:22:21So, after that, they did a female artist.
00:22:25All of them were great.
00:22:27Everyone is super.
00:22:29That's all.
00:22:31Everyone is saying that they are a man who has a name and a name.
00:22:39We can see this political.
00:22:43At the same time, you can see all these male characters.
00:22:47You can see all these female characters.
00:22:53There is a lot of characters and there is a lot of characters.
00:22:56But if they all have a common issue, they will treat each other.
00:23:01So, there is a lot of issues.
00:23:04So, you can't get the climax of the story.
00:23:11But you can't get the experience.
00:23:14That's why you have a problem.
00:23:17Climax is a real situation.
00:23:19The story is not about to preach.
00:23:22The characters are the main thing and say,
00:23:24there is a lot of charges in to answering.
00:23:27I'm trying to answer the question.
00:23:28Just ask, you know what?
00:23:29We can say, please, please.
00:23:30But when you are reacting to the question,
00:23:33it is a privilege to think of a guy feeling.
00:23:36The guy thinking of a girl,
00:23:37he's a little rude and dry.
00:23:40Then the figure is,
00:23:42you can't believe it,
00:23:43so that's how you try to think about the thing.
00:23:45In the three angles,
00:23:48We have to go to jail without him.
00:23:52And if we are interested in the ups and downs,
00:23:54he has to go to jail at their relationship.
00:23:57He's got to go to jail.
00:23:59Then you take this relationship to the JSA.
00:24:02And then you take the JSA.
00:24:04When you have a friend,
00:24:06then you leave a friend.
00:24:08He's got to go to jail.
00:24:10He'll get that policy.
00:24:11That's easy to go with.
00:24:14He has failed to evolve back to that.
00:24:16We understand.
00:24:18I'm going to ask you the question.
00:24:20I have to ask you about it.
00:24:22I'm going to ask you all the questions.
00:24:24I've asked you to ask you about the answer.
00:24:26Let's ask you to make us to think.
00:24:28Let's look at all of you.
00:24:30I have a moral lesson.
00:24:32Once I have a moral lesson,
00:24:34I will chat you.
00:24:36I will ask you what the answer will be.
00:24:38I will ask you the answer.
00:24:40I will ask you to think.
00:24:42A subtext and an answer should be written as a subtext.
00:24:49There is one thing that I have to do.
00:24:51Freedom is part of freedom.
00:24:54Freedom is part of freedom.
00:24:57Freedom is part of freedom.
00:24:59It is part of freedom.
00:25:02We normally see that character is the case of life.
00:25:10But the answer is to answer the question and ask a question and then the answer is to answer the question.
00:25:19And he asked what he did and never knew what he did.
00:25:26Then he asked him of the answer when he went through the question and asked if he called the character.
00:25:37So, I'll show you life.
00:25:42That's what I've been told.
00:25:44Same, that's right.
00:25:46I'm not talking about the same thing.
00:25:49I'm not talking about the same thing.
00:25:51I'm talking about the same things.
00:25:53I'm talking about the same thing.
00:25:55So, what's the same thing?
00:25:57What's the same thing?
00:25:59What's the same thing?
00:26:01First, my pizza was in the 8th or 9th.
00:26:07Then, I'll talk about the same time as school.
00:26:10So, that's why I went to my family and pizza.
00:26:15Then, I went to the Jigarthanda.
00:26:19I went to the theater.
00:26:21I went to the Jigarthanda.
00:26:23I went to the Jigarthanda.
00:26:26But I thought that they're all the same thing.
00:26:31I didn't hear you.
00:26:33So, I was just saying that they're all the same.
00:26:35But now, they're all the same.
00:26:37And they're all the same.
00:26:39And now they're all the same.
00:26:42They're all the same.
00:26:44So, pizza and Jigarthanda are underrated.
00:26:47Underrated is not.
00:26:49They're all the same.
00:26:51From the commercial and Vimerson's review.
00:26:55Vemarsan is a commercial hit, but they don't have to work with a producer.
00:27:03They still have a problem with producers.
00:27:12But they are a great filmmaker and an extraordinary filmmaker.
00:27:15They are a great episode.
00:27:23In starting, they struggle to place a career in the beginning.
00:27:28Now they are going to place a career.
00:27:30Go with the show.
00:27:31I don't know if any of them is a blockbuster.
00:27:35Mainstream, everyone is going to play a game.
00:27:37They are going to play a game.
00:27:39They will play a game.
00:27:41They will play a game.
00:27:42They said they were missing interviews.
00:27:43Fans and fans are missing.
00:27:44But they are commercial.
00:27:45They will be able to register for that game.
00:27:47They are not going to play a game.
00:27:48They are going to play a game.
00:27:50I was able to get a personal experience.
00:27:53But I told them that they were doing the same thing.
00:28:01But when they reach out to reach out to reach out to reach out to reach out to reach out to reach out to reach out.
00:28:08That's why I was starting.
00:28:09Now I think there was a big reach out to reach out.
00:28:13I think I said underrated, Mahan.
00:28:16No, that was very underrated.
00:28:20I was telling Mahan, not the topmost Mahan.
00:28:24Even if they were talking about the show, they didn't come to the theater.
00:28:28We can't see them in the show.
00:28:31We can't see them in the show.
00:28:33We've seen a lot of publicbite reviews.
00:28:36Mahan is going to celebrate and talk about it.
00:28:41Maybe Mahan released in the theater?
00:28:43Yes, that's what you said earlier.
00:28:47But now in social media, I'm talking about the social media.
00:28:54And it's been a lot of work off.
00:28:57So that's why Mahan made a lot of work off.
00:29:00I started making pizza with a lot of pizza.
00:29:04My surprise was that we got a lot of success in China and we got it in the borderline.
00:29:13That's the issue.
00:29:16But as far as we did and a lot of work were completely different.
00:29:19So there was a lot of that problem and that's what we did and now it's a very good respect.
00:29:24It is a very good idea about how to deal with work.
00:29:29Expecting it is a success, but there is a potential for the work.
00:29:36That's what I'm saying.
00:29:38I have to get attention to my attention.
00:29:44I have to get attention to my attention.
00:29:47I have to get attention to my attention to my attention.
00:29:52I don't think I have to get attention to my attention.
00:29:57I can't get attention to my attention.
00:30:03I can't get attention to my attention.
00:30:04But I don't know what I said.
00:30:09It's clear that we are in writing.
00:30:12If we want to get extra mass elements, we will get to the box office.
00:30:18I'm not sure that's what I've done.
00:30:20That is correct.
00:30:23Yes, that's a conviction.
00:30:25In the climax of Lawrence's team,
00:30:27they had to fight and fight.
00:30:29There was a thought.
00:30:31Distribute as Producers Island.
00:30:33He told us that he could do it.
00:30:35He didn't get better.
00:30:37In the Tamil Nadu, he reached KGF.
00:30:39He didn't say anything.
00:30:41But he didn't say anything.
00:30:43He didn't say anything.
00:30:45He didn't say anything.
00:30:47He didn't say anything.
00:30:49He didn't say anything.
00:30:51He was able to do that.
00:30:53He didn't say anything.
00:30:55One more thing.
00:30:57Actually, I was talking about the first question.
00:30:59This is about writing.
00:31:03I mean,
00:31:05Karthik is a unique issue.
00:31:07He is one of the finest screenwriters.
00:31:11But,
00:31:13I think,
00:31:15there is a lot of screenwriting
00:31:17which is very strong.
00:31:19It's a good work.
00:31:21If you are in the current generation,
00:31:25there is a scene
00:31:27that is very fast cut.
00:31:29But,
00:31:31there is a film making style.
00:31:33But,
00:31:35there is a film making style.
00:31:37There is a scene
00:31:39that can hold and register.
00:31:41I think,
00:31:43that's a unique style.
00:31:45So,
00:31:46I will tell you.
00:31:47Yeah.
00:31:48Okay.
00:31:49So, next week,
00:31:50we will come back.
00:31:51Last week.
00:31:52Yes.
00:31:53You are the most powerful
00:31:55to talk about Karthik Sibaraj.
00:31:57The most important thing.
00:31:59I will tell you about everything.
00:32:00You know,
00:32:01I can't hear anything.
00:32:02But,
00:32:03you know,
00:32:04you can't hear anything.
00:32:05Do you see Karthik Sibaraj
00:32:06a comfortable zone?
00:32:08Do you know,
00:32:09how do you understand?
00:32:10I will tell you.
00:32:12There is a day-to-day life
00:32:14I will tell you.
00:32:15If you don't work,
00:32:17I will tell you a program.
00:32:19You already have the same name of the editor.
00:32:22But for you, we have the same name of the editor.
00:32:27We don't have to say any words.
00:32:31That's the matter.
00:32:33I don't know if you have two names.
00:32:36I don't have to say anything.
00:32:38I don't have to say anything.
00:32:40Then I'm going to go to Elial.
00:32:43It's set.
00:32:45I don't have to say anything about it.
00:32:51It's not easy to say anything.
00:32:54If you're doing anything, you're doing anything.
00:32:57You're doing anything.
00:32:59You're doing anything.
00:33:01You're doing anything.
00:33:03You're doing anything.
00:33:05That's why you're doing anything.
00:33:08That's correct.
00:33:10First, it's a personal choice.
00:33:14I'm going to ask the question.
00:33:16I'm going to ask the question.
00:33:18I'm going to ask work.
00:33:19They are going to make it work.
00:33:20When they're working on their own,
00:33:22they're going to collaborate with their own.
00:33:24They're going to do work.
00:33:26They're going to make it work.
00:33:27Everything their work will be perfect.
00:33:29If they're in the same way,
00:33:31they don't ask the question.
00:33:33I'm going to ask the question.
00:33:35If you're going to ask them,
00:33:37they will do it.
00:33:39So it's fine.
00:33:40I am not sure how you are.
00:33:42So, what are you doing?
00:33:44That's nice.
00:33:45You said that, its working style of your company, we couldn't get a question.
00:33:50But, as I mentioned earlier, it's a comfort zone.
00:33:55I have to use a new day for the first time.
00:33:59I have to go to the pay-times.
00:34:01Yes, I have to go to the pay-times.
00:34:03But, it's a new day.
00:34:05I think there is a great chemistry work and communication work.
00:34:12I think recently, in an interview,
00:34:15he said that he did a Zoom call and he did a composition.
00:34:22He said that he could talk to him.
00:34:24He said that he did a composition,
00:34:27but he said that he did a good work.
00:34:29He did a great work.
00:34:31So, that's why we have a lot of questions, it's a filmmaker's choice.
00:34:38He's a comfort zone, he's a lot of friends.
00:34:44Because of that, he has a lot of influence.
00:34:49A filmmaker, a technician who collaborated with him,
00:34:52he doesn't have a lot of editing, but music has a lot of influence.
00:34:55There's a lot of music in filmmaking treatment.
00:34:57It's a musical gangster film.
00:35:00It's a musical film.
00:35:03I don't know if it's a screenplay,
00:35:05there's a lot of reference music.
00:35:07There's a lot of film making and music.
00:35:11That's why Santoshanayran is up-talked.
00:35:14He's a lot of effortless.
00:35:16He's a lot of work.
00:35:18He's a lot of fun.
00:35:20He's a lot of fun.
00:35:22Next, we'll talk about characters.
00:35:24He's a character.
00:35:26We'll talk about characters.
00:35:28We'll talk about characters.
00:35:30He's a lot of fun.
00:35:32He's a lot of fun.
00:35:33So, he's impressed with each character.
00:35:36He's a lot of writing.
00:35:38What kind of character do you think?
00:35:40Mahan, Kram.
00:35:42Gandhi Mahan.
00:35:44What's your character?
00:35:45I think he's a daughter.
00:35:46He'll talk about her,
00:35:47what kind of character.
00:35:48I think we can play a story.
00:35:50I think he's a little crisp.
00:35:52His character is a man.
00:35:54He's so special.
00:35:55He's a part of my life.
00:35:56He's a parable.
00:35:57I think I want to be a part of my life.
00:35:59But, that's too much of a hard work.
00:36:01Because our life is changing.
00:36:02When you're a rookie.
00:36:03I'll be a rookie.
00:36:05The character is still in the same way.
00:36:09So, I think it's fine.
00:36:11If you tell one character, you can tell one character.
00:36:14Yeah, I can tell one character.
00:36:16If I tell one character, I will tell one character.
00:36:18This is an Anjali character.
00:36:20If I tell one character, the character is a very short time.
00:36:24If I tell one character, she will have an oscillation.
00:36:31The oscillation of a human mind is a very short time.
00:36:37If we know one character, the character is still in our culture.
00:36:41If we know one character, the character is still in our culture.
00:36:44It's a very slow change.
00:36:46When he comes to the first day, he will tell one character.
00:36:51He will have an affair.
00:36:55He will tell one character.
00:36:57You always read the story and read the same song.
00:37:01He will tell one character.
00:37:03Then, the character is still in the same way.
00:37:04He will tell one character is still in jail.
00:37:07But if he has not talked to a woman, you can judge him.
00:37:13If he can't talk to the character or pick one character, he will tell him.
00:37:17He can't do something until he calls the character.
00:37:21Isn't that funny?
00:37:28That one is Gandhi.
00:37:31It's just that Gandhi is in the moment.
00:37:34He's got to pick up a new character.
00:37:39He's got to pick up a new character.
00:37:44A new character.
00:37:46A new character will be shaped differently for that character.
00:37:50He's also a comic.
00:37:52We'll see how he's doing a little bit.
00:37:57As a kid, he's really good.
00:38:00He's a very different character.
00:38:05He's a guru shumbha.
00:38:10He's really good.
00:38:13I'm a gangster and he's a student.
00:38:16That's not authoritative.
00:38:18The character changed.
00:38:20He's a bit aggressive.
00:38:24He's a little bit aggressive.
00:38:28He's very worried.
00:38:30He's a bit scared.
00:38:32He's a fan.
00:38:34He's a fan.
00:38:38He's a fan.
00:38:40He's a fan.
00:38:42He's a fan.
00:38:44It was a fan.
00:38:48He's a fan.
00:38:50Come to me, he's a fan.
00:38:52Next, he's a fan.
00:38:56You have a help-less protagonist.
00:39:00You can do a character very vulnerable.
00:39:04You are someone who can run a hero.
00:39:06I'm a fan.
00:39:08I'm a fan.
00:39:10So, he's very vulnerable.
00:39:11So, they were very vulnerable.
00:39:14He was very scared and was beaten up in front of him.
00:39:18But if he was 100% conscious, he didn't get a lot of trouble.
00:39:23But still, he was talking about it.
00:39:25So, he was talking about it.
00:39:27He was talking about it and he was talking about it.
00:39:33So, he was talking about it.
00:39:36So, he was in the show.
00:39:38I am registered in the thoughts.
00:39:40The characterization of me is they give me direct contact.
00:39:43I still have to know I'm normal.
00:39:48I don't know if I'm given anything.
00:39:51But I still have to know that's one's feelings.
00:39:53That's the character.
00:39:56The character is also written.
00:40:01The character has just written an arc.
00:40:04I like that, especially when taking a single take shot.
00:40:11Caused a casualty and a baggie.
00:40:15In this game, I wrote a paper that got rid of me.
00:40:21I called that paper if I was a casualty and I was going to work on it.
00:40:30He was going to go to the bathroom and he was going to get a car and he was going to go to the bathroom.
00:40:38He was going to get a phone.
00:40:44He was going to get a camera and he was going to come and say,
00:40:53Come and check your friend.
00:40:57They can see the camera and see them.
00:41:03They can see the camera and see them.
00:41:08They can see the camera and see them.
00:41:11They have to see them.
00:41:14They can see them and see them get in the cash flow.
00:41:19In a short video, there was a character that designed the character.
00:41:28The cinema.
00:41:30There was a character in the second half that you had to do it in the second half.
00:41:36So, you believe in the first half. You saw a path in the first half.
00:41:43Then, if you look forward to a second off middle, you will be able to move on to a second off middle.
00:41:55So, you said that you were able to move on to a second off middle.
00:42:01Then, you made success.
00:42:04So, that's it.
00:42:05The characters, the arcs, the writing, all the characters are blended.
00:42:10So, there are many characters that I told you about, and I think SJ is a character.
00:42:17But in that case, women and men characters are very unique and unique.
00:42:24I told you that all men characters are very unique, but all men are very unique.
00:42:35So at that time, S.J.R. is very dark.
00:42:41So at that time, I'm going to say S.J.R. is very dark.
00:42:46Everyone told me.
00:42:48I told S.J.R. is an Assault S.J.R. character, but I told S.J.R. is an Assault S.J.R. character.
00:42:53When I told you about this, he is a Michael character.
00:42:57He is a big fan of Existence and Trace.
00:43:00He is a living relationship.
00:43:02That's why I'm a Jillian.
00:43:05And then he's a person who's an Assault S.J.R. is an Assault S.J.R. character.
00:43:09But he has an effect on what he's doing to do to do to see the future.
00:43:12He's a very big fan of J.R. will go to jail.
00:43:14He's a big fan of J.R. and he's a big fan of J.R.
00:43:17And he's a man of Assault S.J.R. character.
00:43:22So that's the same thing.
00:43:24I thought that's a very big character.
00:43:27I was very excited about his performance.
00:43:28There is a band called S.J. Surya.
00:43:32He is Michael and he is a good guy.
00:43:35He is a good guy.
00:43:37He is a good guy.
00:43:41He is a good guy.
00:43:43He is a good guy.
00:43:46He is a good guy.
00:43:48For my point.
00:43:50As fans of Kalisubaraj.
00:43:52There is an idea.
00:43:54There is an idea for him.
00:43:56If you are a guy or a guy or a guy or a guy,
00:43:58he will do it.
00:43:59From that point.
00:44:01He is a guy.
00:44:03This is more than a guy.
00:44:05I don't know if he is a guy.
00:44:08I don't know if he is a guy.
00:44:10He is a guy.
00:44:13This is a guy.
00:44:15I don't know if he is a guy.
00:44:18There is a lot of marketing, business-oriented, but it doesn't matter.
00:44:25It's a lot of recent, a lot of vying karma.
00:44:30It's not a chance to talk about it.
00:44:33The director says, I'm going to do it.
00:44:36That's why I work the movie.
00:44:39First, it's their choice.
00:44:42It's one of the most important things.
00:44:45Next, we need a budget.
00:44:47We need a big star.
00:44:49I'm going to do it.
00:44:51It's a big star.
00:44:55It's a big star.
00:44:57So, it's not a big star.
00:44:59It's the only star.
00:45:01It's the only star.
00:45:03They're doing mainstream actors.
00:45:07I'm sure.
00:45:09They're doing a big star.
00:45:11They're doing a big star.
00:45:13And they're doing it.
00:45:17They're doing mainstream films.
00:45:19They're doing a budget demand.
00:45:21So, it's a big star.
00:45:23I think that's a choice.
00:45:33I'm talking about the two things.
00:45:35If you want to do it, you don't want to do it.
00:45:40I don't know if you want to do it.
00:45:43I think that's a script that's a demand.
00:45:47If you do sci-fi, you have a budget for a small unknown faces.
00:46:00If you do it for me, you have three faces.
00:46:06If you do it for a small unknown faces, you have three faces.
00:46:09If you do it for a small unknown faces, you have a budget for a small unknown faces.
00:46:21But at the same time, you do it for a small unknown faces.
00:46:30I think that you are going to be a superhero with a small unknown faces.
00:46:34I would fine with their own faces.
00:46:37Like Ranjit did thehu Kabali,
00:46:42then of course, he did a very nice film.
00:46:46He did a great job.
00:46:48In the same time, you even had a great personal explaining and exploration.
00:46:56So that's one of your choices.
00:47:01We can do it and do it.
00:47:04And yeah, even with the sci-fi,
00:47:09we can do it with the pay-e-ros.
00:47:13That's a very good situation.
00:47:15If we don't do it, we can't do it.
00:47:18We can't do it.
00:47:21We can't get an exception.
00:47:23If you're interested in an amateur,
00:47:30it's a movie.
00:47:32You'll find a film.
00:47:35If we don't understand what you're doing,
00:47:37we can't do it.
00:47:39If we don't watch the first film,
00:47:43we'll do it.
00:47:45But we don't have any compromising here.
00:47:47We don't have any compromising.
00:47:49I don't have any part to fight.
00:47:51We can't fight anymore.
00:47:53We can't fight anymore.
00:47:55We can talk about a fight making.
00:47:57We can talk about it in XX and in Lawrence.
00:48:01We can talk about the theatrical moments.
00:48:05We can talk about the musical moments.
00:48:07But we can talk about the musical moments.
00:48:09We can talk about the musical moments.
00:48:13We can talk about the musical moments.
00:48:17There are interval sequences.
00:48:19There are many short shots in XX.
00:48:23Irrespective of the stars,
00:48:25there are a lot of moments.
00:48:27There are many moments.
00:48:29It's not all that collaboration.
00:48:31We can talk about the stars.
00:48:33I told you a point.
00:48:36Lawrence Master said that.
00:48:39Lawrence Master said that.
00:48:42First, he was in a song and sang his first dance.
00:48:49The first chance of him being a dancer, he was a dancer.
00:48:53He was a dancer and said that he was going to go to Lawrence Master and he was going to go to Lacey.
00:48:58He was a dancer and he was able to give a little bit to him.
00:49:04He said he was like, how are you?
00:49:07He said he was like, how are you?
00:49:11He said he was like, how are you?
00:49:14So, he was convinced that he was a star, unknown face, and he was able to show his performance.
00:49:22So, that's what I've been talking about.
00:49:24So, you've got a script for Vigneshwarupain.
00:49:28So, you have an idea that Kaji Subraja is a hero and he will be able to do it with a wave.
00:49:37That's what I want to say.
00:49:38You said Ajit sir.
00:49:40When he was in an experimental film, he was ready to do Kaji Subraja.
00:49:45He was able to do all the screen presence and film making style.
00:49:50Ajit did too.
00:49:51But there is no way to do Ajit and Vijay.
00:49:53That's why I told Vijay.
00:49:55Yeah, Vijay sir.
00:49:59I don't know.
00:50:01It's all the choice.
00:50:03It's all the choice.
00:50:04It's all the choice.
00:50:05It's all the choice.
00:50:07It's all the wish.
00:50:08It's all the wish.
00:50:10It's all the combination.
00:50:12I don't know.
00:50:13Kamal, SDR.
00:50:16I told Rajini too.
00:50:20It's all the family.
00:50:22Rajini and you are the one who did it.
00:50:25It's all the choice in.
00:50:26I'll see him in the first day of the show.
00:50:28I'm Rajini.
00:50:30I will tell you.
00:50:31You're trying to get the vibe in the room.
00:50:33There's a lot of stories in the room.
00:50:35There's a lot of news.
00:50:36You can't even click on the list.
00:50:39There's a pitch.
00:50:40I don't think it's a good thing.
00:50:41I can't say anything about that.
00:50:43I can't say anything about that.
00:50:45I can't say anything.
00:50:47I don't think that's enough.
00:50:48Okay, fine.
00:50:49So, let's talk about their character.
00:50:51Commercial.
00:50:52Now, we're seeing the Cinematic Universe.
00:50:54It's a trend.
00:50:56If we have a Cinematic Universe,
00:50:59what would you do to think of this character?
00:51:02Wrong question to the wrong person.
00:51:05I don't have any answers.
00:51:08You're in MCV.
00:51:11But actually,
00:51:14the high that's the Avengers N Gamer,
00:51:18but after that,
00:51:20the high is a little higher.
00:51:22We can't say anything about that.
00:51:25You don't know how to force feed.
00:51:28That's a problem.
00:51:29That's why it's organic.
00:51:31No, I'm sure.
00:51:32I think it's a soul with the organic.
00:51:35There is also a soul that connects you.
00:51:37You can see that when you come in, you have to come in, you have to come in and come in.
00:51:40But I think it's very fascinating to me.
00:51:45If you want to come in, you will have to come in.
00:51:48If you want to come in, you will have to come in.
00:51:51If you want to come in, you will have to come in.
00:51:55It's a spiritual sequence.
00:51:56Yes, that's correct.
00:51:58If you want to come in, you will have to come out in a new genre.
00:52:02It's like a new genre, a new genre, a new genre, a new genre.
00:52:06It's a real genre, a new genre, a new genre, a new genre, a new genre, a new genre.
00:52:13It's different.
00:52:15As you see, it is a superhero.
00:52:18If you want to come in, you will have to come in.
00:52:21There are two extremists.
00:52:23You can see what are some art.
00:52:27So, if you have an extremist art and haste, you can't eat it.
00:52:36Do you have any difference between us?
00:52:39I don't know how much of this is.
00:52:44I mean, you know what I mean.
00:52:47I mean, there are a lot of interesting characters.
00:52:51There are a lot of characters.
00:52:53Maybe there are a lot of different characters.
00:52:57Maybe there are a lot of female characters.
00:53:03There are a lot of fascination.
00:53:06I don't know if I can do anything.
00:53:08But I don't know if I can do anything.
00:53:10If I can do anything, it will be easy to do anything.
00:53:13We can't do anything.
00:53:15We can't do anything.
00:53:17The universe is a gimmick.
00:53:21It's exciting and there is a lot of cool stuff.
00:53:24We can enjoy that.
00:53:26We can't do anything.
00:53:28We can't enjoy an essential factor.
00:53:30It won't be a big part of that.
00:53:32You will always say,
00:53:33does it still exist in a world?
00:53:34Look, the same thing,
00:53:35but we can't do anything.
00:53:36If you try,
00:53:37when you make a difference,
00:53:38you might want to do something.
00:53:40Maybe you might want to change the character,
00:53:42even if you come along with that.
00:53:43You cannot do anything value,
00:53:45but do that.
00:53:46I don't think we can't do anything.
00:53:48Okay, fine.
00:53:49We have a big deal.
00:53:50We can't get a big deal.
00:53:51We can't get a big deal.
00:53:52Karthi Subraaj has a big boom.
00:53:54He's got a name in Tamil cinema.
00:53:57He's got a name in Tamil cinema.
00:53:59He's got a new manirath.
00:54:01He's got a new manirath.
00:54:03If you can get a compliment,
00:54:05he's got a new manirath.
00:54:09That's a great compliment.
00:54:11He's done a standard set.
00:54:13If you say,
00:54:15you're going to go and get a director.
00:54:18I'm going to talk to him as a director.
00:54:20He's been able to establish a director with a very strong identity.
00:54:24He's got a film.
00:54:26He's got a period of cinema.
00:54:28He's got a flavor in the K-PAL.
00:54:31He's got a treatment in a drama way.
00:54:34He's got a different pattern.
00:54:36He's got a very popular.
00:54:37He's got a very popular.
00:54:39He's got a different dialogue.
00:54:40If we talk,
00:54:41we're going to talk about the K-PAL.
00:54:42He's got a very realistic treatment.
00:54:44With this,
00:54:45that he was used by the cinema and the music,
00:54:47he's got a special artist.
00:54:48If you don't know all of the things like that,
00:54:49he's got a special artist.
00:54:50He's got a very special artist.
00:54:51He's got a very challenging character.
00:54:53He's got a very strong artist.
00:54:55So,
00:54:56he's got a special artist.
00:54:57He doesn't give a professional identity.
00:54:59We celerate a great actor in that film.
00:55:01So,
00:55:02he takes a ton of different things.
00:55:03He wants to compare him a very large character.
00:55:04He gives a great compliment.
00:55:05The craft is very serious.
00:55:07Let me tell you a point.
00:55:09Let me tell you a little bit.
00:55:11There was an interview.
00:55:15That's why Manos Paramoaz.
00:55:19He was a designer designer.
00:55:21He was a designer designer.
00:55:23You are currently in the current generation.
00:55:29There are easy access cameras.
00:55:33The color grading software is easy access.
00:55:39It is visually appealing to you.
00:55:43You know what you are saying.
00:55:45They are telling you.
00:55:47We don't have PCSRIRAM and Santoshivans.
00:55:53We don't have a camera equipment in Hollywood.
00:56:01Because they are in a visual fashion.
00:56:09A visual style and craft.
00:56:11A filmmaker.
00:56:15A filmmaker at that time.
00:56:17That shows how it is different.
00:56:19All of the films are different, but the whole package, a craft, a proper film is presented to you as a manierathnum.
00:56:27In addition, all of the filmmakers created a new voice.
00:56:33I mean, a manierathnum and Kathik Subraju are totally different in a philosophy.
00:56:39A manierathnum is very poetic, very light-hearted, very poetic, very humanity based on the visual style.
00:56:59So, a manierathnum, Kathik Subraju is one of the similarities.
00:57:06Maybe a similar idea is this.
00:57:09So, a director is a lot of crafters, a lot of serious work.
00:57:13A manierathnum, a manierathnum, a manierathnum, a manierathnum, a manierathnum, a manierathnum, a manierathnum.
00:57:21So, the credits, Kathik Subraju can be found in that film.
00:57:28So, now all of the filmmakers have been a lot of crafters seriously, so,
00:57:33and then, Kathik Subraju is a great film.
00:57:37I mean, Kathik Subraju is a fan of Kathik Subraju.
00:57:40He's a fan of his references.
00:57:42He's a fan-buy, and Kathik Subraju is a manierathnum.
00:57:45He's a manierathnum.
00:57:46He's a manierathnum.
00:57:47So, Kathik Subraju is a manierathnum.
00:57:49He has a manierathnum and he has a manierathnum.
00:57:52His film has been a great film.
00:57:56The more modern and stars have been found in the film.
00:57:58He's a manierathnum.
00:58:02He's a manierathnum.
00:58:03He has a very popular film.
00:58:08Now everyone is doing pre-production work.
00:58:13But at that time, we had a lot of importance to pre-production.
00:58:20I had an attempt to attend a workshop.
00:58:25I had a lot of incident.
00:58:29I had a lot of incident.
00:58:33In the beginning of the movie, we had a lot of pre-production work.
00:58:38We had a lot of work in the set.
00:58:40We had a lot of characters.
00:58:42We had a lot of plans.
00:58:45We had a lot of pre-production work in Karti Subaraj.
00:58:51He was a propensity designer.
00:58:58He worked on the storyboard.
00:59:01In the end of the movie, we had a lot of people.
00:59:06We had a lot of work.
00:59:10I have a lot of questions about my work.
00:59:16We have to get a lot of experience.
00:59:23I think it is an artist.
00:59:27Every artist has their own sensibility.
00:59:33Then the idea is that everyone will come to the same person and their friends will go to the same person.
00:59:42They will go to the same person and they will go to the same person.
00:59:47So if you're a person who is a member of the Muslim world, who are a member of the Muslim world, who is a member of the Muslim world, who have their own voice, who are a member of the Muslim world, who have the Muslim world.
01:00:01So, if you want to talk to Karthik Subaraj, it's not the name of Karthik Subaraj.
01:00:08So, if you want to talk to Karthik Subaraj, it's not the name of Karthik Subaraj.
01:00:18So, if you want to talk to Karthik Subaraj, it's not the name of Karthik Subaraj.
01:00:36So, if you want to talk to Karthik Subaraj, it's the name of Karthik Subaraj.
01:00:40So, when you look at Karthik Subaraj, it's the name of Karthik Subaraj.
01:00:48It's more like, their film grammar and structure is classic.
01:00:54Camera, static, characters, shape and stage.
01:01:04So, I'll tell you about Karthik Subaraj.
01:01:09After that, you have instructions from Karthik Subaraj and you can learn about Karthik Subaraj,
01:01:13and also, in the name of Karthik Subaraj, I saw you.
01:01:16So, in the name, Karthik Subaraj got spoken to Karthik Subaraj and said it's also the name of Karthik Subaraj.
01:01:23Then the name of Karthik Subaraj was at a different location of Karthik Subaraj.
01:01:26So, what I wish you'd like to find more about Karthik Subaraj.
01:01:31But, you always like that the Karthik Subaraj is a real culture and the passion.
01:01:34You hear the name of Karthik Subaraj is that it has been in the industry.
01:01:38But now, Nilsen and Lokeshkan, do you think that you have a fame in the Karjish Kapalaj?
01:01:45No, it's not that one.
01:01:48If they have any fame, they can't work.
01:01:52They don't work.
01:01:53They don't work.
01:01:55They don't work.
01:01:57They don't work.
01:01:59They don't work.
01:02:01They don't work.
01:02:03They don't work.
01:02:04They don't work.
01:02:06I think they don't work.
01:02:08But they don't work.
01:02:09There's a lot of film makers.
01:02:12They're doing good.
01:02:14They're celebrating.
01:02:16I think that's okay.
01:02:18Nilsen and Rajani are doing it.
01:02:21They're doing it.
01:02:23They're doing it.
01:02:25They're doing it.
01:02:27They're doing it.
01:02:29I don't know if they have any questions.
01:02:32Maybe it's a generation difference.
01:02:36But, Karthik Subraja is a time.
01:02:40Maybe one of them is a market value.
01:02:44One of them is different.
01:02:46They're different.
01:02:47They're different.
01:02:49They're different.
01:02:50And they're different.
01:02:52They have to do it.
01:02:54They're different.
01:02:55And they don't work.
01:02:57But, they get either.
01:02:58They find some less.
01:02:59And if they're comfortable,
01:03:00they have to take it.
01:03:01You're a middle star.
01:03:03So they're going to take a chance.
01:03:04So they can go over to the market.
01:03:06So I can do it.
01:03:08So I can do it.
01:03:09I can do it.
01:03:10Okay, fine.
01:03:12I think they can't accept fame.
01:03:17If we register the fame, we can register the numbers.
01:03:21No, now, Nelsen and Lokeshkanagaraj are also trending.
01:03:24They are also trending.
01:03:26They are improving.
01:03:30But in the case of that,
01:03:31there is still a lot of stuff.
01:03:33I don't know.
01:03:35While he has a lot of stuff,
01:03:37I think, it's a lot of stuff.
01:03:39It's interesting.
01:03:41I don't know if it's a lot of stuff.
01:03:43It's interesting because we have a lot of stuff.
01:03:45It's interesting.
01:03:47But when we have our production company,
01:03:49we have no need to do that.
01:03:52It's interesting.
01:03:54There's fame!
01:03:56That's the best thing to do.
01:03:58Okay.
01:04:00That's the last point.
01:04:04I'll try this out.
01:04:08First, I'll tell you,
01:04:10I'm saying fame is that
01:04:12I'm telling you a person who's been talking about
01:04:14because
01:04:16Lokesh
01:04:18and Kamal
01:04:20and Rajini
01:04:22and Nelson
01:04:24and also Rajini
01:04:26and Rajini
01:04:28and they are doing
01:04:30the first time,
01:04:32and I'll tell you
01:04:34I don't know
01:04:36but maybe
01:04:38generation
01:04:40difference
01:04:42Karthik Subraja
01:04:44was in 2010
01:04:46and
01:04:48that time
01:04:50was in 2012
01:04:52so
01:04:54that time
01:04:56was in
01:04:58that time
01:05:00and
01:05:02that time
01:05:04was in
01:05:062015
01:05:07and
01:05:08there's a lot of
01:05:10films
01:05:12so
01:05:14that time
01:05:16was in
01:05:175-6 years
01:05:18maybe
01:05:19Karthik
01:05:20was in
01:05:21this time
01:05:22and
01:05:23maybe
01:05:24the line-up
01:05:25was in
01:05:26line-up
01:05:27and
01:05:28that time
01:05:29was in
01:05:30that time
01:05:31was in
01:05:32that time
01:05:33so
01:05:34we can define fame
01:05:36and
01:05:37yeah
01:05:38and
01:05:39location
01:05:40location
01:05:42so
01:05:43location
01:05:44location
01:05:46and
01:05:47they
01:05:48are
01:05:50retro
01:05:52and
01:05:53they
01:05:54are retro
01:05:55so
01:05:56that's why
01:05:57they have
01:05:58location
01:05:59and
01:06:00they have
01:06:01some short films
01:06:02and struggle
01:06:03and
01:06:04small
01:06:05budget
01:06:06graph
01:06:07and
01:06:08you
01:06:09have
01:06:10a
01:06:11hero
01:06:12and
01:06:13graph
01:06:14gradually
01:06:15that's
01:06:16difference
01:06:17in fame
01:06:18I don't know
01:06:19the difference
01:06:20maybe
01:06:21you have
01:06:22two
01:06:23and
01:06:24you have
01:06:25that factor
01:06:26and
01:06:27maybe
01:06:28Karthik
01:06:29is
01:06:30you have
01:06:31two
01:06:32points
01:06:33so
01:06:34that's
01:06:35that's
01:06:36that's
01:06:37that's
01:06:38that's
01:06:39that's
01:06:40that's
01:06:41how
01:06:42the
01:06:43that's
01:06:44that's
01:06:45so
01:06:46that's
01:06:47that's
01:06:48why
01:06:49we can calculate fame
01:06:50that's
01:06:51so
01:06:52okay
01:06:53super
01:06:54so
01:06:55we have a couple of things
01:06:56so
01:06:57we have a couple of time
01:06:58so
01:06:59please
01:07:00tell
01:07:01you
01:07:02see
01:07:03So, thank you all for being here.