Alia Bhatt, Vedang Raina & Vasan Bala Interview With Anmol Jamwal | Jigra

I was in this feeling of protection and I wanted to even see a story of a loved one protecting their loved one. Maybe that's what I also wanted to see as an audience. For me, she made it very easy. She made it very collaborative and in general, you were just very nice. Thank you. Who is ready to take the blame for all the things that have gone wrong? I think only that person takes all the blame. Cool yaar to see a woman fight and really fight and you not really have to think that this is a woman fighting. I am that person who like hears renditions of songs and I'm like, ya original ko khada kar gaya. Not many people know this but Pankaj Tripathi was actually my mentor for that whole one month. When audiences don't end up or dislike your film or the comments that you read, you don't blame them. I want the audience to see the film visuals. If we are already exhausting ourselves within reels, why will they come to the theatre and watch us? No one knows anything. Please make the film. Don't be stuck with only one ideology. Make that film. You don't get to make it every day. Hello guys. Congratulations on the Jigra trailer dropping. 11th October in cinemas. I wanted to start Alia with you first. I was seeing your interactions recently and you were talking about fate working its magic that you and Vasant met and you having this protective sort of tiger energy at that point with Raha being in your life. I wanted to first ask you just from an anecdotal perspective, how did these two worlds collide? Karan has a huge hand to play in this. Vasant and Karan had met and I think after Monica, Karan was very interested in like bringing Vasant into Dharma and doing a film together with him. And then he's been following his work for a while of course. So it kind of came together also because of Soumen who knows Vasant very well. So they kind of came together and discussed what kind of film Vasant wants to make next and he had this idea. And I guess then he had an idea of who he wanted to do the film with. No. So I had written a very set up of a very stream of consciousness part, sent it to Karan. And like I think six, seven hours later he called saying I've already sent it to Alia and I was really not happy with it. I was like I would have at least done some spell check, grammar check, hygiene, you know written some very nice hero entry. My memory we met first, you told me and I told you because I remember we were talking about some javelin throw. Yes, yes, yes. No, no we met after that email, after you did that email. So Karan said, so that email was sent I was like why did you do this? He's like no, no this is how it works. Then he said okay in a couple of days we meet, I think December you were free, some It was one month after giving birth. Yes correct or maybe Jan. So then I was home and before coming he said okay just narrate the story and I didn't have the second half. Then I just made that climax up while coming to meet her. Are you serious? You made that up? Made that up in the sense what we were discussing. Okay we won't talk about what he said. We won't talk about what he said but actually it was just something very like, I responded when I read the first half, that's when I responded. Because I I just was not expecting it I guess because he didn't reveal much in the meeting but even I was very intrigued and I really liked his work and I was like okay it'll be maybe cool for us to collaborate but I need to read the script. So my first response to him after he sent me the first half was where's the second half? Because I'm like I'm not feeling complete like I need the second half and I chased him for one month for the second half and then it came together. Was there a organic reaction because of the sibling core that really hit you? Yes. Also there was some sort of guts in the whether the way it was written in the writing in the moments. I use the word guts or whether it's audacity I'm not sure that it really struck me as like this is a very original voice and that moment actually where I felt like I when you know there's always a moment when an actor is reading the script when they know that they're doing it and they're into it and that moment was it's there in the trailers when she's eating in the plane. Now where and why and when you arrive at that moment you see so in the film but even when you see the film it punches the same way and it punched for me even on paper. So even when people tell me that they love that moment I feel so happy because I'm like as an audience I responded to that moment. I just felt that his voice is very original and I'm like wow something fun will happen together. It seems very organic as the process went by. Vedang I wanted to ask you you know the unanimous perspective is that whoever's cast them as siblings needs a raise because they really do look like siblings and I wanted to ask you you know your first stint with a feature film was with mostly newcomers. Now you're in The Ringer with experienced folk. What was your creative collaboration like and as a co-actor like what have you learned from Alia? So obviously it was a very different experience because Archie's was a group of seven people who were just starting off, learning everything together, cheering each other on, visiting each other on days when they're not shooting also. This is like a fun group of people collaborating and trying to do something good. This is a very different thing because I was put right into the mix and now I'm playing this character that's a bit challenging more than what I did in the first film and the first day I come to set it's my scene and so all these things are a bit intimidating at first but I think what made it easy was him and her the way just the environment she's set on set for me she made it very easy. She made it very collaborative and in general you were just very nice which is it's a bit scary at first but she made it seem she was very easygoing as a person also. So I think after that first scene we did together I felt like okay fine it's not as scary as it seemed in my head and then from there yeah I think I just I got to learn his ways over the course of the film. He's also he's also not very predictable. Everything changes on the day. In the moment. In the moment while the scene is happening one take happens and then he says I'll see this in the next take. I'm like where's the paper? So you have to get used to used to all these things and yeah I think I've really grown a lot because I only had to learn from everyone this time and yeah. That's great you know you're put in this challenging environment so early on I think that's always a blessing for an actor. Vasan I wanted to ask you what I find slightly frustrating on online discourse with say films coming out is anything dependent on the genre it is is dismissed as a derivative of something that's already popular. So you know you've got a from the trailer at least a prison break story, a sibling bond and I'm already seeing sort of parallels people try to create. I wanted to ask you from a cinephile yourself is every movie a and can anything in today's world really be original? Original is I think is for the moment because or for the moment and depending on the larger discourse as to what their current knowledge is also. Like you know they wouldn't know who Sissel B. Dimmel is or they wouldn't have even watched Raj Kapoor or even Gurudwara. So their knowledge is limited to what they have experienced in their lifetime and they are more active on this discourse. So either it is derivative or it is original according to their mindset and you know the push that they are giving towards it. Otherwise everything has been done before. All great camera moves have been done before or great stories have been done before. Giants have walked this path and we're nothing no one is. That is the fact and we are experiencing it in a way in a fresh way because we are existing now in the now. But otherwise everything is directly derivated everything has happened and so that there's the originality is more than a fact it's an emotion. If you look at it as a fact then you can you know you can decode it and you can bring it to its bare minimum. Facts which won't be as as hitting as if you decode it as an emotion. If you are experiencing something for the first time then that's an original emotion you experienced. But if it's a moment has been done million times it's just how you're looking at it. And for Alia I think with every film movie we have never seen before. So how do you decode that as well? That's a great compliment. So yeah yeah you know so even with Ganguba it was never seen before. With Darlings it will be never seen before. I think she's making those conscious choices so and even for Sridevi it was never seen before. Like has it not been done it has been done. But this generation is experiencing an artist in a certain force doing things one after the other. You know there is that phase. True. And I'm lucky to be in this space. Yeah you know I must say from the trailer and you can correct me if I'm wrong Alia. I wanted to ask you I see glimpses of you in these action sequences and that's something that when I see your filmography is something that probably I'm seeing glimpses of in Jigra probably it'll be on another scale in Alpha. Is that something that you do want to flex in your acting repertoire as that I can kill it in this genre as well? Yes and no. So I'll answer this in two parts. That Jigra to me what stood apart from the situation that these characters are put in and what that will lend to is sort of like an action piece. What connected with me was its vigor and its emotion. Right. And it's not like I was like oh in this film I'll do action and I'll show people. It's not that. I was just like I've mentioned this before I was in this feeling of protection and I wanted to even see a story of a loved one protecting their loved one. Maybe that's what I also wanted to see as an audience and this script came to me and I was like wow it'll be so great to actually play that and be that. Rajamouli sir said this to me once is that action is maybe the pillars and the you know and the walls but if the foundation of the building is not strong and that foundation being your emotion the building will just collapse. So what stood out to me first was this. I swear to God when we used to reach set Vasan would say this this this. I was like we have to do so much action. We didn't even know this. So all this fighting and this and running. I didn't even rehearse for it. So it was not as important with this film. What drives it was more important. What drives it is the need or what needs to happen. Alpha is a completely different story. Yes that I will answer that I myself feel like my body type, my body language or maybe the perception is that oh how can she hit people and like how can she fight anybody. I also have that perhaps about myself. I'm like it's cool to see a woman fight and really fight and you not really have to think that this is a woman fighting. It's just a human being fighting for whatever xyz reason. So that's a different story and like why and how that come together it's also very cool and interesting. So yeah that's why the answer was yes and no. That makes sense. Vedank I just wanted to understand what your psyche is right now because I wanted to know are you just being a sponge and seeing your surroundings getting in as much information as you can and learning in the process and like when you're on set are you also like hesitant to speak your mind because you are come from a perspective that I'm only two films old I just need to be a learning pad at this point. Where are you right now? So I would have felt like that if not for the two of them. I think they made me feel very involved and made me feel more important than I am in that set environment and I did have a say in terms of I had an opinion to give and then it was either respected or said okay no we'll do it some other way which is the best space to be in as an actor and I did have that in this film but obviously I was basically just soaking everything in because I'm actually literally only two films old and the second film is where a lot more learning happened and I think the first film is always a very different kind of experience because I think you're a bit more scared. I think you open up a bit after your first film so I personally at least for me as an actor I think I explored a bit more in my second film and yeah I was taking everything in because I had the privilege of being with the most amazing set of people and yeah I think basically being a sponge on set and taking everything in. But I think Vasan and I also very early on knew that it's very important for Vedang to work in the film because he is the Jigra. It's Vedang Raida in and as Jigra pretty much so if he doesn't work the film doesn't work because what she's fighting for is him so when we saw even like just glimpses of Archie's or just like a vibe it was just very like clear that he will speak his mind and he has an opinion and he has a take and he's whatever and but he's also does it very unknowingly and coolly and then he also has a prep and like so that's something that I think we really enjoy. Just soak it in Vedang. Very young age he also comes from a very academic mindset. He likes to break things down, likes to be more prepared so which is also helps because I think we go in a certain flow and yeah that's true. He really gives us tear out. So which is also great coming that push and pull everyone in fact even Manoj Pawar, yeah every Vivek Gomber, everyone like in fact you just see a glimpse of this one person being stormed in the trailer like I had he just has two scenes and I have like maximum conversations with him more than Alia. Vasant, around the same umbrella I wanted to ask you you know recently Karan was speaking about the distance the director should have with the final edit of their film because they're too close to the material. What's your assessment regarding the same? So interesting question but I feel the one who is ready to take the blame for all things have gone wrong. I think only that person takes over the edit. Okay. You know and in a very practical sense is because your technicians will actually tell all the correct things to you. They wouldn't be wrong but it's your decision to go wrong and either that wrong leads to an interesting moment, it leads to magic or it leads to downfall. I think that you have to be ready to take. Take the onus. Take the onus to fail. Having taken that wrong decision and all the technicians around Prerna who's the editor, Swapnil, Kunal who's the sound even till last night I was being yelled at by Kunal. So they all tell me the right technical things, the right emotional things also but then the decision has to be as to like what way are you taking and there always won't be a correct explanation or an articulate explanation but sometimes you just have to go with the flow and then you'd be like you know. That personal responsibility I think that many people should take. I see some interviews where a lot of deflection does happen which is slightly frustrating. No it's a director's and I think no matter what and anybody might say I think the person who lives and breathes and eats and makes the film and takes all the blame also the director but takes the least credit because everybody else is doing that. It's a director's media. And also I think coming to what you're trying to say is the last thing you should blame is the audience. I'll come to that sir because I have something to ask you regarding the same. You know of the flow state that you were talking about that you and Vasan almost were like in their own zone. I wanted to ask you Alia you know I've always wanted to know you've also played characters you've probably never interacted with in real life before you got that role. You say that you're very instinctive before you get into these characters. You know when I think about Gangubai when I think about Urta Punjab these characters are something that I believe you authentically portrayed. But how did you get there? How did you almost reach there when you've never really seen these people? So I wanted to ask you from a process point of view because you say you're instinctive but then it makes me think that these roles need prep. Roles that have any sort of dialect or body language involved like Urta Punjab did I did a one month prep for that vis-a-vis the Bihari dialect the twang and I didn't speak much in the film. So that one monologue also that I speak I actually just rehearsed that for one month. Not many people know this but Pankaj Tripathi was actually my mentor for that whole one month. This is before Pankaj Tripathi he was always Pankaj Tripathi but before he blew up I got one month of like just him every day giving me like acting exercises and stuff. Also I prefer when you talk about process I just I don't have a distinctive process I actually prefer to just adapt to my director's process. So for example for Jigraa we met once together before the film before our first day and that also I was like should we meet? Should we meet? Vasant doesn't believe in But if you ask me like even for Gangubai I did dialect for the Gujarati accent and little bit you know Maharashtrian also little twang and like base of the voice and all that little bit I did. But if you ask me the moment is made on set but what gives me process and I'm like don't know I can't really break it down very clearly but what gives me an understanding of the character is only conversation with my director. So I just I'm always taking the words what are the what are the key words that the director's saying and I say conversation is like it happens over time. So I build the character naturally over time what I might do on day one I will do very differently on day 20 or you know day 30. So I'm a full director's actor and that's why when I say my director's medium and all I really have to say that the performance of an actor is also a performance of a director it's just coming out through a different medium. Good you know so much of it is that collaborative process of what you're doing versus what you're being instructed to do and how it comes out. And very often I'm instructed something that I'm not instinctively feeling and if I don't feel it I don't understand it but I'll go ahead and do it because that's what the director wants but then you'll see it won't land in the performance. You'll be like no something's wrong here. Yeah you know Vasan regarding the same what you were just talking about regarding blaming the audience I remember seeing your press conference where you were talking about in some way we may have lost the film in translation of reaching the audience of why they didn't organically buy that theater ticket. What's been your learning curve with that experience? I think the last thing to do is blame the circumstances in which the film is released because that's really not in some in the hands of someone like me. I can only you know we can write the film, shoot it, edit to the best of our ability, finish it. After that it's a different science and commerce all together which I don't understand which I don't intend to also. So later much three four years later I came to know the number of screens Marga was released which was 92. So then I was like the response that I got was actually very good. So but the last thing to do is when audiences don't end up or dislike your film or the comments that you read you don't blame them. It's they went and they experienced something and then they gave their feedback. That should be the learning. It should only be the learning and either there is a learning or you're like okay moving on maybe next time I say it see the same thing but with so much vigor that you won't be able to refute it. Yeah but that happened when we went through our trailer cuts we went through like 20 of them and they were all not landing and then finally I was like You know speaking about the teaser cut first I must say Vedanka the territory online because I only do online content I'm just telling you the territory that gets the most criticism is renditions of old songs or remakes. I have to say this is the first time in a long time where people have organically resonated probably because that emotion was so visible in the teaser. Vedanka first I want to ask you what is your first love? Is it music and singing then acting and were you nervous before you were given the opportunity? So the story but it's very interesting my first love is music and singing because that's how I started off in school. I think that my first experience of performing arts was music so the first time I went on stage and did anything was in theater it was a song performance so I think that was my first love yeah same school by the way same house also yeah so that was my first love but with Koologadaroga such a weird story this was never the firstly I don't think anyone cast me thinking I can sing and had any idea I don't think so it was never the plan so I did a song before this before Koologadaroga which was supposed to be a number that I that was kind of plan for me to do which is not out yet and then one day I had to come and dub for something for the film and Vasant sir just said get your guitar and come so I said okay I had no idea what it was for and I went there still have no idea I did my check the lyrics there's still some video somewhere of me like literally learning the song there and I said okay I think I got it let's do it so it was never supposed to be a single or a release or anything I was supposed to come in the edit at some point in the film and that that version we put and I think people liked it and then the idea came again when the teaser trailer was getting cut and that's when I properly went and recorded in a studio before that I was just it was just you know in like a dubbing studio with the same mic for the guitar and the vocals and very shabby way of recording then we did the proper vocals and it made it to the teaser and I remember this thought creeped in right before it came out that shit I have done a rendition of an RD Burman song which Kishore Da sang and I was like oh my god because I am that person who like hears renditions of songs and I'm like yeah and that that thought creeped into the before that it just happened so quick I think it was way after the film was shot all this happened so that that thought did creep in but I'm glad it came out it kind of passed and and I think it's to do with the visuals of the trailer also I think both helped each other out but I don't think it was like more like it's just this this song beautifully fits this moment and maybe the thought wasn't marketing it wasn't it wasn't it was not like maybe because which is I think that's where people lose it the most most of the time it's for marketing and sometimes it's not even in the screenplay yeah yeah I think it's also the emotion that the brother is singing for the sister I think that's where it which is the opposite yeah because it's not like I'm the best singer for the song the situation you know it's it's that just that the brother is doing it for the sister in the trailer so I think all those things made but no judgment because I've also been I've also done it in the past but you do what you got to do and people dance to the songs and music lives on forever I think so everybody yeah no you know what I'm saying is at one point it initially started but I think it's gone all over the place right now that's what I'm saying that I think when something worked what happens is that they go to another level of just like squeezing out as much as they can you know Vedanga going on to what you just spoke about when I see the both of you I see a gap of say 10 years in when you started and when you've started and I see a huge evolution of what the entire machinery around an actor should be I was just seeing like old photographs of actors promoting movies in 2010-11 and their casual jeans and chappals and right now the machinery itself is so much more than the job at hand I wanted to ask you how do you assess it in keeping your eyes on the ball which is acting while it's so inviting because it's essentially become a huge source of income as well the machinery around it so you who has evolved over a period of time and you who's gone into it straight away I want to ask both your perspectives experience first has it considerably changed trying to remember yeah so I mean if I just talk about during highway and student I mean that time yeah it was not like we had a stylist with everything and hair makeup all the time and like it was not as specific about fashion you know you're also during promotion doing like this method dressing and you know that's also leading to something but then you're also going to so there is definitely evolved in terms of the demand of this specific space became more with the years but I feel again it's on its way down to becoming simpler like people are not like they're not all out promoting films anymore like you do the basic things or then you feel like you want to do it and again every film is different your question was I'm saying how do you keep your eyes on the ball which is a job at hand do you lose yourself in what is essentially a huge source of income in building this empire and then lose track of why you got here in the first place is that ever a concerning issue no I just feel like whatever you do you should do it wholeheartedly otherwise don't do it like there are some people who are like listen I can only focus on the movies I can't do all and you should only do that but there are some people who really enjoy the other part of it as well and that like you said also gives a source of income to other people so even if it's a little frivolous and superficial if you're doing it and you're having fun with it somebody might be enjoying it the confusion I believe occurs is when you feel like that is more important than the material that you're putting out so like one of the and I'll be very candid over here when we were getting into the marketing pre-marketing of this film and all like and my digital team very sweetly came with some real ideas of Vedang and me to do together like you all should do this reel and this concept and all I was like that's lovely and cute and I love you guys but I want the audience to see the film visuals if they're if we are already exhausting ourselves within reels why will they come to the theater and watch us so that's one way of looking at it the other way of looking at it if it's like a happy go lucky kind of cute film say like a space or maybe what Rocky Rani was seeing the chemistry of the co-actors together and you know to music and stuff maybe adds more excitement so there are different ways of looking at it but the important thing to remember at all times is that if the material doesn't have this all this is not going to really help it's just going to become exhausting at some point so even though sometimes you might lose track of it to constantly bring yourself back to film matters most film matters most is most essential yeah yeah so I'm very new to this so I'm learning things on the way but what I've realized is firstly I've kind of come into this industry at a time where I am able I'm exposed to everyone on the internet right so I'm able to kind of see assess analyze track what what has worked for people what has not worked for people and so I think what I've realized is if I'm trying to be an actor I'm trying to act in films if that if that's a miss then nothing else will really help you at least for the for the goal that I have of where I want to be in life nothing else will help me except me kind of maybe improving my craft or being appreciated for that everything external can give me that little momentary joy but I know where I and I know where I want to get and I don't think I can do that without so it's made it easier for me it's made it easier for me because yes it's very exciting the income is exciting everything else is exciting but I'm somehow able to prioritize it because I have a kind of vision or goal for where I want to be and I know I think I know how that can be achieved at least the effort of how that can be achieved I think I just understood what you were saying you're talking about PR okay I was thinking about styling and looks both I mean it's an empire in itself right yeah which has that's a different conversation from a casting point of view from directors or from people who are looking to work I think there is a healthy way of looking at it as well because certain PR decisions actually change a lot of things so you're at a certain level and you're an artist who's reached out you can take a step back for all those who are building you can't really turn a blind eye and be a purist about it that's what I was going to say it's a mix because I'll just give you two examples of very frivolous thing that Ranveer had done at linking road dancing in front of KHC that changed his perception the love the way it poured after that one silly thing that he did at over there and I was witness to it when I saw it and when before seeing it and after seeing it so I think of course after that if you make that your main thing then you're gone but you know it's also what I feel there is something to it there is something to it and it helps you but now if Ranveer was not a good actor it wouldn't matter exactly you know what I'm saying I don't but it's also a healthy way to not dismiss PR for sure I feel like also it's one of those things words that I feel has been overused and abused with time genuinity to each his own I feel certain people it's not a bad thing if you're in the media world to amplify some facts about your life right or something that you're doing where it becomes weird is when you start getting toxic negative and when you're lying about things like that's then that then like you as a person need to kind of rein back and be like listen don't spread lies now you know you tell a lie 100 times it's not going to become the truth contrary to what people say because a lie is always going to be a lie but I also feel like people just you know if you don't need to randomly judge somebody that they're doing something for their life and their work to just move ahead as long as it's in good taste it's not bringing another person down it's fine but yes again coming back to my earlier point when I thought you were talking about promotional looks you can't save a bad film with PR true that you can't do or not it loses legs eventually not a bad film you can't save a film that's not worked with PR you know so if it's worked you can't say this is PR yeah yeah so that was a little you have to draw the line and try and understand it but it's been a word that has yeah quite a bit you know on similar grounds I wanted to understand what is your perception of then stardom you know because there are two schools of thought that come where say like Ranbir is not online yeah so there's a sense of intrigue and mystique of when his theatrical next release is going to be and then there's another school of thought that you shouldn't saturate yourself so much where you're visible everywhere it almost like dims down you promoting the film because we anyway see you every day somewhere or the other again all this doesn't matter if the film is good true so all conversation is it's you know can be this way or that way prior to the film once the film releases the film that takes the journey forward or not so if say right now we decided to not promote Jigra at all and let's just stay behind closed doors and Jigra was a blockbuster then they're like wow see this promotional plan worked or if we were jumping around everywhere being like Jigra Jigra and the film was a blockbuster they were like see this so there's no you know it's uh by the end of it's all retrospective analysis and then you clock back on the steps that they did and you even with films like yeah if a film works and they're like oh it worked because now action is back and yeah but you know like no one exactly thank you we all want to give ourselves the illusion that we have things in control but nobody has it in control so all you want to do like somebody once said this to me that I'll say it in a more sanitized manner is that so then do now what you want to do like and do that wholeheartedly don't try and manipulate it because then that then though anyways you're you know you know on that same topic of manipulation you know and feeling like you know better uh Vasant I wanted to ask you you know again with directors there are some people when I see some of the interviews especially of the commercial directors especially down south they speak about knowing the audience so I'm going to create what they love the assumed notion being that you know what they love and the second is that I'm going to make what I organically want to make and hopefully they align with the story where are you so I feel down south the training is from knowing the audience you've been that audience who's following a director in a certain way it's a very different culture so when they are talking about the audience they have been talking thinking about it for 20 years so when even at the age of 30 if they're making their film first film they've started thinking about it the age of 10 so it's a very different culture for that uh for me who's born brought up here who have seen I see most of all the Tamil films Telugu films Malayalam films I watch them I speak Tamil at home but our upbringing is for cinema I'm saying is quite different so I don't want to outguess the audience because I don't think I have I want to take that responsibility also I think they take that responsibility deliver there is a different fan base that they are catering to it's a very different culture there's no one conversation around that it's better to not outguess people too much yeah because especially when I did see certain interactions they would speak about the packaging with the expectation of the audience which is another ballgame that level of pressure is also like Vasant I wanted to ask you you know I must say the film looks beautiful and I want correct me if I'm wrong are you adamant in shooting mostly in real locations as much as you can is that something that you strive towards so yeah I don't I'm not adamant for one school of thing like it depends on what kind of a film it is and how you're wanting to make it because I believe we went to that school of just doing one thing because resources weren't there and production design as an art wasn't as explored at one point of time but with Jigraa actually we could get Mukund on board who is incredible the production designer and him and Swapnil coming together and Veera doing the costumes I think there is a lot more finesse that we achieve there's a lot more detail that we kind of achieve with the kind of materials that we have that look a certain way on camera so you kind of get by with a lot of things and I am of the firm believe that what is required for that story to be told within the logistics that are available rather than if you're just stuck with one thing of course you can be one of us all your life but I don't want to be that you know Vasant I ask this is because it's slightly scary for me when say 10 years ago I was watching a chase sequence and I could see the poor face mapping that's happening on the actor where I could clearly see the body double running in front of camera exactly now I can see sequences where I can't even tell whether it's the person actually dancing throwing the punches sometimes the face mapping so seamless now and I see this with posters also now they're completely AI generated sometimes sometimes the actor is not even required to be on set and they've created a perfect poster so what is your I think what will happen is whenever technology comes in everyone's eager to sample it so in that sampling some good work will be done and some abuse will happen it'll go on for some time till one filmmaker will come and say you know what the USP of this film is everything is real which was like package drinking water so I think it's a cyclical thing and then you go back to organic right so this cycle will keep happening obviously there is that excitement for technology now James Cameron just came out and said you know AI and CGI is going to change everything he's going getting a lot of flack for it as well but then he started that revolution 30 years ago so it's a tough thing then there will be the then there'll be the Nolan fan who'll be like you know he does it a certain way then he gets that budget but he he kind of got that budget for himself so it's within the logistics that you get please make the film don't be stuck with only one ideology make that film you don't get to make it every day you don't get to be on set every day and you don't get to make a film and release it also so I've been through all the cycles so I kind of I'm very aware of the privileges that I'm getting and so I'm not really going to waste any time debating on these theorizing and debating about it earlier you're producing the film as well you're a co-producer here I wanted to know with Eternal Sunshine is there a alignment of the kind of stories you want to back is there a larger picture of how you see the production company yeah there is some the intent is to really put out stories with a very strong emotional core and like movies are eternal and fill your life full of sunshine the idea is also to give you a feeling of something that will last on with time not like something that you just consume and forget about and it doesn't need to all be serious sort of extra over dramatic content lighter content as well so we are also you know apart from what the movies that I have acted with developing content that that I'm not even a part of shows movies and stuff they all have the similar thread this is either character that will live on forever or you know or the intention is that or an emotion or a story that you'll talk about maybe 10 years down the line even four years down the line but something that stays with you that's the intention have you seen the final edit of Jigna actually I have not okay Shaheen has seen it my sister which is the most daredevil thing to do actually you've seen it Vasant you're still at it I saw one edit and after that I've been very involved in in hearing what he's changing what he's adding and like he describes it to me so I know exactly what it is and they're cool amazing I don't need to say it I want to see it on the big screen that's doesn't happen there is faith that's lovely best of luck October 11th it is and thank you so much for doing this thank you