Rakesh Bedi ने सुनाए Jameel Jamali के Dhurandhar किस्से|Vicky K |Ranveer Singh | Aditya Dhar | GITN

And tell us about your condition.

What a question!

Do you have Catechina Caffe?

She is a bigger woman than Catechina Caffe. She is my wife. Take it. Welcome to Guest in the Newsroom.

Dhurandhar's Jamil Jamali. Rakesh Bedi.

Oh my God!

How does it feel after this hard earned stardom? I always feel that I should give him more than what he is asking me. Your buttocks are really white. Where did you get this from? You knew during the day one shoot that Jameel Jamali is from India. Our union didn't know that this is the end of him.

I knew.

Vicky Kaushal is calling. Should I take it?

Yes, take it.

I watched the film day and night. I'm just so blown away.

Whenever you came on screen, it was so much fun.

Thank you, darling. Thank you.

Really?

You're my child.

Hello.

You're my child.

When I read it once or twice, when he came in the scenes, I thought, there's something hidden in it. The director has took a big risk. The Don of Lyari, who is known for his shivering. I came to the hospital crying. My child is dead.

So he told me, Aditya, don't cry so loudly. So I spoke to him. I said, look, it's like this. These are the internship days of Jamil Jamali. I am Khabarilal. I just got the news that a man is going to attack.

When did you come? I came first.

Oh my God!

I didn't see it. For me as an actor, it was my most difficult day.

Why? You were telling about the preparation.

I had prepared a speech. Look, the thing is that Nabil Gabul has a name and a status in Pakistan.

Is it clear that your character is inspired by Nabil Gabul? No. He has praised you. Rakesh Bedi, I love you. No, I want to say that I love you, Mr Nabeel Gabol. No, no, no. He has praised you. Rakesh Bedi, I love you.

No, I would also like to say that I love you, Nabeel Gabol. And it's a coincidence that my face looks a bit like yours. Neither your father's ADI nor my father's partition. Shatrughan Sinha is my best friend.

Did he like the film?

He liked it a lot.

He called me. Rakesh! Oh!

Oh! Oh!

But there's a criticism about this film. People called it a propaganda film.

I don't understand why you're looking at a film with a microscope. And you're looking at it because it's on. If it was a flop, you wouldn't have found any mistakes.

Did Babu Daccait really get beaten up in the sun?

I think so.

Do you remember what Aditya Dhar said?

He put his hand on my shoulder and said, Rakesh, when your last day comes, when the cake is cut, I'll cry. You were talking about Akshay Khanna. Akshay Khanna is there, he lives in us. I've sat with him many times.

But energy matches with Ranveer Singh.

100%

And I'm with him.

Shut up!

Shut up!

Sachin Tendulkar.

What did he say?

He said, Rakesh ji, I enjoyed it. You did a great job. I said, yes, you did a great job. But your sixes have fallen in India. My six has fallen in Pakistan.

No! Saluja Gold. This boy saw a dream of becoming an actor. And he had many opportunities to learn, to slip, to take care of himself, like we all have in life. And there was also a time when the last rupee was left in the city, and six bananas were bought and his stomach was filled. Next day, in the hope of paying off his debt. A circle is completed when you hear that

the film of that man who used to earn a rupee a day has earned more than a thousand crores. Some actors with time turn into magicians who know how to arrange the furniture of emotions in different ways. They know how to arrange them in such a way that you can spread them anywhere with a smile or spread them and laugh. We all saw them and practiced their dialogues.

In friendly gatherings, we tried to copy his signature comic timing in friendly gatherings.

Why?

Because from the Dilruba period of Indian television to the lovely lanes of Indian cinema, he has been more of a mood than an actor. His name is synonymous with mood. mood You don't react because you have seen it. You know that life is full of mischief and show-off. And this is the fun part. A man creates a character on the screen

who is acting in the whole story. This is the inception of acting. Except for the last few minutes. He showed that after throwing his daughter's phone in anger, behind the fake laughter that was blown away when he met Hamza, the flame of craft, depth and timing is hidden.

It is the same as you discover that your favorite tea shop has a Michelin star chef. He has the same warmth, but suddenly you start feeling layers in him. Our guests today deliver subtexts with their eyes, and their silence, their pauses, my friend, are often said to be more than a monologue.

If poetry was an actress, and they do it themselves by the way, Poetry is a metaphor. And every fake smile is a coma created by cleverness. Today we are fortunate to be sitting with a storyteller who has written for decades. Muskaan is a comma made with cleverness. Today, we are fortunate to be sitting with a storyteller who has made us remember the most ordinary moments of decades, even the moments that had the least contribution in the story.

Otherwise, what was Atif Aslam's connection to Dhurandhar? So, please take a seat in the guest in the newsroom of Lallan Top. We are welcoming with a little fanboy excitement, the master of effortless humor, expert in Urvar Poses, creator of punchlines, actor of wonders, the hidden coordinator of Hamza Ali Mazari, Dhurandhar's Jamil Jamali Rakesh Bedi

Applause

Oh my god I have never heard such an introduction about me as you have today

Laughter

India's most trustworthy Saluja Gold DMT Bars Now you have caught the right contractor Strength is everything

Sir, I have a number of ways to start a conversation with you Wow, I'm so impressed by the way you introduced me I didn't know myself that I'm such an artist But you have a friend, a surprise for you. He has sent a video for you.

I want to start with that.

I call Rakesh Bhai, the baddie boy. Because the voice charm in him, the kid in him, who is always out. And I worked with him for about 10-11 years. And even today we work on and off. But I don't remember a moment in all these years when Rakesh Bhai said something depressed or negative.

He's always positive. And wherever he sits, you can only see his laughter and jokes. He is a friend, philosopher, guide. I have great respect for him. I love him. I love him. I love him.

I love him. respect for him. I love him a lot. And I would like to ask a small question. How do you feel, Rakesh bhai, after this hard-earned stardom? How do you feel after this hard-earned stardom of that person. There are very few examples of that.

Sanjay Dutt is one of them. He is the son of Sunil Dutt. But he maintained his stardom with his hard work. But very few examples are given like this. The rest of the people have to work hard. They have to work very hard.

And hard work doesn't mean that you're looking for a job or you're after it. But I believe that whatever job you get, even if it's just a scene or a small role somewhere, then if you think that, no, this is small, what is this, what is this, what is this, what is this, what is this, what is this,

you have to work so hard for this, it doesn't happen. Because I believe that always, I mean, I have this feeling, now this feeling, maybe the new actors, the kids who see this, if they hear this, they might learn. I believe that whatever work I am doing, it is being stored somewhere in my library, on a shelf.

And someday, someone will come and say, take out this Rakesh Bedi did in this film.

Let's see.

So anyone can see that work anytime. Not today, but after 10 years from now, even after 20 years. So if you think, he did one scene. Oh my God. He did just one scene. But how did he do it?

So I never thought that it's a small role. I never thought that I should avoid it. Or I should stop thinking about it. Or I should stop working on it. And I always have this feeling, even today, like they said, it's a child.

I always have this feeling that the amount of things to to that your buttocks are very white. This is your improvisation. Where did you get this from? Your buttocks are very white.

You must have heard it somewhere.

First time. I heard it somewhere when I was a kid. Some people called it buttocks. It was in my mind. And when we shot this scene in Bangkok. So as you saw in that scene, I think everyone has seen the film. So I got late in that.

The President is waiting for me. So I got late and was running. So it was such a big ground for him. So I thought, if there were ducks in the background, then there were no ducks. Later, anyway, that system was there.

I put it in later. So I said, will you put ducks in it? Can you put ducks in it? He said, yes, we can. I said, then I'll say a line. So when I said it, everyone burst out laughing.

So then they retained that line. So I think that you always, as an actor, and I'm not talking about actors. I'm saying that any disciplined person in the film line, whether it's art direction or camera, the I'm not worried about the cameraman's lighting. I'm not worried about the sound guy's lighting. That's not my headache.

My headache is my work. Why did the set guy paint the yellow? Why didn't he paint the red? That's not my job.

You mentioned the shelf in your library. At some moment, you can revisit it yourself, mentally. I am hesitating to ask this question. But I don't know if it's the right question to ask an actor or an artist. But would it be easy for you to say that this was my favorite,

or the most challenging, most difficult thing for you?

First of all, I would like to tell you that I never look at my work. I don't look at my work. I mean, you think that I have done thousands of episodes on television, if you add them all together. So, there must be 4,000 to 5,000 episodes of all kinds of work. I must have seen 50 of them.

Till now.

I have never seen 50 episodes. I have never seen Shreemant Shreemati, myself, for's been 20 years, 15-20 years. I don't see it. I feel that if people are praising me, then I say thank you very much. But I don't need to be impressed with myself.

I don't want to be impressed with myself. I feel that the work I've done is done. Let's think about the next.

Dhurandar, did you see the premiere? The first time you saw the premiere.

But have you ever felt like going in between people

to see where people are?

No, I don't. I don't see how much reaction I'm getting. I see what's happening. Oh, I see't watch it. I watch it and I get so many reactions. I watch it and I'm like, oh, I get laughter here too. No, no, I don't watch it.

But Asif Sheikh, your friend, you worked with him. Bhabhi ji is at home. He has a serial. You have a role in that too. Anguri bhabhi's father. But he said two things. He said, for some reason, I don't want the ritual to break.

And you can write a ghazal. We have a lot to talk about, and we have to do it on Dhurandar. But your untouched aspect is that you read ghazals, you write your own. And last night, I was in Mushaira. Yes, you go to Mushaira.

I was there last night. Yes, you go to Mushaira. I was there last night. I want to hear a joke from you.

I want to hear a joke from you. I want to hear a joke from you. I want to hear a joke from you.

I want to hear a joke from you. SHRI MALIK MADAANI- SHAUKAT MADAANI- SHAUKAT MADAANI- SHAUKAT MADAANI- SHAUKAT MADAANI- to I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry.

I'm sorry.

I'm sorry.

I'm sorry. I'm sorry. Thank you. Thank you. Thank you. Thank you. Thank you.

Thank you.

Thank you. Thank you. Thank you. I know. But, you know, one of my all-time favorite jokes that I can say at any party.

Okay, I'll tell you as we go.

Let's go back to Durandar. You worked with Aditya Dhar in the Udi film. It wasn't a big role. And you said, I never cared about how big the role was.

Did you get the role from there? Yes, I got't care about how big the role was.

That's where the role of Dhurandar came from.

Yes, that's where it came from. Last night, someone asked me on the stage what role do you consider the most important in Uri's role, Dhurandar 1's role, Dhurandar 2's role? I said, Uri's role. If I hadn't done that, I I wouldn't have had this role in my life.

Because there's a lovely story behind it. It was a scene role. And although the role was good, but there were a lot of days in it. Maybe you don not know. Have you seen the movie Ori? Yes.

All the shooting was done in Serbia. Not in India. In Serbia. Serbia is a country in Europe. It's a 7-8 hour flight. I had to go there for a day.

I had to come back in a day. I had a day of shooting. I had a day of buffer. They were taking my 4-5 day date for one scene, for one day. So, I refused. I refused a couple of times.

Then Aditya told me that, look, I... At that time, Aditya was not a dancer. He was nobody. He said, I wasn't a tabla player. Nobody knew him. So I got a call from him. And I really value what I'm about to say. If you're an acting student, you might find this useful.

I really value this. If a director calls me and says, sir, I need you. I can't see anyone else in this role. to If I refuse, he might refuse someone else, but he might not do it with the same heart. So I respect that a lot. When he called me up and said, sir, I need you for this role, I said, OK, done.

I'll come now. And I did that. And I remember we had kept the whole day for that scene. And we finished it in two and a half hours. of I don't know how to give it more than the director's description. The director has written about the acidity. But there should be a physical manifestation of acidity. If I'm drinking this, I get acidity from coffee.

If I keep it, I'll get this much acidity. But if I drink this, I'll, acidity will come out. So when I did the placement of the dacoits in that scene, it became a memorable scene. And after that, when they were doing Dhurandar, they were like. So that day, I was told, I didn't play this role,

but he told me something. He said, sir, I will pay you back for this.

SAURABH MADAAN-E-MOORINI I don't know how many memes you've seen. There are a lot of memes about Dhurandhar. So we'll show you some memes for your reaction. Look at this. Dhurandhar 2 in a nutshell. So that's Virat Kohli is Hamza and you are M.V. Kohli.

Gautam Gambhir and…

He won the World Cup. Wow. Look at this, sir.

When did you come?

I came first. Oh my God. I didn't see you.

I didn't see you.

I didn't see that.

Next.

This was shared by Delhi Police. I can't see the whole thing. My child will become smart only if he wears a helmet. You are my child, wear the helmet. I have a baby. Did you write the dialogue?

No, I wrote it.

I wrote it.

I wrote it. And Arya Tyana wrote it. And he's a very, very good writer. He has written a great film. I'm not talking about my role in the entire film. But when I read it a couple of times, when it came in the scenes,

I thought, there's something hidden in it. There are layers in this line. People who will understand later will understand that there are layers. See, what happens is that this's a line that directly tells you that what the person is saying doesn't mean anything. That's when I wrote that share.

That what I don't want to do. Do you remember counting your character in the film? Both of them, The Revenge and Dhurandar 1. How many people do you tell that you are my son?

I don't count.

A lot. I think Arshad Pappu. I was surprised that the director took a big risk. The Don of Lyari, who is known as the shivering one. The character of Akshay Khanna. And he is such a patronizing character. He is a kid, so I thought I'd make him drink Fanta.

I don't know, even though he is a don, he has this childish feeling. To be able to show him that he is a family man, that he is a don for the rest of the family.

A little mild. We did the first take. So I said to him, look, have you ever seen a man on someone's deathbed? A man on someone's deathbed. And he goes so close to him and says, I'm not a marriage ceremony. It's not a happy moment. Koi shaadi thodi ho rahi hai. Oh, yaar, teri shaadi ho gayi yaar, main bada kuch nahi ho raha ho.

It's not a marriage ceremony. It's not a happy moment. It's a sad moment. He had lost his son. To usme agar ye aadmi loud hoga, to wo character ka beech bahi aapne bodiya.

That is the genius of the writer, director, Aditya Dhar. So I told him that let me do it louder. He wanted a little milder. I said, don't make it mild. Let me make it loud. Because if I make it loud, he'll establish that he's

wearing slippers in the car. So.

So.

Actually, this is that scene. I want to talk about some scenes. But let me show you all the memes. Go ahead. Jamil Jamali to Hamza, trust me, he's an old player.

Bro predicted in 2011, but we didn't get that he is a real Dhurandhar.

I did something else. My name was Dhurandhar in this.

Yes, yes.

Sir, there is one thing called appraisal in corporate.

Yes.

Don't worry, you are my child. My manager when it's time for appraisal. And my manager when it's time for appraisal. Or my manager when it's time for appraisal. What does it mean? I don't understand. Sir, it's said before appraisal that don't worry, I have a kid. And during appraisal...

He didn't mean it.

Oh.

He didn't mean it. My manager went...

Show me the best finisher. I said the best. What's the hardik point? There's no MSD in between. I'm a perfectionist finisher. These are the days of Jamil Jamali's internship when he brought the news in the film, Tiranga.

Yes, yes.

See, this too... This too... I had only 5 scenes in this film. Not 5 scenes, but 5 phone cuts. So I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it. I'm going to do it.

I'm going to do it.

I'm going to do it.

I'm going to do it. I'm going to do something. So he calls five times. And the last call he gets, he shoots it. He says, this was Khabar Lal's last news. And he dies. So this is also.

Great. It's written well. It's written well. When you watch the movie, you still see it. And if you have the option, Netflix or somewhere else, to watch it from behind, then he enjoys listening to Khabar Lal's calls and his style.

So they can watch Khabar Lal's films by watching it on Netflix.

It was an amazing film.

Can you show us the scenes?

This is the scene... which was probably your first scene in the film. I mean, it was not shown in the film first. Yes, it was my first scene. So the shoot was done first. It was my first day of shooting.

My first day of shooting. You surrender your shoulders to Hamza. You accept his friendship. You accept that he has come to ask for his daughter's hand. of the film. And I think that's a good thing. There's a sudden change in the body language. For example, the girl is not able to remember the lines. She's trying to make herself… She's trying to make herself… She's trying to make herself…

She's trying to make herself…

She's trying to make herself… the I think the body language changed from the writer's scene. Yes.

For me, this was the most difficult day. Why?

For me as an actor, it was my most difficult day as an actor. In my entire career. In this film. At least in this film.

Why is that?

See, what happens is, this is a very intense scene. At least it's film. he almost drops himself at his feet. So what happens is, in such a big film, in such an intense film, when an actor gets such a scene, when I get it, I mean, on the first day, if I had shot this scene after 10 days, I wouldn't have had so much trouble. Because first day, an actor is finding his footings.

So I'm such a scoundrel. I mean, Jameel Jamali is such a scoundrel. After shooting for 10, 15 days,, he would settle in my veins. You know? So I was looking for a layer of him. But I'm happy that he came out.

The director, Aditya, made me do it. No, Rakeshji, do it like this. And he, you know, we together, we pulled this scene. But it was like a little difficult scene, because I was trying to pull it. This can sound like a weird genre. Until the last part of the film comes out, until we know that Jameel Jamali has also been sent from India,

according to the film's story. Before that, Jameel Jamali's character is like a comical villain. I mean, he is also a villain because he is making people fight. And definitely he is not in the white shade. So, in that, body language becomes very important. I don't know, Ranveer has done a lot of good work with his eyes.

A lot, a lot, a lot. But in this role of yours, the role of shoulders, or like that jealousy thing where for the first time it is established that Rehman Dukat wants to make his party, make a direct contact with his wants to take my seat by making his party and his direct contact with Mr. Darwari, you are suddenly in anger and jealousy, but now you want to greet him, so you immediately change it and turn it into a smile.

It has a very big role in this. So, the roles you played in it before, because you mostly got comedy roles. Or a big number of episodes. Dilruba's character, Shreeman Shreemati, was seen in every house in the 90s. Did you get any help from that? Or was it completely different?

You said you don't revisit. Subconsciously, you have a timing, a pauses, and that's how it is. Was there any help?

Did you analyze it later?

Look, what I understand is that I never plan to say this line like this. I never plan. I never plan to give a look like this. I never plan to pause here. What happens is that my method of working is a little different.

And I always think that I only think about the character. That he's a scoundrel. He's been hurt here. He had to go ahead. And I mean, Jamil Jamali had to go ahead. And he was killed.

So I'm very happy up to a point. And after a point, are I realize so catch it I got up correct or me switching in a to a body language will look whoa style We pause what we have generated

Other they keep I got a scene, okay? If I have a scene, I'm giving an example. Yes. That my mother has died and I have reached there. to to If a son enters a house, and the door is open, and the mother is dead, and the mother is murdered, how will you react?

So if you plan ahead, that this scene will happen, and as soon as I enter, I'll say, mommy, mommy. I've planned this ahead. Without thinking about what I I feel in that moment? If I look into it, maybe I won't be screaming like this. Maybe I won't be able to speak.

Maybe I won't be able to speak. Maybe after 15 minutes of silence, I'll pick up the phone and say, how did this happen? So what happens is, if you plan in advance, to to And then I took time to come out. I want to understand, like your action was, you are that character, Jamil Jamali. And then the cut happened, now you are not Jamil Jamali.

So the switch on and switch off that has to be done, do you switch off or not? Like many people at that time, I was listening to you when you were talking, that my character. People who have worked with me know that I am shooting this film these days.

But is it that easy that you switch off from Zameel Jamali? But you have to think about how Zameel Jamali will react. When the shoot is about to start, there is very less time. There is one minute, two minutes. You have to think immediately.

It is better if you keep thinking about what Jamil Jamali is even during the break.

No. Sorry. Sorry.

So, you switch off or partially switch off. The brain keeps working.

There is a very famous Russian acting teacher. I mean, he was here. Stanislavski. He has taught method all over the world. I have also read it. And I still open his books. His books are on my shelf.

I still open them and read them sometimes. He has a very beautiful observation. It's his observation. If an actor is in a role, suppose someone dies and he is crying. It's your shot to cry. The director says cut. You are crying even after that. So there are two reasons for that. The director said, cut. And you're still crying.

There are two reasons for that. The first reason is that you're a non-actor. The second reason is that you're lying. You're showing the world that, look, I haven't come out of my character yet. Look how hard I've worked. Because when the curtain falls or the director says cut, the act has ended.

You're not supposed to stay with that. No. May ek minute nahi rehta hoon uske andar. Ek second nahi rehta hoon uske andar. Why? Because I need to relax myself to prepare for the next shot. And if I am, see, acting is a make-believe business.

So is filmmaking. It's a make-believe business. So is filmmaking. It's a make-believe business. The set is the set. The set that my mother is in is the set. The set that my sister is in is also a set. It's a set up.

It's not real. So I have to get into it to make it look real. I have to be real for that much time. And I should come out of it. Because I have to prepare for the next. He was shooting this scene, and I was crying while watching it. I cut it here, but the next shot that he was going to take,

that shot will come before this one. We were late, but I entered the gate first, and I was very happy. I met two or three friends, and are you? I'm entering the house. I've got my neighbor. I've made two jokes.

And then I came inside.

So I got to know that. Now I have to shoot that scene. So I'll be entering this. So how will I shoot that? So you have to cut it. The curtain fell.

The camera turned off. You cut it. Parda gir gaya, camera bandh ho gaya, your act is over.

Imagine karna bada mushkil hai ki switch off aise karna padta hai. I don't know.

Malabhi anubhav ke saath aata ho ga. Definitely anubhav ke saath aata hai. Or one has to reach that stage as an actor. I'm not saying it happened initially mere It didn't happen with me either. But I'm saying that you should be on a stage. There's a very good line by Anthony Hopkins.

He's an Oscar winner actor of many films, great actor. I have prepared the role so well. I have been in this role for a year. I have done it so well. I am not able to leave. I am talking to the servants in that role. I am going to the market and buying vegetables in that role.

Correct?

But when I have to give the shot, I have to prepare that shot. Whatever I am thinking, how will it Being in that role. I have that role in my back of the mind. I am in this scene, in this problem. But I have to prepare that shot. Show us the next scene. I am in this scene.

I am in this problem.

I am in this scene.

I am in this problem.

I am in this scene. I am in this problem. I am in this scene. I am in this scene, in this problem, but I have to prepare that shot.

Let's show you the next scene. I thought for a moment, in this scene, when you call SP Aslam and want to set the fielding.

Today you are doing his post-mortem on Dhurandar.

No, sir.

We'll start with Dhurandar. He's the most talked about. Then we'll talk about your other work. I want to go to the feelings. But in this, I felt that you might accept it. SP Aslam Chaudhary says that you got me transferred.

I don't even remember. It's a very old story. I'm glad that people have noticed these small, subtle things. I'm glad that people have noticed these small, subtle things. I'm glad that people have noticed these small, subtle things. I'm glad that people have noticed these small, subtle things. I'm glad that people have noticed these small, subtle things. And Aditya Dhar. It's a writer's pause. It's not an actor's pause.

But are you glad that people have noticed these small, subtle things and made memes about them? Have they communicated in that way? These are small things.

See, what happens is that-

Because sometimes, it doesn't land. There are other things like this.

It doesn't land.

The entire film landed. It took off in such a way that... This pause is 100% of the writer. And there are some things of the actor, like I said. Or the horse rider.

No, that's also of the writer. Like I said, I have an actor. Or the one who rides a horse.

Yes, that's also a writer's work.

That's also good.

Aditya Dharia is a very intelligent man. You know, very, very, very intelligent man. Extremely. I mean, at such a young age. Some people are genius. And genius has nothing to do with age. Beethoven, at a very young age, There are some people are genius. But I still hope we hope to. So Aditya Dhar is a genius of his own field.

He's a very good writer. He's very sensible. Or boss, I read cheesy on key. But I made the role. Yeah, or up now, I read body language. The US co-op must I'll be a language. Get our character. I gave him my body language, my style, the character,

the language. But I got a lot of things written by him.

Next.

We have already discussed this. In this, because you have called SP Aslam Chaudhary back. Now you have this vision that I don't know who Aslam is. So, as I said in the intro, Atif Aslam has nothing to do with this story. But today we are talking about this scene because it was delivered in a few seconds due to brilliance.

That timing, who is Aslam? Atif Aslam? Who was it? Who was Aslam Atif Aslam? Who was that? Oh, Chaudhary Aslam. Beautiful, sir. That too. Thank you.

It was a very interesting scene.

This was mentioned.

Your buttocks are really white.

I was in the theater.

I don't know.

You must have been told by other people.

When I was watching in the theater, I heard the loudest laughter in this dialogue. I want to talk a little about Dhurandar's narration. When you were narrated the film, and you've said that all the actors were narrated at the same time so have said that all the actors were narrated at the same time so that it is understood at the same time.

So, sometimes the script is so twisted that the director does not tell the end.

Did you know during the day one shoot that Jamil Jamali had actually come from India? I think he did not tell me that day.

Okay.

He did not tell me that day. Okay. He didn't tell me that day. Okay. I mean, many people in our union didn't know that this was the end.

Okay.

I knew.

Okay.

I got a call six or eight months before the start of Durandar, that Rakeshji, there is something coming for you. I was very excited. I was very excited. For that, I have Vicky Kaushal's phone.

Shall I take it?

Yes, take it.

Hello.

Hi, sir.

I am Vicky speaking.

Yes, what's up?

I can't ask you anything else.

I just put in control and I had to call you.

Oh, my dear.

It was so delicious.

Every time you came on screen, it was just like it lit up.

Thank you.

Every little thing, every little thing. I don't know, I don't have words to tell you.

I am putting you on loudspeaker because I am in the shoot of Lallan Top. Would you mind if I put you on loudspeaker? Of course.

OK.

Yeah, Vicky, tell me what you're saying. I didn't plan this. I didn't plan this phone call.

Are you really in the middle of an interview?

I am in the middle of an interview. Lallan Top is happening.

Lallan Top's guest is in the newsroom, Vicky.

So I... He shouldn't think I planned this. So when you called, I said, should I take it? He said, yes, take it. It got disconnected.

It must be the network issue.

Hello, can you hear me?

Yes, yes, I can hear you.

I watched the film day and night. And I'm just so blown away by the film and especially by your performance. It's incredible. I'm sure everybody who's watched the film can say the same thing.

Thank you, darling. Thank you.

Sachi.

Sachi.

You're my son.

Hello.

And I'm so happy.

I'm so happy. I'm so happy. I'm so happy. I'm so happy. I'm so happy. I'm so happy.

I'm so happy.

I'm so happy. I'm so happy.

I'm so happy. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you.

Thank you.

Thank you. Wow. You were talking about preparation. Yes, preparation means preparation for this role.

Let me open the question a little more. Like, a lot of people thought that this character would be inspired by a politician from Pakistan. Or not just one, but multiple. But who all did they see, hear, whose speeches did they hear? This is a special tone too. Pakistan I'm which I was hearing again and again, that if Jamil Jamari goes to Lyari, this is not a scripted speech.

Film. This is not a film speech.

It's not used in the film.

It's used for the preparation. Yes, I'll look for it.

If I can find it.

Yes.

Yes.

I found it.

Yes.

So this, if I go to Lehari, how will I speak? So I prepared this for my homework.

Tell me.

But then when I told this to Aditya, he said, sir, you are focusing too much on the tone. Don't do this, or else you will lose focus on the small things. The small things that you are doing.

Nuances, body language.

Body language, nuances, looks, pauses. You will lose focus on that. All your attention will be on this. So I will tell you like this.

Yes, please.

This has a very interesting story. So, when I...

First, I will tell you this.

Look, it is like this. In Pakistan, Nabil Gabul has a name, a status, he has made a status. And it is not easy to become Nabil Gabul. Not everyone becomes Nabil Gabul. For that, one needs hard work. of When you see all these things, then you become a Nabil Qabool.

It doesn't happen like that. In today's date, in today's way, I... Allah knows me. Whenever I enter in the Diwari, people start to wave to both sides. People start to wave and stand up to welcome that Nabil Qabool has come. And they also know that when Nabil Qabool has come, he has not come empty handed. I He brought a sewing machine for his son. He brought a kite for his son.

He brought a toy for his son. Kids like toys. Nabeel Kabul is not empty handed. And when Nabeel Kabul leaves, he will not leave empty handed. He will take all the problems and issues

that are happening there and put them in my pocket.

Thank you. Thank you.

Thank you.

Thank you. I wrote this so that I can live in this tone. We say Pakistan, Pakistan. The situation in Pakistan is like this. So I wrote this speech to put myself down. And I recorded many such speeches in my voice. I recorded them and listened to them before the shooting was about to begin. So that I could keep them in me. So that they don't leave me.

So one day I was recording and going in the car with my wife. She was sitting next to me. She was talking about women. She was talking about women. She was talking about women. She was talking about women. She was talking about women. She was talking to someone. They were talking to each other. They were talking to each other. So I was listening to this speech.

She was sitting next to me. So what you're hearing is coming into my ears at full speed, at full volume. So in a little while, I looked at her a few times. What are you doing? Who are you?

Who are you talking to? Who is this man? I said, this man is me. What? Are you crazy? What did you do? I said, I am my own homework.

Your voice has a completely different texture.

It has a slightly heavier voice.

Yes.

So I was going to keep this voice first. So I left the voice and kept the tone. First I was going to keep this. This is what I prepared.

But this is a very smart suggestion of Aditya. I don't know, maybe it would have been better with this. We should not lose focus on the nuances. Even if the voice, the texture compromises a little. Because of that, the nuances and pauses that we are talking about. Because of that, the shots.

Exactly. That's what Aditya said. He said, sir, your focus will be lost. You will be left with small things. I have a question after listening to this recording.

Is it clear that your character is inspired by Nabil Gabol?

No, no, no. Nabil Gabol is mentioned in this. No, no, I did that for him.

But Larry's politicians are the same.

His statement is also there. No, no, I did that for my own benefit. But Larry's politicians are the same. I have heard their statements. They are. It's a coincidence. But I have seen their videos too. But this is a mixture of many people. Altaf Hussain? Yes, it's a mixture of many people.

This is not one person's. Have you seen Altaf Hussain's videos? No. He keeps not just one person. Have you seen Altaf Hussain's? No.

He has a moustache. He does a party called MQM.

Yes, yes.

I mean, I've seen it. I don't know the name. I've seen many people. And then I made a story out of it and made my version. Nabil Gabol's statement came when the first Dhurandar came for the first time. Some media in Pakistan must have asked him.

He said that he has been shown a very important role in Dhurandar. So far, so many media and podcast people have been asking me to give an interview. I will give it in Karachi. But I will only say that the role I have been shown in Dhurandar was very weak. They have not shown my role properly. They have very bad. They didn't show my role properly. They tried to show Lyari as a terrorist hub.

Lyari is not a terrorist hub. If their agent had come, he would not have left Lyari alive. That's fine. Pakistani agent or whatever he is. But when Dhurandar 2 came, then the real game happened with them.

Because they got India's agent. They are assuming that it is about me. I love you, Nabeel Gabol. I love you, Nabeel Gabol. I love you very much. It's a coincidence that my face is somewhere in the middle of the screen. I'm not sure if it's because of the screen. I'm not sure if it's because of the screen. I'm not sure if it's because of the screen.

I'm not sure if it's because of the screen. Nabeel Ghubool. No, I love you, Nabeel Ghubool. I love you very much. And it's a coincidence that my face looks a little bit like yours, but I can't help it.

Yes.

Neither your father came to Pakistan, nor my father came to Pakistan. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry.

I'm sorry. I'm sorry.

I'm sorry.

I'm sorry. I said, toh wo, lekin, dekhiye jab koi writer likhta hai na, apna, toh yeh conceive kiya hua Aditya Dhar ka hai, ki aisa character hoga hai. Usme kahi Nabeel Ghawal ki jalak aayi, usko aayi jalak. Why? Because Lyari hai, Lyaris ko represent karte hain, wahan to But you consume content from Pakistan. Like the videos that are very popular in India, Pakistani reaction videos on India's win. I know. Whenever we win or lose a match, we immediately

watch their reactions.

Have you seen them? Yes, I keep watching them. So you must have helped in the preparation for this film. Yes, I keep watching. But would you like to share some observations about their reactions?

It becomes funny naturally. I don't know why. It comes to us like that.

A few days ago, a lady gave a reaction that the war between Iran and America, and the war between Russia and Ukraine, and the war between Pakistan and Afghanistan, you can do whatever you want, but please don't do anything that I can't see. I want to see that.

A lady's reaction was very impressed by a lady's reaction. And I understood that this is a different kind of cinema. This is not a film. This is cinema. We say, have you seen French cinema? We say, have you seen Russian cinema? We don't say Russian film. We say cinema. Cinema is a collective effort

of a country. Toh Durandar will always represent Indian cinema at the highest echelons in the history. Toh ek aurat ka reaction tha. Ke main abhi Durandar, pehli Durandar ke baad. Pakistan ki aurat. Haan, mera khayal Pakistan ki aurat. Main abhi pehli Durandar. I just saw the first Durandar. I feel like going to sleep and waking up on 19th March. I feel like going to sleep and waking up on 19th March. I feel like going to sleep and waking up on 19th March. I feel like going to sleep and waking up on 19th March.

I feel like going to sleep and waking up on 19th March. What else can a film get? And she is talking about December. December was on 5th. Durandar. She is talking about 6th, 7th, 8th. I said I want to sleep for 3 months.

For 3 months.

I will get up on the 19th of March. The reaction from Pakistan about Durandar There were mixed reactions. But whatever the reaction was One was that the people of Lyari said that... ...the money that Dhurandhar has earned... ...should be given to us.

So we should get a share of it. Is there a WhatsApp group of yours... ...of Aditya Dharo and others where you send this to Lafib...

No, we don't do anything. We don't talk about the film much. Aditya Dharo... We don't talk about the film of the river is not of the river, but of the flood. The journey from here to the other side is the truth. As soon as you start making noise, I am there, Dhrudhar is my film, I have hit it, I am everywhere, my son's film is going on, Ranveer Singh is there, because of me.

If I start doing this, they're both monsters. And success is a bigger monster. Because failure gives you many chances to recover. It gives you a better view of your capabilities, about your doing, what you have done, how you have failed, chances to recover, chances to mend yourself.

Success blinds you. It's not a miracle to reach the heights. That's why Aditya Dharam does it. He takes the phone. But the important people, common people, like Shatrughan Sinha, he requested me to watch a film.

So he organized it. Then he called me. Shatrughan Sinha is a great friend of mine. I've played with him a lot. He's a very good friend of mine.

Did he like the film?

He liked it a lot. So when they saw the film, they called me.

Rakesh!

Hello!

Hello!

Hello!

Hello! Rakesh, where are you in this? I said, sir, I am the one who is asking.

Ha ha ha.

Ha ha ha.

But there was a criticism of this film. There is a political leaning of this film. People called it a propaganda film. There were counter comments. That in this way, every film in the world that is propagating any thought, Rang De Basanti, even though it is propaganda film the film. But, from the perspective of the film's craft and the perspective of the audience, do you see any problem in this?

The filmmaker should be freedom to praise anyone.

I don't understand why you are looking at a film with a microscope. And you are looking at it because it is already on. If it was a flop, you wouldn't have found any mistakes in it. You would say, making a film is a mistake. It is a mistake. How can you make a film like this?

But if a film is made, it has a pain. It has been made. And it has jealousy. And you have to find faults in it. Otherwise, how will you speak? You will find faults, but you will not speak.

This is wrong, that is wrong. So, if this was a propaganda film, then how many films have been made before this? There was a film that was made on the Prime Minister. The role of the Prime Minister was played in that.

Yes.

It was played by Vivek Oberoi. of film So it's not like that. There are many reasons for a movie to be made. Look at its photography. Look at its sets.

Choice of music.

And look at that set in Lyari. Do you know where I was?

Bangkok.

Bangkok. When you saw that set for the first time, were you amazed at what you had made in a day in Pakistan? I still remember when I reached the set for the first time, I had left a day or two earlier from my shoot. Because I have a nature that whenever I go on a shoot,

I never get into my vanity. Never. I mean, as soon as I go for a shoot, I never get into my vanity. Never. I mean, as soon as I go. I go and meet the director first. I try to meet the writer. I want to seep in the atmosphere a little bit. So I went a day before.

I said, let me go and see what the atmosphere is like. I went and I went crazy, sir. I was amazed. to It's also from Pakistan. The shelf at the back, where there's a ring on it, which you can't even see in the film, that's also made in Pakistan. How big was this area? I think it was about two to one acre.

And the end set, where there's a fight between Muridke and Jhaan,. That was in Bombay. Oh, that was in Bombay. A few brief comments about your fellow artists. We have heard that Akshay Khanna is a bit reserved. He did a great job in the first film. He got a lot of attention.

He's reserved on set too. I mean, when it's cut, what do you do? I'm sure you must be doing some mischief. You must have found out something about your personality. No, look, I can't tell you all my mischief here. Because they don't allow social obligations.

If you want to beep something, we can see. Because you'll hear a beep. A long beep.

OK.

Did you add the line, Arshad Pappu's place is filled with water?

No, no.

That was his.

OK.

That was his. OK. That was his.

I'm going to get water.

Yes.

Yes.

Yes.

That scene was humorous on its own. Suddenly, it became tragic.

And you noted one thing.

Hmm.

This talks about the power of the scene. This, what you just said, it talks about the power of the scene. In this scene, I hug Akshay Khanna and walk towards the inside ward where the child's body is lying. Correct? And this is from my short back, not the front.

I'm saying it from the back, you son of a bitch, Babu Ducat, may your a** be filled with water. It's a shot from the back, not from the front. Even after the shot from the back, it's so effective that we're talking about him. He is not in front of me.

I don't have a face on this line. So the throw of voice, I am sure it must have come from the theatre and because of that. But there is that frustration and that loudness that you carried with you when you entered. Anyway, you were talking about Akshay Khanna. Akshay Khanna by nature is quite a human being. He lives in himself.

He wants to be in his own. I used to sit with him many times. It's not like we have talked a lot. But the way I am, I am a very chubby kind of person. I mean, my spot boy and my makeup man, they're my friends. I mean, I'm telling him jokes one to one,

I'm talking non-veg to him, I'm making him laugh constantly, throughout the film. Not just one, but many people. It's my nature. I'm spending time with them, holding their hands. They're coming to my vanity.

I'm eating with them. That's the way I have always been. Akshay Khanna is there. He lives in his own world. So I've sat with him many times. And we talked a lot about my theater,

about my place. And then about their role in Chhawa, when Chhawa was about to come. And when we were shooting, we talked a lot about that. We talked a lot of things. It's not like we're quiet, but we don't not talk.

We talked about many things. And Madhavan? His makeup was amazing. I don't have a single scene with Madhavan.

Yes.

OK, yes.

Only one phone call.

Yes.

But you must have a match with him. 100%. He is an energetic man.

Yes, a lot. And I am with him. Cut. First class. Cut.

You told us that Ranveer used to stay on set even after his shots were over. And he used to play the role of an assistant director. He was very involved.

Absolutely.

See, nowadays, there was a time when a hero would be doing 30-40 films at a time. 20-25 films. Govinda had signed 25 films. 40 films. That time is not there. You know? Or Mithun Da, his 20 films are on

the floor at the same time. Rajesh Khanna's 12 films are on the floor at the same time. Now that time is not there. Now the time is that a hero does almost one film at a time. He focuses on that. He finishes that and then does the second film. That's why his hair So you want to give your best and a little more also. And you want to give your best. And you want to give your best. And you want to give your best.

And you want to give your best. And you want to give your best and little more also. You know, you want to see to it that there is no shortcoming in the film.

The film is good.

So out of concern, they are not going home after the pack-up. They are seeing that the film is theirs, the hero is theirs. So if he is not in the scene, then what? But the scene is theirs is the hero of the film. If he is not in the scene, then what? But the scene will be about him.

So how is the shoot going on?

Who said what about your work in Dhurandhar? I will read it once. You give the reaction. Whatever you want to give. Ranveer Singh said this you said in an interview, that when my shoot was ending, it was the last day, Ranveer took the mic from my hand and said,

if this film makes a business of 10 billion, then 500 will be because of Rakesh.

See, he didn't have to take this literally. What he meant to say was that in this film, Rakesh Bedi has a big contribution.

But he said this, right?

No, he said these words. I'm not denying that. But I'm not holding onto them literally. Aakesh Vedi's character has a big contribution in this film.

If this film does well, he will have a big hand in it.

Do you remember what Aditya Dhar said on the last day?

No, before the last day.

It's your statement. That will be one of the most cherished moments. OK. For an actor, no matter how small or ordinary it is, it is a very big moment for me. And whenever I think of it, I get emotional even today.

See, nowadays when a film is about to end,

you have to think about the actor I could go to the film. I could go to the theater. I could go to the theater. I could go to the theater. I could go to the theater. our house. So when the film was about to end, they started cutting the cake one by one.

The shots were ending.

The scenes were ending. The film was about to end. So there were a lot of actors. So one of the actors was cutting the cake. We were singing that song. That one. Which one is it? I was cutting the cake and we were singing that song.

Which one? SHAHNAZ KAHANAVILI AND HANUMAN KAPOOR I don't even remember the song. But it's my daughter's wedding song. So I was standing there and I saw Aditya. So Aditya came to me and put his hand on my shoulder

and said, Rakesh ji, when your last day comes, when the cake is cut, I will cry. I felt, you know, I got very emotional. I had a wet eye. And I looked into his eye, even he had a, you know, emotional, some, on his face, some emotion was coming and going on his face. So it shows the camaraderie between the actor and director,

that we have spent some good moments into making a good film. And when we separate from here, we'll feel the separation. He always admired my work. He also looked at my body of work. But he, although I never said this, Aditya never said this, but he felt that Rakeshji has not got what he should have. He has done such a great job throughout my span

of my 47, 48 years of work. So much of work I've done. Do you think you do up Mila? Mila? I was in a very dangerous zone. Correct. I was in a zone where the industry didn't recognize me. I'm such a great actor, and people don't even know me.

They don't even respect me. This thought is the seed of frustration. So I never go into that zone. I thought I'd get my due when I get it. I'm doing my job. thought. Toh mai iso mein kabhi jaata hi nahi. Mujhe laga mera due jab hoga mujhe mil jayega yaar. Main toh apna kaam karna hoon. Aur yeh bhi kya, due kya hai? Yeh achha bhai ne kaam kiya uska ek reaction hai?

Madhur Bhandarkaran ne kaha, suddenly people are discovering Rakesh Bedi. He was outstanding in the film. I even told Aditya Dhar that if anyone had recommended me Rakesh Bedi for this role, I would have thought three or four times about casting him. Before hiring you, he would have thought three or four times. You have done a great job. I don't know why he said this. But, do you feel this is a different work from your previous work?

No, you are misinterpreting the meaning of this sentence.

Okay.

The meaning of this sentence is that if I had to cast, I would not have taken Rakesh Bedi because he is not as much of a chapter as he is.

No, he is not fit in the role. He doesn't take the role because Rakesh Bedi is not as much of a chapter as he is. No, he is not fit in the role. He was not fit.

The second thing that comes out is that I am not as evolved as Aditya Dhar. I mean, I am not able to think at the level of Aditya Dhar that Rakesh Bedi can also play this role. So he has said in this sense that if I was there, I wouldn't have been able to cast Rakesh Bedi. Because I couldn't have imagined that he would pull off this role. That is the meaning.

Mukesh Chhabra said, I've been working for 49 years, but I have never felt like a star the way I do now. He had tears in his eyes.

Who said that? Mukesh Chhabra said that you must have spoken to him. And you told him that in the last four years,

you've never felt like a star, like you are now.

Look, the feeling of being a star is a bit...

Come on, let's accept it. This stardom, sir.

No, no, I mean, I...

You have a lot of work and a lot of experience.

In our homes, the episodes of Shreeman Shreemati have been binge-watched. I've seen them. of of I had nothing. I had nothing. How could I share my work? And the work was such that there was no revisit of the work. The episode came, you saw it, or it was gone. You don't know where you'll get to see it. You'll never get to see it. It's done. The telecast is over.

The end. Same thing happened with my film, Ek Doojey Ke Liye. Today's generation, you can't even imagine how big a hit it was. If I compare it to today, it was probably a bigger hit than Dhurandas.

Yeah, yeah.

Yeah, this film.

Kamal Haasan.

Yes.

Once you had that moustache incident, right? You had a thin moustache in a film. You had it required. You had grown it. But you were simultaneously shooting another film. I don't remember the name right now. You had to remove it.

You had to clean the director's moustache.

It was in Chashme Baddur. Yes, it was in Chashme Baddur. So I had a beard. So I kept shooting.

So look at this.

Farooq Sheikh and.

Yes.

So you made moustache with a pencil and reached the set. I made it with a pencil. I said because Sai used to scold me a lot. Because I used to have a lot of fun on set. So she always used to say, you disturb a lot.

On Sai Paranj?

Yes, Sai Paranj used to scold me a lot. So I had to shave my moustache. I said, if I promise that I will grow my moustache, then we won't have to put on a fake moustache. So I had to cut my moustache. So he said, sir, there's a moustache. So what can we do?

We have a continuity, too. So we don't want a moustache. So I cut it.

Now I said, cut it.

If I put on a fake one, it will hold. So I made it with a pencil. And I shot for three or four days. I said, I'll cut it off. If I put a fake one, it'll hold it. So I made it with a pencil. And I kept shooting for three or four days. No one understood.

I didn't know for three or four days. One day, the AC wasn't working. So we were shooting in Delhi. It was very hot. I was shooting in the sun. I took a wet cloth and when I reached,

Parukhia was standing in front of me. She said, where did your moustache go? I said, what happened? She said, look in the mirror. So I looked and half of my moustache was gone. It was gone with the cloth.

I said, what are you doing? She said, you are right. I got angry. What happened?

What happened? viral with his social media account. This is the premiere of Dhurandal 2. In this, you say, I've shown you the movie. Now give me something to eat. I'm hungry. So Arjun Dampal says, you've eaten everyone.

How much more will you eat? I feel like no one has been eaten. Everyone has done their own work. The biggest work that people don't see is the work of the director, music, art director, camera work. Camera work is so good.

And the action director. Have you seen the action of a film? The work of an actor is seen first. But, but how many people are behind you who work and you get their work? And the choice of music, according to the situation. We have been listening to different kinds of music

on the situation. This is an action film, so it's a song without lyrics. We haven't seen action while imagining Aari Aari. Anurag has done some things with music. There have been experiments abroad. Spielberg has done it.

But it was a little too Indian. Because those songs were also used in it, which we have heard before, classic songs. And we fit them in the situation. Like Sanjay Dutt's entry scene, or the chase sequence in which Sanjay Dutt is killed.

And the first scene of Rangi when he enters the house of the MLA and takes revenge. And his music. The choice of music influenced me the most.

Because it was very...

Well, hats off to the director and his choice. And of course, the music director. Sir, our friends will ask some course, the music director. media the I don't think he has. Akshay Vinchurkar is asking, Rakesh sir, have you ever failed or messed up in front of the camera like forgetting lines, not getting what director is instructing you?

Has this ever happened to you? How do you overcome it? It happens.

Who hasn't?

Yes.

Who hasn't? There is no actor who has not given a retake in his life or has not forgotten. So in cinema, we still have an alternate that we retake it. I have done a lot of theater.

In fact, for your information, I have a play here tomorrow.

In Delhi.

I have a play in Delhi, Massage. It's a two-hour solo performance.

You wrote it?

I wrote it. It's a two-hour solo performance. SAURABH MADAAN-E-MOORINI It's a two-hour solo performance.

It's a two-hour solo performance.

And I played 24 characters in that in two hours' time. It's a feast for an actor, especially actors who are upcoming or who want to become actors. For them, the play is a kind of lesson. When we are talking about tomorrow, it is important to mention that we are talking about 3rd April. Sir, one more question.

Priest King has asked that the character of Donga in the movie, was given a complete backstory of Donga's character how he became a father figure for Rahman Dacqaid and that's how the character developed. He proves his loyalty and gives his life. Did the director give a backstory of Jamil Jamali

that he came 45 years ago to listen to an Indian spy's story? Did he give details of when he came and how he came? the I'm not saying that it's elaborate. I'm saying that there is a man working here. So that he is somewhere in the back of my mind. So that I don't do anything like that as an actor. As an actor, I don't do anything that would expose me. So that my kink of being a scoundrel and a rascal was maintained.

That's why you're being tolerated by the big boss.

Whatever he's doing, he's doing a lot. But he does have a backstory. But it didn't come to the forefront. I mean, we didn't think much about it. It's there. It's in my mind as an actor. But I didn't think about it much. It is there. It is in my mind as an actor.

But I haven't thought about it much. I don't want to be exposed to any of my actions as to who I am. I know this question has been answered with this film. But looking at the heavy demand of the public, and this might be a better question for the director,

but still, do you think there is a possibility of Dhurandhar 3? See, personally, I think Aditya is not the kind of a man who will make Dhurandhar 3 now because Dhurandhar 1 and 2 have been hits. He's not the kind of a man. That's how much I know him.

I don't know if he makes it. That's his. to wash hands in the West Bank. Because this story culminated in one place. If you look at the arc of this, if you look at the arc from the beginning, how that man who lived in Punjab became a criminal and then he went to Pakistan, how he started from the entry But when he comes back and goes to his house again. So now, yes, now you can make like Don. You know, Don is a property.

You can make Don, Dhurandar 3. But that won't be this story. You get my point? So many films are made. Don 1, 2, and 3 are also about to be made. So in that way, this story, he has the copyright to it. He can make another Dhurandar 3. A man went somewhere else.

And he did something. But he has nothing to do with this story.

All right. On that note, audience questions.

Hello, sir. My name is Shubhanjal. I'll take you to the climax of Dhurandar 2. Your character, Jamil Zamali, is sending Hamza to his home, to India. And in the background, there is a sound of love, when he becomes a stranger and passes by.

And at the same time, tears come to your eyes. I want to know why those tears were for? Were they to send Hamza home? Or was it because Jamil Jamali himself will never be able to go home?

He is an observant boy.

Yeah, he is a good boy.

See, it's not that.

What happens is, when you are doing such a big thing, Hamza did such a big thing, and he suddenly found out that I got that done. And Hamza is now my protégé. I have brought him up from zero. He has monitored his every movement. He has seen to it he reaches a stature. And he has done the job. It's a job well done. Correct? And I don't mind sacrificing my daughter's life also because that job is more important than my personal life. And he has been close to me.

He's my daughter's husband. And he's going forever. And I don't know how I'll face my daughter. I don't know what I'll tell her. And he's going forever. I'll never meet him again.

But I've had a great affinity with him. Yes, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little,

I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, I'm a little, You come back and wear shoes in the car. There is a small shot in that. While you are leaving, you say bye to Uzair. Tell him to take care and not to be hot. And right before you close the window, you turn around and look at Hamza.

A glimpse. At that time, it didn't have any meaning. But after revisiting season 2, it gave me a new meaning. I have acknowledged that you have come here.

Exactly. I have acknowledged that you have come here.

Exactly.

You are right. That shot is taken with the intention that people connect it later.

Sir, I have one more question. It is from the film Urida Surgical Strikes. You were also a spy in that film. And in that film, the husband of Kirti Kulari is mentioned. She says that her husband, Jaskirat Singh Rangi, has been martyred.

So was there a connection between these two films? Or was it done without knowing? Or was it just like that, that Aditya Dhar put it in the film? Or was it a plan to make a universe? How were these two things brought to the common ground?

See, I feel that ats sabe Durandar Aditya Dhar ke mind mein iss level pe ujagar nahi thi. Iss level pe activated nahi thi. Haan yeh ho sakta hai ke unke mann mein ek beej ho iska.

I know?

Ke main aisa khelunga iske saath. Iss se zyada main usko analyse nahi kar sakta. I will play with it. I can't analyse it more than this.

Thank you.

Sir, I have two small questions. The first one is not a question, it is a request. You were talking about massage play. You play the character of a minister's PA.

Yes.

And if you could do that role a little bit,

then I would be very happy.

I play a lot of roles in that. So in that, the minister's PA calls. So he's sitting on his neck. So I can hear half of what he's saying. I'm always there for you. That's it. That's it. Yes, second question.

Second question is about Ranveer Singh. We have talked about many different characters. Ranveer Singh was not mentioned much. So I would like to talk about when Ranveer was on set, we are talking about Ranveer Singh now. When we saw him with his eyes, I mean,

we have seen a new type of Ranveer Singh before, who was a great actor. But in this film, we explored a new type of Ranveer. Be it the scene where he comes back and he is in different emotions. I was seeing it on Twitter. So, people were happy and sorrowful in the same scene.

So, what did you talk about on set? All these nuances. How did you talk to Ranveer?

About your acting. See, I think that even Ranveer is that kind of an actor that he is very serious when he is getting shot. See, if the shot is happening, we are working here. This is our work. We are doing a job. You are doing your job. to What are you doing? Get out of there. Don't you see the work here? So what happens is, at that time, when you get involved and you want to give the best, and then you can't take any interruption, any nuisance value at that particular time, for that much of time, till the shot is going on.

Once it's over again, you are fine. Oh, man, blah, blah, joke, and all that, and everything, the fun. But it's not like you're immersed in the character and you're not getting out of it. You're not making progress. Hamza is Hamza for two years.

I'm Jamil Jamali for two years. We're sitting in our own. We're not making progress. It's not in that. I believe that that is the best way to work. Because short, to But 30 minutes before the play, I only joke. I only joke for no reason.

I will point fingers at someone for no reason. I will tell someone something wrong. I will make fun of someone so that that person laughs. Or I will... Because you have to make a clean slate of your mind. If you take the same burden and keep on taking it, and keep on entering the stage, or give that shot, to But if you cut off for two minutes,

just for two minutes, and think about something else, then you are getting fresh. Then you come back with a little fresh mind.

Correct.

We use this too.

We do, right?

Sir, one last question. Bhart Nivish, on Shreemad Shreemati, there's an interesting story about how you created that character. Where did you meet him?

Where did you go for the wedding?

Please tell us about that.

I've said it many times. So whenever I get a character, I do a little homework on him. So that he... Otherwise, it's all on the surface level. If there's no depth to it. So when I got this character,

there was a footnote written by the director. He had a footnote of the director. He's a hand-packed husband. So a hand-packed husband, Archana Purozni's husband, is a very basic thing.

A man who listens to his wife. Yes, a man who listens to his wife.

So what happens in that is, I make tea, yes darling, put it there, yes I do that. Yes, I'll sweep there. So he'll go to that level. to I was looking for a way to make it look hand-packed and a little crazy. I searched a lot but couldn't find it. The thing is, the shooting is starting tomorrow. And today was the wedding of a heroine.

So I went there to the wedding. And I don't remember if I had a bouquet or something. You know, before you step on the stage, you have a gift in your hand. Or a bouquet. So I had something in my hand. I was also married.

So we were standing in a line. So there were 15-20 people in front of us. And there was a stage in front of us. And there was a heroine standing on the stage and her to-be husband. So I saw her husband, who was coming on the guest stage,

hugging her.

Hello.

So nice you have come. I'm so happy for you.

Please, have dinner before you leave. If you don't eat, I will never talk to you again. So, it happened once, twice, 15 people are coming with everyone. And then there is a timing for everything. In life, everything, not just timing in acting, there is a timing in life too. Shake hands with me.

You know.

And how are you?

Fine?

Right?

Right?

So, now this is extra,, his meaning started to come out. So when he hugged me, he should have hugged me for as long as he should have. So if he has four extra seconds, his meaning will be different. He's looking for something else inside me. So I thought that he's...

So then I saw him, I observed her very closely. My wife went to eat, so I put my chair in front of the stage. So that I can keep looking at her. My wife said, what are you doing? You are staring at her. I said, I am looking at her with my eyes closed.

So that I can observe it. I want to observe it for an hour. I'm going to use it from tomorrow.

I was going to ask the actress' name, whose heroine's name was on the wedding invitation. Of course, you can't ask me now. You've told me all the details.

Yes, next.

Hello, sir. I'm Manish. Sir, today, at this time, our colleagues here also dream of becoming actors. And similarly, there are many theater artists in the country who are dreaming of this. But every time, our parents give us a reason

and demotivate us. And the demotivation that we get is the tag of nepotism that it is very difficult and it is very tough to go on a higher rank.

But my question to you is that since you are a part of that industry and you have had such a good experience and you have worked for such a long time so have you ever felt that you have faced a lot of difficulties

in reaching there? And especially in the last 4-5 years, it has been mentioned many times. Nepotism has been mentioned many times. Now people have come to the mind that Bollywood means nepotism. Especially when the sad news of Sushant Singh Rajput came, after that this thing was getting a lot of discussion.

And parents also now add a new thing discussion about what happened to Shashank. So this thing demotivates a lot. So how do you see this?

Look, nepotism doesn't happen anywhere. If a man has a grocery store, he wants his son to sit on it. If a man has opened a computer business, he wants his son to run it. Or the neighbor's son will bring it,

and you sit on it. to to There are so many examples, not one, but 20 examples. They came on their own, with their own efforts. I didn't have a godfather when I passed from FTI and went there. I didn't know a single person in the film line.

So did you face any difficulties of nepotism or something like that?

Of course, there will face difficulties. Now, I have to decide whether I am going to Mumbai by car and there is no road breaker or speed breaker on the way, no potholes, no tire puncture. How is this possible?

Hello Sir, my name is Arjun. I follow you on Instagram. So, where you...

The first thing is that I will give you a lesson.

Yes, sir.

What is your full name?

Arjun Sharma.

So, don't ever say this name again.

Sir, our teachers tell us that we don't tell our surnames. I am a journalist.

But I am telling you my name. Your teacher can tell you. But I am telling you, your teacher, tell you, it's his, but what I'm telling you, tell me your name, how many Arjuns will be in the world?

Correct.

How many?

A lot, sir.

Arjun Sharma will be one. Rakesh, there are lakhs.

Correct, sir.

There are crores.

Correct.

Rakesh Bedi is one.

Very big, sir.

So you always take your name, whenever you take it. I'm Rakesh Bedi. I'm Rakesh Bedi. I'm Rakesh Bedi. I'm Rakesh Bedi. I'm Rakesh Bedi. I'm Rakesh Bedi. I'm Rakesh Bedi. I'm Rakesh Bedi.

I'm Rakesh Bedi. I follow you on Instagram, where you post your fun videos. And we call them mini-blogs. My question to you is, sir, have you ever felt the pressure of staying relevant at any time? That now that the age of social media has come, I have to do things. Like, does your PR company suggest anything to you?

Look, you're right. You don't have to be relevant. If you're not relevant, how will you move forward?

But sir, when do you take the pressure?

I don't take pressure.

Correct.

For example, when social media came, my kids, I've got young daughters, they were after my life for three, four years. Papa, please go on social media. Please go. I go, no, I don't want to go.

I don't want to. I can't do it. But then a point came when I realized that if I'm not on social media, I will be left behind. Because today, it's a norm.

Your smirk is related to craft. Your fake smile was in Dilluba. It is also seen here. Or what I was saying earlier, after throwing the phone, Hamza observes that something has happened here.

So, looking at Hamza, a ten-second laugh, my teacher used to teach me, he had invented a laugh. Then with the convenience of his fake laughter, he had a real laugh too. He used to laugh like that. the of different kinds of fake laughter have been used in some way. I mean, if you can tell us with an example or anything,

what kind of experiments have been done.

It's in the film Durandar, when he throws the phone and sees it.

One is this. And in Dilluba, it was a little different,

the one with Shreeman Shreemati. I don't remember what it was. It was a little different. I'm happy to be here. I really am happy.iting a couple of lines. I have to light a candle in every gathering. I have to light a candle in every gathering. I don't see where the wind is heading. I have to bring a smile on every face.

I don't think about my state of mind.

Thank you.

Thank you.

So that's all for this episode of Guest in the Newsroom. Please let us know in the comment box which topic you remember the most. Please let us know in the comment box which topic you remember the most.

Thank you.