00:00Hello everyone, welcome to INS and congratulations for Tamalpur that's about to release.
00:04My first question is for Ineswar, to consistently deliver a film which is loved by the entirety of India,
00:11to still go at it and ensure that it delivers every time, what does it take from your film?
00:15What it takes, it takes too much of effort on the part of writing and setting it up.
00:24But when actors come, it is effortless. They are cool actors, they perform well,
00:31everything is good. But they don't know it on paper, that's a tough issue.
00:39And my next question is for Raksha sir and Jaaved sir both.
00:43Adi Manav, almost 20 years to the partnership, 20, 20, 2000?
00:4819 years.
01:19Yeah, 19 years.
01:19be the same and behave, they have the same relationship with each other and with the audience.
01:24I think that's what really matters with characters like Adi Mahal.
01:28So would it be like to say that to stay relevant and timeless for these characters, they need to be
01:32unchanged?
01:32They absolutely, they have to be the same.
01:35You change with them, they are not the same people that you fell in love with, then you become somebody
01:38else.
01:39And Javid sir?
01:40No, this is the thing, you have changed from the comic book Superman.
01:45People have liked Superman.
01:47You can change Superman, you can change background, it doesn't work.
01:52The thing that you like is, you carry forward.
01:55And, I have a full credit for Induji.
01:58People have made it full of money.
02:01When we were satisfied, we were ready to fix it.
02:07Induji said, no, it's not the same.
02:10So this is also happened.
02:12So I think he does all the great.
02:15We thoroughly enjoyed being part of Namaal and coming on set and having great camaraderie.
02:22Asha Adnaye, Ritesh, it takes this great fun.
02:25And Indu sir, he said that there were re-rides till the time you were not satisfied with the source
02:29imperial.
02:30How many drafts are going to arrive at what we are about to see?
02:33I don't remember now.
02:35I don't remember now.
02:35But what time the agency had re-rides.
02:37He just opened the window and asked you to come.
02:41Yeah.
02:42But, I told you now, putting it on paper is the toughest job.
02:46And still here, you get frustrated.
02:50Yeah.
02:51Fight among yourselves.
02:53And, but eventually, when you come in front, you come in front, you come in front, you come in front,
03:00you come in front, you come in front, you come in front, you come in front.
03:05Of course, hundred percent.
03:07And, uh, Ashit sir, to add to what you were saying, that once actors come in, that's when the colors
03:11start filling in the story.
03:12True.
03:13Uh, now both of you have a very, you know, unusual and exceptional sense of humor.
03:18Uh, the source material has given you.
03:21Uh, is there any boundary to it, that, that, that, that, that, that, that, that, that, that, that, that, that,
03:25that, that, that, that, that, that, that, that, that, that.
03:25Because things might go here and there.
03:26See, as long as you stick to the character, it's all fine.
03:30Mm-hmm.
03:31Once you stuck to the character, yes, there is room for improvement and improvisation.
03:36And you must do it, you must do that.
03:38I think as an actor, if you can't add to a scene, no, then it's not very good.
03:42Agra, you come and you just mount the lines and you go back home, then you're a parrot.
03:48And you must add more.
03:50You must, as an actor, it's no job to do that.
03:52And it's the director's job to agree and not agree.
03:55Which just happens.
03:56My parents say, how do I do it, how do I do it?
03:58Because they don't do it, they don't do it, they don't do it, they don't do it.
04:01That's what really happens.
04:03They keep doing it.
04:04They keep doing it.
04:05They keep doing it.
04:06They keep doing it until they keep doing it.
04:07They keep doing it.
04:08And I think that there's a lot of fun.
04:10Because it is, movie making is not one person's job.
04:13It's an entire team that works together.
04:15So when we have two choices, we have to make a line.
04:19We can't do it.
04:19Or you are going to sell it.
04:21Or you are going to do it.
04:22What do I do?
04:23Or what do you do?
04:23Or do you do it?
04:23Or do I do it?
04:24No, that's it.
04:26This exercise always happens.
04:28And we always do it.
04:29There are portions in the dialogue.
04:32But you don't have to say, of course, you are going to say,
04:33what do you say?
04:35It's the case of it.
04:35And you are chilling in the way.
04:38It's the case of it.
04:48Was this improvised or was it given to you as a teacher?
04:50No, no. It was originally written.
04:54In the first one, we had a lot of improvisation.
04:58But after that, it was structured.
05:01And then the writer also said,
05:04Yeah, this is his character.
05:07But after that, there was improvisation.
05:10So, there was a lot of improvisation.
05:12I'm not going to be proud of you. That was in Britain.
05:14Wow, you're so smart.
05:16So, we added it in the character.
05:19But after that, once it moves, everybody gets insane.
05:24I have a question about this.
05:25You said that the first one was more of a formulation.
05:28You're exploring your characters, both of you.
05:30Then after the second and third, things fell in place.
05:33Tell me, when you work in comedy,
05:35and over the years, you know what works and what doesn't work for your characters.
05:38Does it take the fun away from what you're doing?
05:40Take the fun away?
05:41Because I'm so sure.
05:42No, why should I take the fun away? It's more fun.
05:44Because you're enjoying the character.
05:46And you're trying to think,
05:46I think, what is the way I live in the dairahe,
05:49within the parameters of the character,
05:50I'm adding more than anything.
05:52Without going out of the parameters.
05:53The main thing is that you have those parameters.
05:55That is the most important.
05:56So, all the actors, I think,
05:59are all the same,
05:59are all the parameters that we have.
06:01What do we do?
06:03What do we do?
06:03And the other thing,
06:03because writing is so good.
06:05When writing is not good,
06:07there are two problems with the actor.
06:08You're saying,
06:09you're doing something.
06:10You're doing something.
06:11What do we do?
06:12It's happened in the past.
06:13It's a little more streamlined.
06:15During my father's time,
06:17I've seen that,
06:18sir, you're doing something.
06:19You're doing something.
06:20You're doing something.
06:21You're doing something.
06:22You're doing something.
06:23So, when Chole is written,
06:24the way it's written,
06:25then the character comes out.
06:26Absolutely.
06:26Then the actor can add.
06:27Like I said,
06:28you can add as an actor.
06:29But,
06:30you know,
06:30if it's not written,
06:31there's no foundation,
06:32then the character.
06:34And then, sir,
06:35first Dhamal,
06:36when we did it,
06:36then the world was quite different.
06:38There was no digitization.
06:40There was no WhatsApp.
06:41There was no social media.
06:42There was no social media.
06:43All the years,
06:43these things are part of our society.
06:46How did the writing change
06:47with time change?
06:50You know,
06:5338 years,
06:55over the years,
06:56there was a lot of change.
06:57so,
06:57I have to revamp it
06:59too.
07:01I have to ask kids
07:03and look at the audience
07:05and look at the audience
07:06and look at the audience
07:07and see what we are doing
07:08and see what we are doing.
07:10So,
07:10it's always our time
07:11to keep the time
07:13with the rest of the time.
07:15So,
07:16it's always the time
07:16to keep it.
07:17So,
07:17now,
07:18it's a long time.
07:22Now,
07:22you'll add one thing.
07:23What is this?
07:24Look, you eat big bread. I've been eating big bread for 50 years.
07:28Big bread will change.
07:30Go for it. People love the big bread.
07:32Similarly, when a franchise is made,
07:34this is the mood, this is the mood.
07:36They love that.
07:37In the same framework,
07:39you need to do that.
07:40Gen Z jokes, that is not dumb.
07:43If a child comes to Gen Z,
07:44then he might add with that character.
07:47But our character can't become Gen Z.
07:49That's right.
07:50And Arshad sir,
07:52I'm a big fan.
07:54It just comes out like that.
07:57I normally get into trouble for that.
07:59But how do you hone this skill of your, if I may say so?
08:03I think God has been nice to me.
08:05I do have a sense of my mind.
08:07I do have this one-liner just come out immediately.
08:11But he is there.
08:12I don't plan anything.
08:15And that's what it is.
08:19It's all good.
08:20I'm a big fan of the music lounge.
08:20I'm a big fan of the music lounge.
08:21And he has a big love.
08:22He's saying that
08:23Ritesh is here because of London.
08:26He's busy.
08:27And then I am going to say,
08:29I'm going to cry.
08:32It just comes out.
08:34No, I don't know.
08:37I'm sorry, I'm sorry, I'm sorry.
08:39I think I'm harmless and honestly,
08:42whatever the other question is,
08:44whatever the other question is,
08:45it's my own relationship with them.
08:48Otherwise, you can't.
08:49I'm just sitting with random people,
08:51and I'm just sitting with them.
08:52I have a relationship with them.
08:55Okay. And this is my question.
08:58When you are toying around with humor,
09:00to deliver a client to the camera,
09:02there are thousands of thoughts that come to your mind.
09:05How do you pick and choose
09:06that this is the right,
09:07this is the director or the audience?
09:10Honestly, it's a gut feel.
09:12There is no pocket science to it,
09:14there is no math to it.
09:15I think this is what defines a good comedian
09:18from a not very good comedian.
09:21Somebody who does comedy very well,
09:23somebody who does it.
09:24Or from a director, somebody who directs comedy
09:26or writes comedy better than one who does it.
09:28It's a gut feel.
09:29It's not that fun.
09:31We do many jokes that
09:33we think that people are good.
09:36They don't.
09:38It's not that fun.
09:39This is not that fun.
09:40But those people are good.
09:42You really don't know.
09:43It's a gut feel.
09:44And you try and make your best.
09:46And that is what it is.
09:49Fortunately, with a film like Thaval,
09:52it has worked.
09:53But the first time we did it, that was the risk.
09:55That was the time,
09:57characters were born.
09:58You see how to do it.
10:00How to do it.
10:01How to do it.
10:02How to do it.
10:02How to do it.
10:05And then, it will be set.
10:10So now, we are just following that.
10:12Unfortunately, we are doing that.
10:13So now, we are doing that.
10:16You said that it just comes out like this.
10:18The lines that you say.
10:19Now, there is a very famous scene
10:21from one of your films.
10:22I am forgetting the name of the film.
10:23Saurabh Shukla sirke saath.
10:25Where you say,
10:25you just say it and he is like,
10:28what line is going on.
10:29I don't recollect the film name.
10:31Was that also improvised?
10:32I don't know which one you are talking about.
10:33The problem is that you are thinking about.
10:35Jolly or any other film.
10:37No, not Jolly.
10:38Certainly not Jolly.
10:39There is a fraud.
10:41So, what?
10:45I am saying something.
10:46You said something that.
10:48Is it in the interview or in the film?
10:49No, it is a film.
10:51Your character says something to the effect of that.
10:53When it comes to money,
10:54then he is going to pay attention.
10:57That's a good line.
10:59Yes.
10:59That's a good line.
11:00Absolutely.
11:01That's not my line.
11:01That's a good line.
11:04That's a good line.
11:06That's a good line.
11:25And Javed sir, you have been involved in different skills when it comes to cinema,
11:35dance, acting, comedy and everything,
11:37Tell me, how do you keep all these in sync as an artist to deliver one major current to what
11:45you do as an artist?
11:46The wages of sync.
11:48Sync is not enough. As an actor, if you limit yourself, it depends.
11:54If your range is like a spectrum, one spectrum is slapstick, the other end of the spectrum is hardcore drama.
12:07So by the grace of God, slapstick, drama, film.
12:13So I am thankful to God as an actor that I have the opportunity to do all this.
12:19I mean, you have to keep your, like, hone your talent, you get it.
12:24So I am waiting for voice-over to do voice-over because I feel that it hones me that I
12:31am doing a voice-over.
12:32It could be stupid, it could be an animated film, it could be an ad.
12:35An animated film is not stupid.
12:36No, no, no, no.
12:39Or if I do it, I guess she is classic.
12:41For me, it is honing whatever my artist is in whatever form.
12:45So I don't have to do that.
12:47I try to do that.
12:49For me, it is an exercise.
12:51So that is the way I would do it.
12:52So you are a public person.
12:54That is something.
12:56And I have one more question.
12:57It is a little different.
12:59In the 90s, in my generation, we are used to watching you at least 3 or 4 times a week
13:05on TV.
13:06With the start of boogieing and that is how all the dance reality shows took off.
13:11I want to say this on the play of my entire generation, that we miss you, watching you regularly appear
13:16on our screens.
13:17If you could do that, be more frequent on screens.
13:20Well, I would love to.
13:23The show I am judging now.
13:25Back in the judges chair.
13:26But yeah, I wish Navid and Bravi and me and we had great fun.
13:31It was very organic.
13:32It was actually one of the originals in the world.
13:35The first time this format was.
13:37So, hopefully we can divide with that some more.
13:41And Nidha sir, coming to you.
13:43It has been on some Starcast.
13:46How do you manage it and still deliver the story every time?
13:50What's the other one?
13:50How to be managed with them.
13:50What's the other one?
13:51What's the other one?
13:52How to be managed with them?
13:55How to be managed with them?
13:56Why not?
14:00When I ask then...
14:00Are you a very hard taskmaster?
14:02No, no.
14:03We all are doing doing a job.
14:05When I am in the same place with someone.
14:08In the same line, I actually say someone.
14:10Look at the same person who came to the set.
14:10And then you look at the same character.
14:11Who is the director?
14:13And I am a senior actor standing on the other side.
14:28He is very very clear and we understand that equation.
14:46And for my final question, acting is all about how you react to your co-stars.
14:52Now when there is you in the frame and there is he in the frame. Equally good, brilliant actors.
14:58How does it, I mean is there any one upmanship or like you work as a team together?
15:04It's magic when we are there together. But I will tell you something, the reason why you like both of
15:09us is because there is no one upmanship.
15:12Bad acting happens with the presence of ego. It could happen, acting happens absolutely.
15:17There is no ego between us. We have a great time of ego.
15:20Active to active, active, active skills. This is a common argument that your performance is good.
15:25If an actor's concern is good, then you do it.
15:30Then you do it. Then you do it.
15:32Then you do it. Then you do it. Then why do you do it?
15:36And he will be like, when I do it, when I do it, he will hit a punch and he
15:39will not give a punch.
15:43So, that is the problem. So, ego.
15:51And honestly speaking, you know, for any good actor, if you have a character in your own character, then there
15:59is no one. I am being my character.
16:00My character will say, I can't go out of line because I will say a line.
16:04I will not allow my character. So, as actors, we understand that.
16:09Again, there is no feeling. It doesn't work. It is a funny.
16:14It is like, and that is great. When you enjoy each other's company.
16:20And in the show, I will look at all microscopically.
16:22Ego, if it is a side of the side.
16:24One-upmanship in terms of purely for the love of the game.
16:27I will say something, I will say something, I will say something.
16:29And then it will take the entire story.
16:32If you have a director, then it will be 6-minute scene.
16:37So, I suppose you have to let it be the director.
16:40We as actors, we are not going.
16:43That is where the director comes in.
16:44That is it. It is not a purpose.
16:45That is it.
16:46Perfect. So, that will be the end of this conversation.
16:54Thank you, sir.
16:54Jamal 4. Great fun.
16:56Watch it.
16:57Enjoy.
16:57Bye-bye.
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