'Superboys of Malegaon', Actors, Vineet Kumar Singh, Shashank Arora & Adarsh Gourav

0:10Jawad MirWelcome back everyone to another episode of Kingdom of Dreams Podcast: The Making of Stories. I'm your host Jawad Mir. Today we have three actors from the film Super Boys of Malegaon, whose director and producer we had in the previous episode. The actors are Adarsh, Vineet, and Shashank. All three actors are the lead of this film and their performances was amazing. So without further ado, here is my conversation with Vineet, Shashank, and Adarsh for Super Boys of Malegaon. Okay, thank you so much Adarsh and Vineet, I was just talking to very briefly, for joining for Super Boys of Malegaon. First off, I saw it at TIFF when you guys came to Toronto.

0:46Jawad MirI'm in Toronto, and, loved it. Absolutely loved it. Part of it, the reason was, I'm a producer director myself, so just that journey of making films, the, you know, the uphill battle relatability was there. But the characters and the way you guys portrayed the characters was absolutely phenomenal. So thank you so much for…

1:07Guest 3Thank you. Thank you.

1:08Jawad MirThank you.

1:09Guest 3Thank you. That's really kind of you.

1:11Jawad MirI, will start off with both of you. Just tell me, walk me through how you guys came on board of this film. Who approached you, and what was the journey? Whoever wants to start.

1:25Guest 3Adarsh. I will follow the director. He's the director.

1:32Guest 1That's right. I was actually, working on a short film with Varun Grover in 2021. It was called Kiss. And while we were doing that short film, Varun Bhai said that he was working on the script of this film and if I'd like to read it. And I read it and, you know, I'd seen the documentary many years ago in 2015 when I was taking a gap year from college. And I was like, "Oh, this is... I know this story." But, you know, it was a different sides to the story, different sides to the story than what we had seen in the documentary. It was more about Nasir's beginnings and how all these people come together, how the crew comes together and starts to do something about a problem they've recognized. And I was just instantly pulled towards the material. It was so compelling. Nasir's arc was so inspirational. Also, like, fighting against all odds, cinema for the people, by the people. There were so many things that were, very exciting for me to just read as an audience. I mean, and then I was, you know, I could just imagine myself in you know, in that photograph and, wh… which is after which Varun Grover told me that Tiger Baby is producing it and Reema Kagti was directing it.

2:47Guest 1And then, you know, I met everybody. We had bunch of workshops that we did where we discovered our characters and kind of, did a bunch of exercises that also went beyond the script, just to explore the text more and explore our characters more in different situations. That's how it happened.

3:03Jawad MirAwesome. We have, Shashank, here. So Vineet…

3:07Guest 3Hi. Hi. Hi

3:08Jawad Mir... You can start off.

3:09Guest 3I apologize for…

3:11Guest 1Hey, Shashank.

3:13Guest 3I hope you guys... Sorry for interrupting, please.

3:17Guest 1No, your…

3:17Jawad MirGo ahead

3:18Guest 1... Your video's off.

3:19Jawad MirHi, Shashank.

3:21Guest 3Yeah, I'm just working on getting... Hi. How are you, man?

3:24Jawad MirI'm good, man. How are you?

3:24Guest 3It's good to see you. I am good, sir. I'm just working on getting my video back on, and I'm just…

3:29Jawad MirSo…

3:29Guest 3... Rushing back.

3:31Jawad MirSo Vineet, why don't you go on with, how did you come on board, and then while Shashank gets that going, then Shashank can answer that question. How did you come on board the film?

3:40Guest 3Jawad, I earlier, I worked with Reema in, Gold, and that experience was really amazing. And that f… film was in period in, like, 1930s, '40s. So, when she was doing this, casting director, Nandini Srikant and Karan Mali, I got the call from there and, tested for the part. It was like reading kind of, and the main thing was, okay, because, Reema gave me the opportunity to, you know, to become the friend, on-screen friend with those boys. They are, like, younger to me, like at least eight to 10 year younger. Like, Adarsh and Shashank and others. So, okay

4:36Guest 1It's…

4:36Jawad MirAmazing

5:11Guest 1... It's funny how Vineet Bhai was thinking like that, and here we all were thinking like, "Holy shit, we're gonna be sharing screen space with Vineet Singh." And he was just like...

5:25Jawad MirActually, before I, before I go to Shashank, I was talking to Reema and Zoya yesterday, and Reema said that Vineet, you improvised the, th… that line wasn't in the script, g… that writer baap hota hai. Y… you came.

5:38Guest 3Yeah.

5:38Jawad MirWas that, was that when you were rehearsing or was that something that just came when you were performing in one of the rehearsals?

5:45Guest 3Actually, Anurag sir ke saath kaam karke ek toh woh improvise bahut karte hai. I mean, Anurag Kashyap.

5:54Guest 1Yeah. Yeah. I know.

5:55Guest 3So, haan toh woh kuch aisi schooling si ho gayi hai ki har scene mein kuch na kuch hota rehta hai. And, woh scene bahut achcha likha hua tha. Varun Grover ne, bahut achcha likha hai scene scene you know, situation

6:19Jawad MirAnd it also goes from a professional disagreement and it becomes entirely personal very quickly. You know?

6:26Guest 3Yeah.

6:27Jawad MirStart initially professional disagreements script

6:32Guest 3Yeah actually…

6:34Jawad MirAnd it's…

6:35Guest 3scene script mutton? Somehow all the characters you know, they were feeling that, somehow invested, film But output somehow situation scene, line, and

7:30Jawad MirThat was good. Shashank, what about you, man? How did you come on board on this film?

7:35Guest 2Hi, Sabir. Thank you for having us on your show, man. I…

7:38Jawad MirNo

7:38Guest 2... I apologize for…

7:40Jawad MirNo, that's all good

7:40Guest 2... Later. Sorry, so what was your question now that I've done…

7:45Jawad MirHow… How did, how did you, how did you come across the script? Who approached you?

7:50Guest 2How did I come across the script? I got a call from, this writer I really look up to called Varun Grover. He called me and he said he's writing a script. And a month later I got a call from Reema and she said she's directing this film. And, she said there's a character named Shafiq, who was an actor, and an indie filmmaker who was Nasir's life. And so I'd heard of them through video clips I'd seen on the internet, but I didn't know more about their life. I didn't know about this industry. I didn't know about, Nasir's life. And then when she told me about it, I researched more and more and I realized that this was perhaps one of the most incredible things that I'd read in my life. And as I sort of figured out who else was associated with this, including these two actors who are sitting here, with us, it seemed like a no-brainer to sort of get into, this film because it perhaps was the rarest, you know, one of the rarest scripts that I've had the pr-privilege to read in my life.

8:55Jawad MirIt is a very rare script, and considering it's true, it makes it even more special. And before I jump onto my next question, there's, there's a… I don't wanna reveal anything because obviously the film is not out. There's a scene in the very end, when Shashank, your eyes really spoke so much, and in the context of sp… you know, when you're watching something, you know what I'm talking about, right? It was just so powerful that I can tell you right now, I was sitting in the very back seat in the center and there was a… it was not just South Asian people. There was mixed, like Chinese, Black, white people who were watching it. This is not at the premiere. This was a press screening. And I s… heard sniffing throughout, like tears coming out of people's eyes. So that was a really powerful scene. It was executed by all of you very perfectly. And it…

9:45Guest 2Thank you

9:46Jawad Mir... It goes back to, and it goes back to the script, too, right? I mean, obviously your performances speak for yourself, but if the script is strong, then the real stuff comes out automatically. My next part is, question is for all three of you. So when you're performing in a scene in any film, let's take this for example, you're always trying to relate to something deeper inside you as an actor that can pull that emotion out, and sometimes you try to think of a moment in your real life, whatever that is. How, you know, if there was a scene, whether it was a c… you know, happy scene or a sad scene, can you run through the process of how do you evoke that emotion, or even remembering something from your childhood or early years in life or even now to bring that on the screen?

10:41Guest 1Just a very tormenting process, especially if it's a place where you, where your character is going through something traumatic.

10:49Jawad MirYeah.

10:50Guest 1Yeah, it's just, I don't know how else to put it, but it's, it's, it's hard on your, on your system when you're trying to put yourself…

11:01Jawad MirBut let me rephrase that. So, okay, we all have past, right?

11:06Guest 1Right.

11:06Jawad MirThere's some things in the past that we don't tr… want to remember intentionally or we just forgot about, and sometimes they come up. Have digging into that, some territory where you don't want…

11:17Guest 1Yeah

11:17Jawad Mir... To dig in…

11:18Guest 1Yeah

11:18Jawad Mir... Does that bring up something real? I'm not trying to find out what that is, but does that…

11:23Guest 1No

11:23Jawad Mir... Bring out the real stuff?

11:25Guest 1I mean, it depends on how many times you've used it.

11:30Jawad MirThat's true, too.

11:31Guest 1You know? It's, it's, it's a se… it's, it's not a permanent source of, inspiration or whatever you wanna call it. It has a limited number of, like, times that you can draw from it.

11:46Jawad MirYep. Cycle, yeah.

11:47Guest 1And then you've gotta, then you've gotta find another, live enough life so that you have enough things that you've seen so that you can draw more from. I guess, but that is only a part of it, honestly. I mean, you know, when you're on a set and when you're doing so many takes and there are so many shorts, you also have to understand how to do it technically at some point, at least for me. Like, I can't keep… Relying on my emotional, memory or whatever that is. There are other things that come into factor that you learn by doing it, like from looking at other people, going to drama school, all these things kind of like... So yeah, it's, it's a mix of both, I'd say.

12:28Jawad MirGreat. Shashank?

12:35Guest 2That was a really nice, question about craft. Were you asking does it sort of stay with you or what were you getting at? Can you please…

12:42Jawad MirIf it stays with you after a while, but also if it brings out something that you don't even remember, if a di… dialogue or emotion in the scene pulls something out…

12:54Guest 2Oh

12:54Jawad Mir... That you had forgotten about.

12:56Guest 2Great. O… of course, man. I mean, if you do anything honestly, it's gonna, it's gonna bring very unpredictable thoughts out, things you perhaps had let go of, things you hadn't let go of. If you try and enter any emotional space, I mean, if you're, you know, trying to change your being state or anything, if you're trying to be happy or be sad or be jealous or be in love, it's gonna kick a storm up inside you. And it's gonna, you know, bring all sorts of old stuff up if you do it honestly. That means if you're trying to have an experience, if you're trying to convey an emotion, then that, then you don't hold onto it for too long. If you're just trying to feel it, I mean, if you're trying to make someone else feel something and you're like, "Oh, you know, I'm going sad," da, no. But if you're trying to honestly just create something, yeah, things will, you know, things will kick up. You're a human being and of course, you know, if you're, if you're feeling love towards something on set today, that love is coming from your ex-girlfriend or your mother or your dog or your grandmother or... So it is kicking stuff up irrespective. So there's no way not to kick stuff up.

13:57Guest 2That means you're not doing it right.

13:58Jawad MirYeah. I hear. Maneet?

14:02Guest 3Jawad, see, in initial stage, you know, these things are good. Later on, like how to say, suppose if the land is fertile, okay, whatever seed you will put, you will get the return. So actor should be ready like that fertile land. Whatever emotions, suppose that seeds are emotions, you know, or the requirement of the scene. So whatever you will put there, the land will give you in return. Now the rest is the atmosphere. If the rain will not fine, if the sun is not fine, you know, or some, sometime in, you know, in this kind, this kind of crops like animal centers. So these things are like, your colleagues, your team, your director, your cameraman, and where you are shooting, how other things are.

15:06Guest 3Everything will affect somehow, you know, the final result. But as an actor, you have to have to understand this, whatever is happening, you know, because you can deliver your part, but filmmaking is not just about you. It's about your co-actors, and this medium belongs to the director. So, Because, see

16:13Guest 1You know?

16:15Guest 3So when I entered there, I was completely clueless. You know? If I'm doing that kind of scene. You know? How you are working. You have to figure out some other way, and you don't know.

17:14Guest 2I feel so happy you brought this question up, and man, I also get to listen to both of them talk about craft, and it feels really cool because even though, say, you know, they might both work in very separate ways, they both said things which are so common right now about exhausting that choice, as Adarsh was saying, that you exhaust that choice. Whereas Vineeth is saying that choice doesn't work. And so I don't know, it was a great, it was a great... Just, it was just great to be working with these two guys on this set, I think, and it was so incredible because we were so comfortable talking about craft, and that doesn't happen on many sets that I've worked on in my life where I go and I feel like, "Hey, I'm gonna talk about acting with these two guys on set." And you feel like, "Oh man, I wanna go act today with people who love acting." And so it's a, it's a… I'm not putting anyone down, but it's a rare feeling where I have come from and, you know, the sort of space I feel, the environment that surrounds us.

18:09Jawad MirYeah. No, it's, it's… It's, it shows on the screen, right? Like, when you have it... There's script, there's director, there's acting, there's dialogue, there's performances, but that chemistry that you guys had of animosity, of love, of friendship, of anger, all that clearly showed, and that only comes if there's chemistry between the actors off screen. And, you know, that clear… and obviously it p… clearly depicts that. What is one thing that you guys learned about yourself after working on this film that you did not know about yourself? It could be anything in personal, professional.

18:53Guest 1Well, y… I just go through this weird existential crisis after I finish filming for anything. Where I s… I s… feel so spent and exhausted and so clueless because I suddenly, you know, you stop thinking as Nasir or you stop making choices as Nasir or whatever. I mean, not personally off camera, obviously, but there's a trickle down of it somewhere in your life, you know, in a larger, in the larger scheme of things. And then when it all gets over, because I know that I'm not gonna be seeing these guys anymore for a while, and then it's, you know, it's a temporary family that you've created, and suddenly I feel very uprooted, and that kind of every time makes me feel like I don't know anything. And in the last couple of years, it so happened that right after a project, I've either gone, done another acting workshop just to make sure that I'm not going crazy, or I would, you know, go off somewhere to the mountains and be by myself for, like, a couple of weeks. I feel really lost after every project. It's a weird thing. I'm not sure if other people feel it, but it wasn't too different this time even.

20:04Guest 1I finished Super Boys and, you know, I just, I just went to Auroville, to Adi Shakti for 15 days, and… ... Yeah.

20:14Jawad MirIt makes sense. It makes sense.

20:15Guest 1Yeah.

20:18Jawad MirShashank, because I know Vinit likes to go at the end, so we'll go to Shashank.

20:24Guest 2I'll go, I'll go to Vinit. That was so beautifully put by Adarsh. There's this emptiness I feel as well, 'cause you've… it's like a microcosm. You f… have this family with these people in this world, and you fall in love with the idea of that world, and you fall in love with trying to give birth to that world and the people who are with you. And then you have to let it go, and of course, you take these beautiful relationships, and you take these beautiful memories. But there's a certain sadness to it, and there's a certain joy to it. I'm, I'm still learning as I go along. I'm still understanding this feeling. I really love it. I really… I'm in awe of this feeling of making a film with other people. It's, it's something which I hope to do for a very long time. That being said, I haven't understood it, man. I carry some of that with me and, you know, there's problems letting go. Sometimes, there aren't. It's, it's a whirlwind of feelings each time.

21:26Guest 2But I'm not someone who... I mean, I don't, you know, there's, there's, there's people who sort of s… get stuck in that drama of their character or the love of the guy. I don't, I don't really carry that with me for too long. I can let it go very fast. It's the relationships or it's the people I meet on set or the world, is, that I get attached to.

21:48Guest 1Yeah. And also, if I may add, I also realize how hard it is to be a director. Like, I would use… I would say that very casually in passing that, "Oh, someday I'm gonna direct." And then I saw up close what it takes to be a director. I was like, "Nah, acting's pretty easy and chill." My job gets done in three months. I take my check, I bounce, I move on to the next. But I don't have the choice. When I'm a director, I'm stuck there for three years. It's crazy. It's cr… I don't know how people do it. I at this point in time don't have the patience to put three years into a, you know, into making some... It's too much. I don't know.

22:26Jawad MirI think you will eventually, once you're…

22:28Guest 1Yeah

22:29Jawad Mir... Become com… not necessarily compli… complacent of your acting, but just, you know, you want some change. You probably will. I think down the road you will. You'll, you'll be okay. Vinit?

22:39Guest 2Yeah. Jawad, I learned so many things with this film because, see, this whole world of Malegaon is so special and so unique. Yeah... Ke yeh sach hua hai. Plus, ek aur mazedar cheez hai, main aksar na, yeh age group, 20s, mid-20s kind of ki filmein mana kar deta tha, ke late 20s ki filmein, maine kaha, "Yaar, nahi yaar, yeh na mujhe lagta hai ki naturally main wahan jaake land nahi kar raha hoon."

23:56Guest 2But after this film, I might say yes to those kind of work too, jahan pe late 20s main mujhe koi cheez milne wali hai. Maine kai saari cheezein is film main seekhi.

24:09Guest 1I feel like…

24:10Jawad MirMain 30 se uppar ho gaya hoon, yaar

24:11Guest 1... I feel like Vinit bhai has done such a great job in telling the world that we, Shashank and me, are in our mid-20s But I feel like you just extended our shelf life as an actor for 10 years 'cause we are both not in our 20s. Shashank, you're also older than me.

24:28Guest 3I'm like 35, but bless you.

24:30Guest 1But thank you, Vibe. Bless you. I hope that a lot of people watch it. Continue thinking that we're in our 20s.

24:36Guest 3Please, all the Bollywood directors, cast us for our 20s.

24:41Jawad MirWell, I mean, you've had, you've had people like Shah Rukh Khan, Salman Khan playing in their 30s when they're in their late 40s, so I'm sure it can happen to you guys, too.

24:52Guest 3See Jawwad, Yeah.

24:57Jawad MirYeah, I can see it. I can see it. You guys are just interjecting, which is awesome. And it's, o… one thing I would say, Vinit, to Vinit's point, it's so important, having less resources I think is a beautiful thing because if you look at some of the greatest films, whether they came out of Hollywood or India in the last 20, 30 years, the best ones are the ones which have limited resources.

25:20Guest 3Yeah.

25:20Jawad MirI mean, a prime example is the Matrix trilogy, right? Or the four films.

25:24Guest 3Yes.

25:24Jawad MirThe first Matrix, they had limited money.

25:28Guest 3Yeah.

25:28Jawad MirAnd it was the best, and after that, in my view, they ruined everything else because they got tons of money.

25:34Guest 3Yeah.

25:34Jawad MirThe limited resources…

25:35Guest 3Yeah, you are right. Yeah. Well said, Jawwad. So many films, you know, when the makers were in crisis, directors were in crisis, they were not getting what they were look… looking for, and Or film, so many examples. Yeah, you're right.

25:56Jawad Mir100%. Is there a specific performance that you really admire, whether it's in Hollywood or India or both, of any film? Like, a, not an actor, a performance that blew you away. It could be in the last 50 years, last 5 years.

26:13Guest 1Not an actor?

26:15Jawad MirNo, like, it can be an actor or actress, but I don't wanna... I'm not too concerned about if it's Shah Rukh Khan or if it's, Daniel Day-Lewis, more about the character and the film that they played.

26:26Guest 1Oh, okay.

26:26Jawad MirLike that...

26:29Guest 1Gotcha. For me…

26:33Jawad MirSorry to put you on spot. Go on.

26:36Guest 3Yeah. For me, Will Smith's performance in Pursuit of Happiness and, Javier Bardem's performance is, in No Country for Old Men. And in Her, you know?

26:53Jawad MirJoaquin Phoenix.

26:54Guest 1Joaquin Phoenix.

26:55Guest 3Yeah, Joaquin Phoenix. So these are something, you know, very different kind of... And so many performances are like that. So many.

27:04Jawad MirYeah.

27:04Guest 3When I watched Lincoln, you know, because I watched all the films, so when I watched Lincoln, it was like, my God, he changed his body language. He changed so many actors.

27:22Jawad MirYeah.

27:22Guest 3Yeah. Even in I… even in India, even in India, so many, like, so many performances are there.

27:31Jawad Mir100%.

27:31Guest 3You know, but we manifest it.

27:43Jawad MirYeah. Amazing. A… Adarsh and, Shashank?

27:47Guest 1Right off the top of my head, Demi Moore in Substance. I was, I was psyched when I saw that film.

27:55Jawad MirThat's an amazing film. I just, I just spoke to the editor of that film. That's an amazing film.

27:59Guest 1No way.

28:00Jawad MirYeah.

28:00Guest 1Oh, shit. I've, I've actually been trying to get in touch with one of the editors of Substance or something.

28:05Jawad MirYeah.

28:06Guest 1Okay.

28:07Jawad MirYeah We can, we can make a connection.

28:09Guest 1Yeah, but... Yeah. But Demi Moore in that, like, just her transformation through the film, just through all those prosthetics and getting the body right and it's, it was just incredible. Like, I haven't seen anything quite like that, no way. Yeah.

28:28Jawad MirAmazing. Shashank?

28:31Guest 3I don't know. I have to go with an actor, 'cause Philip Seymour Hoffman. Yeah, e… everything, The Master, I mean, I'm gonna even say The Big Lebowski. Philip Seymour Hoffman in The Big Lebowski is a re… revelation for me. In anything he does, he's just, he's a teacher. He's someone I learn from. Philip Seymour Hoffman, everything he did. Yeah.

28:59Jawad MirAmazing. I would like to wrap this up by just one comment, question, thought, which kind of connects to an earlier question. You know, the profession that we're all in, whether anybody admits it or not, it's a very lonely profession. You know, when you're not getting work and when you're waiting, you're just trying to figure out how to make money and you're trying to sort of figure out how to better your craft and all that stuff. And then you go on and then you get something, a project as a director, as an actor, whatever, and you become part of this world for, as you guys said, for, you know, three, four, five months or a year, and then you go on and move to the next one and try to find the next one. How do you guys deal with that, if at all, in terms of, you know, trying to make sure that you stay connected with people that you worked before, not necessarily for future projects, but just more for social purposes? Is that a challenge?

30:01Guest 1Well…

30:02Jawad MirAdarsh?

30:03Guest 1Thing is that when you're on a movie set, you're just, you're in a bubble, right? It's like everybody's working towards that film, and you're in that bubble for two months. You, as you said, like, you build those relations. You know, you kind of like get into that, and I feel like… What's very important for me also is when I come back is to jump right back into the reality of things as well. So, there is a part of me that, you know, that as I said earlier, that where I like to go off to s… to a place where I don't have to really talk or interact with people too much. And then, but also like when I come back, I also like to…

30:44Jawad MirTalk

30:44Guest 1... Talk and like fully integrate into what is happening around me and just to get to know everything, 'cause then suddenly there's this weird sense of hunger for, oh shit, I have no idea what was happening in the world for the last three or four months 'cause you're in that bubble and you're obviously kind of catching up reading the news or whatever, but like you're spending such large parts of your day in shoot, in filming or discussing or whatever. So then there's that certain hunger of like wanting to live a life almost with the objective of you're kind of leading a life with the objective of extracting things from that so that you can apply that to your, whatever your next thing is. I don't know. It's, it's a very weird way of functioning for me sometimes. And also like I work…

31:30Jawad MirAs long as it works for you, it's not weird, but go on.

31:32Guest 1Yeah. Also there's, I find myself like quite lost sometimes, honestly. Like I f… I feel like I don't have any purpose when I'm not working.

31:42Jawad MirYeah.

31:42Guest 1And then it's hard for me to find a purpose and then kind of tell myself that it's all right, even if I'm not filming or like thinking about one character or about one world. So it takes me time to find a purpose again, to find some meaning out of why I'm trying to make music, if there is any meaning at all to that. Or why I'm writing a script or why I'm reading a book. But yeah, it's a strange transition.

32:10Jawad MirShashank?

32:13Guest 2I mean, it's life, man. It's beautiful and it's, it's sad and, you know, you make friends and some of them you let go of and you... I'm not someone who, I can't stay in relationships for the sake of them as such. I, you know, I think that's a disservice to it. So I more often than not find myself letting go of a lot of people I might have worked with, only to find them years later on a set, and it's the most magical thing in the world. But yeah, it's, it's a part of what we do, I think, and it's beautiful. It's incredible that you meet these people and you have this family and this, you know, and of course you try to be there for each other as, you know, you can, and if someone needs you're definitely there for them. Of course, you know, you become this family, so if someone's in trouble, you know you're gonna be them for their years later. That being said, yeah, you're not calling everybody all the time and you know, it's, or throwing parties every week or meeting everyone every week, you know?

33:21Guest 2But there is a sense of camaraderie, there's a sense of family which is actually, you know, deeper than just appearances because you realize you're all working towards something together, like, Other Side, and you're trying to create something which is much bigger than all of you. Something that's gonna stand the test of time like Super Boys of Malegaon, and it's gonna be around here much longer than we are. And so I think that shared vision is what's beautiful and you learn to let go because if you stay stuck in it, I don't think you'll grow as well then and then you won't evolve.

33:55Jawad MirWell said. Maneet?

33:57Guest 3Jawad, very good question, you know. See, every actor, every writer, every director and who we film industry may come around… ... Process. And especially for actors, directors, and writers, literally you are chasing people, you are trying to call and they are not interested, you know, to receive your call. You know, you know? You know? They're also ch… chasing someone else. So there's like a circle.

34:52Jawad MirThat's true.

34:52Guest 3Someone is chasing someone, that someone is chasing someone, you know? You know? So all of sudden everybody's chasing you know? You know? It's difficult to…

35:27Jawad MirOh, yeah

35:27Guest 3... Get someone. You know? So, you know, it's, I don't know if you got the part that you got the part for this film because the way you speak, because you truly speak like a writer. So thanks to Rima. Rima... Thank you, Jawad.

37:43Jawad MirIt's been a real pleasure. Thank you. Very sweet.

37:48Guest 2Comes out February 28th, and please tell everyone to watch it, man. Thank you so much.

37:52Jawad MirWill do. Thank you.

37:53Guest 1Thank you. Thanks so much.

37:54Guest 2Thank you so much, Saket.

37:55Jawad MirTake care.

37:55Guest 1Have a good night.

37:55Jawad MirBye, boys.

37:56Guest 2Thanks, man. Thanks.