All language subtitles for RRR Behind & Beyond 2024_track3_[eng]

Action!

-
Cut!

- Oh, God!

He took so much into his hands!

Yeah, I had to.

It's super white.

Fighting, dancing,
singing, blood, laughs, tears!

A complete fiction
based on two real Indian heroes.

RRR has it all.

A good story is a good story
for all the people across the globe.

The people might be from
different cultures, different races,

different languages.
It doesn't matter.

Because human emotions
are the same for everyone.

To make this story into a film,

and take it to the people
across the borders,

there will be many hurdles.

Let it be distribution, budgets,
marketing, the times of release.

But the biggest hurdle
would be if I lack the belief.

If I don't believe in my story,

there is no way I can convince people,

from other languages or other countries,

to believe and come to the theater
and watch my films.

Komaram Bheem
and Alluri Sitarama Raju

were born around the same time.

They also went missing
for a few years around the same time.

Let us pursue what if these two characters

met each other and drew inspiration
from one another.

This gives me
a chance to realize my…

long-held dream
of bringing two heroes together,

and building a beautiful tale
of friendship between them.

That is the start of RRR.

Clap in.

Background action.

Tarak, ready? Charan, ready?

And… action!

He's missing.

I'm in search of him.

Why didn't you seek my help?

Okay. The first shot is okay.

Whoo!

I first met him in 2006.

I wanted to make a good film with him.

And I got the opportunity
to make RRR after 12 years.

Right from a very young age,

I had this big love towards action.

Whether it is films or comics
or storybooks or novels.

I just love action.

Whenever there is an emotional moment

that needs to be conveyed to the audience,

I try to see if I can
convey it through action.

The introductions are
not just action pieces.

They convey a lot about the character.

Their coming together can be action.

Them realizing that they are not friends,

they are at loggerheads, can be action.

Them realizing their folly and coming
back to save each other can be action.

Them getting together and fighting
against a common enemy can be action.

So, there is so much scope in RRR,

where I can just let go

and design all the beautiful
action sequences.

Out! Out!

Being in the production
of Mr. S. S. Rajamouli's films is--

Whoever has seen the film knows…

how challenging it can be
to put everything together.

And it is so challenging, not just
because of the scale of the film,

or the scale of each of the sequences,

and what each sequence demands, but…

our director is always full of surprises.

And good surprises.

We prep for a sequence
for about ten or fifteen days,

and then shoot the sequence
for the next ten to fifteen days.

Or 20 days.

And then, we come back and
again prep for the next sequence.

In the prep, almost each and everybody
on set knows what's going to happen.

You know, before the actors come
and ask what we are going to shoot.

In the 12 films I made,

never did I once think or fear…

that this is an idea that
I cannot bring it on to the film.

That happened with Ram's introduction.

As you see, we are shooting my intro…

with close to 800 to 900 people,

which might look like
6000 to 7000 people on screen.

A mob mentality kind of a fight,

suffocating me, all falling on me
at once, and how I get out of this.

I don't know if I am prepared.

I am preparing myself every day.

There are new challenges.

Quite a dusty fight.

Definitely, I call this a sinus fight.

I am definitely going to get
some sinus problem after this.

Because he has a perfect body, neat body,

you just give him a uniform,
he will look like a cop.

The cop hair would be actually very short.

But we didn't want him
to have such short hair.

Those are all little cinematic
liberties that we took,

left him with the right amount of hair,
which made him look very handsome.

Why is Ram
beating his own people?

By his demeanor, by his look,
by the way he is progressing,

you can see he is a hero.

But by his action,
he looks like a villain.

So that gives an intrigue
to the character.

How could he imagine something
so beautiful, magnanimous, and big?

It's almost impossible
to conceive such an episode.

There is a guy who takes a stone
and throws it on his head.

After that, for a few seconds,

there's suffocation, how he
gets out of the suffocation,

and again goes towards the goal
of catching the guy in the turban.

That part was the most
interesting part for me.

The most difficult part as well.

There's continuity
for the next shot.

I didn't want any
of the fighters dancing in the background.

Everyone has to fall on him,

and still he has to manage
to go and get his prize.

And action!

I explained to Solman,
my stunt choreographer.

You've heard of Mahabharata
and Kurukshetra in our history.

Similar to how Abhimanyu
jumps into thousands of people

and fights in the Kurukshetra,

I was asked to compose
a sequence for Ram Charan.

After rehearsals, shooting, and editing,

I went to the director one day.

I saw that and I went…

"Wow!"

It's played on brass section.

I need some other quotient here,

which denotes his
determination and strength.

That goes on a cello.

Come what may!

Come what may!

The audience needed
to have that claustrophobic feel.

My cinematographer, he immediately
understood what I was looking at.

We wanted it to be extremely
rustic and realistic kind of a thing.

So for this, we used
extensive hand held cameras,

synced with the action
choreography which was happening.

Action!

Three, two, one.

Action!

Okay. Shot okay.

With the idea of "I'm going to arrest
the bastard and bring him to me…"

These are the two sentences,
and he twisted and stretched them.

Altercations to that particular sound
and placed music over that.

Arrest that bastard…

and…

bring him…

to me.

More cuts of the wide shots

made the scene look unbelievable.

He also did a mock shoot
of the whole thing, you know?

Lots of decisions were
made that…

it's probably better to have the camera
inside the crowd and not outside.

Dust was
so high in the air…

that people didn't know
where I was after they said "cut".

There was a guy with a white flag
waving to the director and the team.

"The hero is right here."

Then they used to find me, go
catch me there, and get me out.

There's a shot where Senthil has
placed the camera near the eye,

and you can see the reflection
of the people going back.

It's not a CG shot, it's a live shot.

Everyone's happy!

Bheem is from a tribe called Gond,

and he's called Gond Bebbuli…

which means the tiger of the Gond's tribe.

Tiger, the national animal of India.

I love everything about it.

For a long time I harbored the idea
of having a tiger sequence.

The introduction of Bheem
provided me with that.

I was actually waiting
to shoot for the sequence.

I was very excited when I got to the sets.

It was fun to watch so much technique.

This man is so sure about
what he wants and how he wants it.

Not only his actors,
he's particular about his CG tigers too.

We used his community's identity,
that's Gond or Gonde.

Introduction theme.

♪ Gonde! ♪

It's like a wild animal cry,

which can stand against
a wild roar of a lion or tiger.

There was a lot of physical endurance
which Rajamouli commanded from my side.

Because that was the only
sequence in the movie where

you could actually see
Bheem showing his body off.

But he was very particular
about how the body needs to look.

He did not want me
to become very lean.

He did not want me to have
these dried-out six packs or--

Yeah, he just wanted me to
look like a very strong bull.

You know, when a bull
is facing off a tiger.

He wanted me to look like--
You know, Bheem comes from the forest

and he's an Adivasi.

So he wanted me to look
like a very strong tribal.

And that's the reason why he did not
want me to take my body hair off.

He wanted me to be very, very,
very masculine for that movie.

To get that tiger feel in the on-location,
we did two things.

One is that blue ten-foot dummy.

We hired a six and a half foot
stuntman to get that real weight.

So that Tarak can feel
and emote accordingly.

We were able to capture
the lighting through the HDR ball.

In his intro, we gave him a bare
body to show his physical strength.

Because he's from a forest,

and the forest people are generally
physically very fit and strong.

The camera moves slowly
and then it rotates.

The same movement,
we also emulated in the location.

So, we merged the plates in CG later.

It sets the mood of what
we are going to tell in the story.

The person
won't be cut off the frame, right?

10, 11, 12, 13, 14, 15, 16…

Bheem had to run.

Run real, real fast.

So the person who was
holding the camera and running,

he's a parkour guy.

I said "action," and Tarak ran so fast.

I still remember the look
on the cameraman's face.

- He said…
- Action!

"My God! I need to put
my running shoes on."

He said, "Let's do it again."

When we had Tarak jump in the air…

There was no tiger,
there was no wolf when we shot it.

But the moment I saw his body
turning in the air and going out,

I thought, "Wow, I got my shot."

The speed of the animals
is extremely high.

So we did the animations first.

Then we realized
what the speed of the animal is.

And according to the animations,
we made the actors act.

Doubly difficult for Tarak.

It's not just imagining the animal.

He has to imagine the animal with
the correct speed, correct movement,

and deliver his performance.

Physically, a very strong man.

And emotionally, a very vulnerable person.

Once the sequence is over,

once the tiger is laying down unconscious,

the way he picks it up and says,

I'm sorry brother, I had to do this.

That is what really connects
Bheem to the audience.

I'm sorry I had to do
this to you, brother.

Forgive me.

I want like two heroes.

- Okay.
Face to face and shouting at each other.

The ropes, you know, he did not want
to take this cinematic liberty there.

So while I was pulling the ropes,

there were counterweights
also attached to the ropes,

so that it looks very natural
that you are actually…

pulling a rope rather than
just flexing your muscle.

So, it was very, very, very beautifully
and aesthetically designed,

where the brutal strength,
the hard work of the artist is shown.

The brutal strength
of the character is seen.

And plus, you have that raw sequence,

which is happening between
a human and an animal.

You know, a wild animal.

One of the iconic shots
of RRR is the face to face with the tiger.

All throughout the sequence, you see

that Bheem is not happy
with what he is doing.

There is a kind of vulnerability
on his face.

In this particular shot, you can't
show empathy towards the tiger.

That doesn't mean you
have to be angry with it.

The shout is for you
to get your energy pumped up.

And when we did that,

- the roar that he gave…
- Are you ready?

Uh, I had goosebumps while shooting it.

I had shot not with one tiger
but two tigers.

An interesting characterization
or behavior is not that difficult.

But creating the reason for why
they are behaving in such a way…

is the most difficult thing.

The way his father
brought him up,

and what happened
between his father and him.

The promise he made to his father
is actually the heart of RRR.

The intricacies in the drama,

the emotions, the ups and downs
in both our characters,

and also the other characters,
were so beautifully designed.

Anyone would have known

that the child has been taken away
by throwing a few coins at them.

But they just don't get it.

They take his sister away.

The way Bheem behaves comes from

what he has been taught
right from his childhood,

even though we don't see that in the film.

No more submission!

We must rebel!

We must kill whoever
comes in the way of that!

We have
established the character of Ram,

established the character of Akhtar.

Their paths are going to collide.

If it's a small sequence
where they just meet in a cafe,

and just have a coffee together,
saying hi, even that would work

But for me, it's like a situation
delivered on a platter

for the kind of action sequences
that I can come up with.

The second day of the shoot was like…

the swinging sequence.

They came the next day, and they saw
the stunt performers doing that and said…

- Scared about?
- These things.

- Nah! Not that much. Not that much.
- All the best.

But yeah, it is something new.

- Ready, sir?
- Rajamouli will handle everything.

- Ready, sir?
- Ready.

Myself on a horse,
and he on a bike.

First two days of mock shoot
and I thought, "Wow, this is so easy!"

I never imagined it.

Probably this is how the next
100 to 200 days are going to be.

The next day, we all entered the sets.

I was a bit late and Tarak was already
swinging at 60 to 80 feet above,

and I thought, "My God!
This is what we are going to do."

Fifteen days later,
we were still hanging 60 feet high

So, literally, literally,
literally, he made us swing for, like,

five or six days, I think.

And every time we started swinging,

he wanted more of it.

He just loved the whole sequence
and then he started off having new shots.

"Oh, my God! This angle is so good."

"Oh, the posture here of the hero
is nice! Bheem is good here!"

You know, like,
"Ram's posture is good here."

"What if both of them
change their positions and…"

It started off and there was no end to it.

Seeing Tarak and me hang, both of us
had a good tough time.

The believable action sequences,
which was the director's vision first.

So he told me it should be
something which nobody has seen.

We really had to create everything.
Like, even create train miniatures.

The whole bridge was done here.

Only the carriages were
done abroad and brought.

This is the shot that we need, sir.

A small blast and then pull it.

Two, three, four,
five, six, seven, eight…

- nine…
- Cut!

Action!

Two pillars covered
in blue for the shadow.

That is then one water bed.
And the other thing is the road.

I think the 80-foot road
was treated as a bridge-top road.

These are the only two things we built.

And the entire thing,
what remained was digitally created.

Invisible effects, I can say that.

We had to break down the sequence
into so many different parts.

Like on the bridge, under the bridge,

on the track, before the blast,
after the blast.

A sequence was
divided into so many elements

and each part was shot as
a complete scene by itself.

Most of the time, we did was…

a combination of miniature and CG,
and then live location.

I don't try to give
any message to the audience.

Also don't go for much of metaphors.
But here, everything came in together.

The metaphor for me was
the small kid, the country itself,

and the country was burning
in the freedom struggle.

Help! Help!

- Cut, cut!
- Help! Help!

When two people meet,

the most common thing they say
is that they give away their names.

Here it is Raju and Akhtar
basically saying that

a Hindu and a Muslim are willing to
go to any lengths to save the country.

They go like this and… jump!

- A basic ritual.
- Right.

Me and my best friend
in the industry, Tarak,

coming together on the screen,

and for the audience,
the two dynamic characters,

the two historic characters
meeting on the scene,

it was such a surreal moment
for all of us.

VANDE MATARAM

The first song that we recorded
for the film was the "Dosti" song.

The theme looks very gentle and soft,
rendered in a very base tone.

It's very calm but it's not that.

"Daradam daradam daradam-dam"
doesn't have any meaning.

It has a sense of trepidation.

It feels like
something is going to happen.

It's about irony,
it's about friendship,

a volcano that may erupt any moment.

Sitarama Sasthry garu, the legendary
lyricist, worked on this song.

What I wanted was…
I told him like…

It's all about their
friendship, enmity, and emotions.

- Innately, they're enemies.
- Yes.

- But strangely, fallen into a friendship.
- Yes.

When we reveal why,
it's going to be an emotional ride.

"Dosti" is one such song,
which is giving you a prelude

of what is going to happen,

when the truth is revealed
to both the characters.

A very angelic feeling
coming down from the heavens.

So the water--
When we both were coming down,

it was such a calm, pleasant moment.

Where you have fire all around,
and then they jump into the water.

And the water sequence,
where you have fire on top of the water.

So, it's fire and water together.

That's what Rajamouli
probably wanted to showcase.

The main challenge was
to create a fire on the surface.

The major source of light underwater was…

the fire on top of the water layer.

For that, I used a lot of dino lights,
dedolights and sky panels.

It was a huge truss.

Probably around 50 by 40
truss kind of a thing, which--

So much light is pumped in.

By the time it reaches Tarak and Charan,
who are on the bed of the floor,

it really diffuses.

So, to get that effect, I had to use
really heavy light for that sequence.

Thirty-five altogether.

- Thirty-five?
- Altogether.

- At once?
- Because 30 is what he needs for the shot.

Five for the reserve. So, 35.

So we had a whole bunch of, you know,
like, a big team which came in.

Uh, you know, a team of deep sea divers.
Very professional deep sea divers.

They were teaching us
how to hold our breath in water.

And we had those oxygen masks.

You know, we had to keep them
till the director says okay for the shot.

And then we had to take
a deep breath, leave it,

then perform the shot, and then
immediately come onto the surface.

It used to-- It wasn't easy.
From 20 feet to come up,

and then catch your breath.

It was very, very, very intimidating.

Three, two, one. Action!

We had tried to put a lot of sandbags
or metal plates in my pockets.

They're in the back, so it's not seen.

Still, the weight was
not enough to keep me down.

They had a metal shoe. A metal strip
made on the sole of the shoe,

so it's not seen.

It still has the weight that can
pull me down and keep me at the bed.

Not drown me but, of course,
keep me there just until I finish my shot.

And… action!

It had a lot of lyrics…

which were telling exactly opposite
to what their relationship was.

So we always had to create those
sort of visuals at the right moments.

The Dasara setup,
where the kid and parents thank him.

Because this is a Dasara
setup, we can have some good visuals.

"Utti-kottadam."
Breaking the pot happens a lot in

Hindu festivals for Krishnashtami.

People form like a human pyramid
and try to break the pot.

Excellent!

Nice expressions!

But you're not looking at each other.

It's okay, Jakkanna. We don't have to.

It looks nice and natural.

It's good enough, Jakkanna.

It's frightening, really.

- We have more shots to go. Don't worry.
- Which one?

This particular phrase we used
as a theme for the "Dosti" song,

I think it's exactly matching
the requirement of the plot.

It's not just the theme
for the "Dosti" song.

It's the RRR theme.

We have this beat, six-eight signature,
that's a musical term.

In Hyderabad, my hometown,
it's called "Teenmaar".

"Teenmaar" beat goes like this.

It's a folk beat.

The kind of music you'll
listen only from India.

Maybe from portions of African music.

Africa and India,
they mastered in doing compositions,

bringing out songs and
score in this particular beat.

When the song "Naatu Naatu" starts
with the opening prelude of the beat…

That very beat itself was--
They were all taken aback.

- Now what is this "Naatu"?
- Yes, clap in.

Boom, music!

Do you know…

Naatu?

What is Naatu?

Cut! Super!

The lyrics were penned by Chandrabose.

He has the knack for writing
words which are very catchy.

We instantly start humming his words.

"Naatu Naatu" is a song…

which showcases that once you are
good, good, real, true friends,

you don't need to look at each other…

to understand what
the other is going to do.

or to understand the other's mind,
heart, or body language.

You just don't need to because
you just become one.

You're not two individuals anymore.

And that's exactly what Rajamouli
wanted to showcase for "Naatu Naatu".

Always… when Tarak and I had been
shooting for RRR,

we always wondered,
when will this song come.

I'm sure there is a sequence
where both of us are going to dance.

Prem Rakshit, the choreographer,
he understands what the director needs,

what the audience need,

the body languages of the actors
who are performing those moves.

"Prem, we're doing a song like this."
He explained the concept to me.

It has to be a fight cum dance,
but also tell a story.

When we saw
the choreography, we were like,

"Fine! This is quite easy. We will do it."

We've rehearsed it separately in our
own spaces before going to Ukraine.

Again we went to Ukraine,
we rehearsed for another seven days.

Then we shot the song for 12 days.

But I never imagined it was going
to be one of the most difficult shoots,

difficult song,
and the most difficult choreography.

We composed
over 100 moves because…

both the actors' body language
has to be in sync.

Tarak and Charan sir's
body languages are different.

They have to perform equally.

The song's motto was to keep people
wondering who the better dancer is.

There were times
when I used to go and say, "Why?"

Why? You know, because
we are two different people.

You know, we come from
two different backgrounds.

We come from two different dancing styles.

I said, "Why not? Why shouldn't each
person have a different dancing style?"

Rajamouli was like, "No."

"NTR and Charan can have different
styles but not Ram and Bheem."

"These are my heroes. They are supposed
to dance the way I want them to dance."

He wanted us to look the same, in sync.

Even mind, body, and soul.
It had to look like it's one person.

That was the concept, that was
the emotion behind the song.

For me, it is a story within a story.

If RRR is a big story, "Naatu Naatu"
sequence itself is a story.

It was not shot as a song
but was shot as a sequence.

While the song was editing,
we used to extend

wherever these moments had to come.

And we used to put only the rhythm.

I mean, if the song was about four
minutes, the scene was five minutes.

Then later, the music director
had created the music for it.

We were able to bring that drama
in such a powerful dance number.

We had to give many types of costumes.

There were servers, there were guests.

There were Indian guests, European guests.

And everything was from the 1920s.

Convenient costumes
where they can easily move.

As well as they should look like they
were wearing a dress for a party.

This is the sequence and frame, this is
the dress that they are wearing.

He very beautifully added
the suspenders into a step.

Any non-sync between us,
we would do the whole thing back again.

There are shots where
we have done it 17 times.

Obviously, there were some more shots
where we did it 20-22 times also.

That "Naatu Naatu" famous
step was almost done 18 times.

Because we both have
respectively done it perfectly.

But we were not doing it in sync.

That is Mr. Rajamouli garu's sync.

So he had this crazy big monitor…

where he used to step freeze
each and every shot.

And then show us, "Your hand
hasn't reached the mark here yet.

But his hand has reached.

So now I want your hand to reach
that mark at the proper time and beat."

I was like, "Oh, my God."

Do you want another take? No, right?

Your action….

- You listen to me.
- What? What? What?

But I worked so hard.

Each country has its own work culture.

The other units are unwilling to
understand our work culture and…

work in tandem with us.

In Ukraine, it was the best.

Within a day or two they understood that

we come from a different country,
we have a different culture.

They immediately blended
into our work culture.

And we had a fantastic time shooting it.

Every day was a challenge.

You know, when you are not working
in your zone, your country,

when you go to another country,

it is a challenge because
the working styles are different.

Sometimes they need to come into
our zone and we need to go to their zone,

which we did comfortably.

But still, that was another
challenging sequence.

And again, no complaints.

You are trying
to repeat

after, very slowly, without falling
into the music.

Simply natural, harmonious, as if
you really want to learn how to dance.

We chose a colonial looking
building there and then…

did up the whole decoration using the
local crowd.

The local art director
was there to help me out.

End portion of it, I had to really
use a lawn area in between a park.

And then we made up the whole set
up there and did it.

The step here is like a very simple step.

At one point of time, it isn't about
whether you can dance or not.

It's all about how long
you can do this step.

Both of you look up slowly.

Smile off.

Smile off. Yes.

Think it's either you or me.
And then start off.

- Okay?
- We scream on two, three, four.

Smile goes down.

Smile goes down on
five, six, seven, eight.

You'll see him like this.

I turn towards Charan
on one, two, three, four.

- You'll turn like this.
- Five, six seven, eight, he turns to me.

I turn towards him
on one, two, three, four.

Five, six, seven, eight.

That's right!

Cut! Checking.

In "Naatu Naatu",
I have to make people feel like…

these two guys are so
understanding of each other

that people are ready
to believe whatever they do,

what's going to come next.

The screenplay is
intelligently crafted by the director.

Everything put the "Naatu Naatu"
song on a high pedestal and…

it became viral.

It is always a bad guy
and a good guy who fight.

The creative tension is easy to create.

The whole interval sequence
is a testimony for that.

The kind of emotion that you will get
if a good guy and a good guy fight.

Brother…

I hid something from you.

I'm not Akhtar.

I'm not a Muslim.

- Bheem.
- Bheem.

He's a tribal. He doesn't
have many friends in the city.

He doesn't want to endanger
his only friend Ram's life.

The only friends he
can get are the animals

which he has been capturing for sometime,

and he comes with the animals and goes.

The greatest jump of a hero
in a movie, I would call it.

I think it's probably one of the best
re-introductions of an actor in a movie.

Because there's already
an introduction which happened.

And this is like the second introduction.

The true get-up of Bheem is revealed.

The most challenging sequence in RRR,
I mean, for me as a line producer,

Actually, it was every sequence for me.

Especially, because this is
my first time as a line producer.

Every sequence was challenging.

But to top all of them was
undoubtedly the interval sequence.

The reason being the
number of extras on set…

And the different kinds of extras.

Everybody was not from the same section.

We had foreigners, we had stunt guys
from different parts of the world.

We had about 50-60 stunt guys,

200 foreigners, and then body
builders and then just extras.

And we had character artists.

Like there was a mix of so many people.
Close to 1500 in total.

So just when we were
shooting this huge sequence,

which was going at a brisk pace,

we were through with 30 nights
out of the 60 that we had planned.

Just then, the whole
world was hit by COVID.

Everything just came to a halt.
We were all confused.

We were waiting for it
to pass in a month or two.

And then it just went on and on and on.

I mean, at least for about eight months.

Slowly, we were given
permissions to start shooting.

Obviously with a lot of
regulations and precautions.

We started doing that.

We did what all we could,
got the crew down by 50 percent.

As far as RRR was concerned,
the biggest challenge was that…

we couldn't fly in the foreigners,
who were a major part of the movie.

So we were just waiting relentlessly
for the International travel to open.

We were just hanging in there.

Just then that opened
and we started shoot again…

for the remaining 40 percent
that was left.

And right in three or four months, again
we were hit by the second wave.

This was actually the
most challenging part

during the entire shoot of RRR…

that we were hit by two lockdowns.

Initially, I miss it,

take a jab, and then go at him again.
That's better, right?

All the animals are coming out
of the truck in the interval sequence.

He wants to keep the emotion for longer,

stylized, hyper-realistic,
extreme slow motion shots.

Doing the visual effects was one of
the toughest and unique tasks of the film.

- Cut, okay. Nice.
- Okay.

I have been to many
places across the world.

And I have seen the film many,
many times with the audience.

And when the shot
of the animals comes out,

I never look at the screen.

I'll be looking at the audience.

His hand will go as far as it can.
That's the movement.

Lift up a little bit
and try to shake it off.

Try to disrupt…

The turmoil I had within myself mentally…

And I can't show that.

I had to be keep this deadpan face.

Show no remorse, no empathy.

Yet, I have to feel within me and
struggle in the battle within me.

The external battle
is physically with him.

I think it was the most satisfying
episode as an actor to perform.

Also as an audience, it was the
most difficult episode for me to see.

And, action!

I beg you, my brother.

Let me take Malli with me.

Let my take my sister home.

Cut!

That thing broke and fell off.

The production coordinators
Mr. Yoganandh and Satyam…

They don't know one word of English.

But there are
so many English actors there.

We called foreigners from four to five
countries for the interval shoot.

We called everyone
for the night shoot at four…

and get the actors
ready for the director by six.

The shoot would start at 6:30 p.m.

The floor in Hyderabad
is 200 feet. It's a big floor.

But this one is a 400 feet long set.

Four cranes on four sides.

We built 20 by 20 trusses
and mounted lights on them.

In the center, we put big cranes
and mounted lights on them.

We'd turn on the lights according
to which side we're shooting.

It took us 65 days to
manage all that and shoot.

A vision of a person

who's trying to really make it
a big theatrical experience.

When he had shot without the animals,

you had to have a sense of how
much length to leave of each shot…

so that this animal would fly across,

this animal would go across,

edit it a number of times
to see that it's correct.

Before going into the shoot,

we did a detailed
animation of all the animals.

Where all the timings are correct.

So that way, the director knows
how fast the actor has to bend,

and from which position the
character is moving to the next.

NCAM, it actually connects
the physical camera.

In the actual shoot, what NCAM does is…

it actually connects the live
camera to the virtual camera,

for which we have done
the animation already.

Action! One, two, three four.

How to follow this,

and at the same time, trying to
maintain the composition of the shot,

trying to include whatever character
we have to include in real life.

NCAM was very useful in getting
the speeds of the animals right.

It doesn't look fake.

How are the people going to understand
how these animals are moving around them?

And once the animated tiger
is placed in the sequence,

it'll look odd if the tiger is running one
way and they're looking the other way.

It wouldn't work out.

Electronic eyes.

We gave the movement of the tiger, deer,
or whatever in the 3D space to them.

Small LED bulbs would flicker,
denoting the movement of an animal.

They wrote a small program for it.

- And when I say action…
- LED strips start moving.

The NCAM inside the 3D animal
starts moving based on that.

So I have to just follow it.

First few times, I didn't even see it
when I was trying to operate because…

We realized how fast an animal moves.

It is like zoom, it goes!

Before he could pan the camera,
the light had passed.

So we did so many rehearsals.

I had to really try to understand
how the tiger moves at this speed.

Okay, this is how fast my camera
has to move for that.

And we can't have lights all over
the place because people have to run.

They can't get entangled in the wires.

So for the principal animals,
it was the lights.

For the background animals
and other animals, we had…

RC cars fitted with poles and trackers.

We had these cars going around
while shooting for the sequence.

And all of a sudden,
oh my god, there is a deer.

Oh, you know what, that's a leopard.

Then there we have a bear running.

It was really chaotic
Shooting for that sequence.

There's a remote car running.

So, that's an animal. They have to react.

- React…
- React to the animal, yeah.

A leopard which has
attacked you from the back.

You have to take the leopard
and throw it on to someone else.

And then you have a deer
which has come and then…

you are guarding with the deer and then…

all of a sudden you have
a tiger pouncing on you.

You have to just skid
and literally go back,

and the tiger passes across your face.

I was like, how the hell
are we going to do this?

Of course, Rajamouli has this plan.

So then… he gave me a football.

The football was the
head of the leopard for me.

I had to put it behind me
and then in front of me.

Then throw it on to somebody.

And then, of course,
we had the greatest shot,

where the tiger is coming and
trying to just hit me with its paw.

That shot took close to about
five hours to perfect.

It was really
both of us punching each other.

There was no scene where we
had acted like we came close.

No, we were actually punching
in the stomach and on the face.

There was a lot of contact.

We got so bored end of the day
saying sorry to each other,

that we just said, "Yeah, it's okay.
Fine, give it to me."

"Come on, bring it on."

So, we…

We were flowing, we were getting hurt.

And yet, what drove us through
all these difficult parts of the shoot

was the emotion.

And… action!

Cut! One more.

Ready.
Boys, get ready. Reset.

Charan sir mounts Tarak sir,
locks him, drops him to the floor,

rolls, and then delivers a few punches.

We had to dig the ground underneath
and make it a safe surface.

Huge pipes
just swinging across.

I wish people could actually,
literally visualize that because…

what you're watching on the
movie does not do any justice.

It was so scary, it was so intimidating.

He had about six or seven pipes
which were pressure controlled.

And the sound they were making behind
me because, I was standing in front.

I had another crazy pipe which
was swinging in front of me.

I didn't know if the water
was going to hit my face.

I didn't know if the pipe is
going to come and hit my face.

I had no clue.

Peak winters.

And I'm getting wet.

How is it going to be?
God bless me.

Water… and action!

Cut! Checking.

The pipes had to move out
like snakes on Medusa's head.

That is the exact instruction that I have
given to Sabu sir, my production designer.

The director wanted a sequence
where the whole fountain breaks…

and the pipes, he wanted
them to dance like snakes.

Fifteen days we've been
testing it out with

different lengths and different
diameter pipes to get that final effect.

We had to use high pressure jets plus
add extra high pressure air to the hoses,

which made it dance
beautifully well.

Even with the firecrackers, we did a lot
of testing to pick up the CG elements.

There was a hut full
of firecrackers lit by the art department…

and the rockets, some of them are
flying with strings attached or whatever.

- Okay, ready.
- Cameras.

Light them.

Background action!

Action!

It had so much of smoke, fire…
and water in it.

We needed a lot of smoke
and water for this sequence.

We did the lights up in layers.

Water fountain was lit
by certain lights and…

we had to place the smoke at a certain
distance and light it up from behind.

Light it up in such a way that…

the light will not fall on to this…
firecracker to travel towards the cameras.

It was so many layers of
so many different fire things.

Smoke was lit with fire
in the whole sequence.

It was done to enhance the drama
which is happening on the screen.

Look!

Focus!

What happens at that moment
gives you a cinematic high.

But what happens after that from becoming
friends to enemies is the huge moment.

We had to keep that
proportion right while in editing…

and see that this moment is what
the audience took back at the interval.

Bheem is openly showing his angst,
his anger, his hatred towards Ram.

And Ram can't show his
empathy towards Bheem.

He's sad but it's like a plain dead face.

So I took the help
of the blood coming down,

mixing with the with
the tear that is in his eye,

and the mixture of blood
and tear…

It's a very heart-wrenching decision

that the father had to
take at that point of time,

putting so much of weight on
the shoulders of a young kid,

as if our hearts are being
squeezed as the episode happens.

The best part of the
action I would say is…

the way he wants your body language,
eyes, and expressions to be.

He does it himself and he shows it to you.

One and two.

Yes. Correct, sir.

The whole village was a setup
which was done in Vikarabad.

We found a place
which was an empty ground.

There was natural beauty with the forest
on all sides, serving as their hideout.

I really enjoyed making so many guns.

There is action but it is not because
of the action the heroism is coming.

He writes beautifully, he is amazing.

In the shootout,

the bullet from Ram's gun hits
his little brother in the leg.

The father is so patriotic that
he doesn't even look at the kid.

He says, "Load, aim, shoot!"

He loses his wife.

"Load, aim, shoot!" Father's dead too.

This is from a different story
but we used it here for take off.

That became the flashback.

He wanted to break the
flashback into two pieces.

Actually it was initially
shot as one flashback.

But he broke it into
two pieces in the script.

See the dog bleed.

He is the best in the country
and I was waiting to work with him, and

when he came and narrated the character,
I was amazed by the way he had written it.

Hi.

- How are you, sir?
- How are you?

Hi, there.

Action!

The people of Telangana
went through a…

very troublesome phase
for a long period of time.

And there was continuous revolution.

The main weapon they chose to
fight this revolution was the song.

For every occasion,

let it be a celebration, birth,
marriage, let it be death itself.

Song is weaved into their lives.

Bheem, coming from the tribal
in the Telangana region,

we thought that would really,
really sync with his character…

and really take it several notches up.

He cannot fight back… physically.

So he motivates himself and gets some
energy from whatever he believes in.

He went to his faith system.

Bheem does not have anybody else
to encourage him…

or to bring him out of this
devastating situation he is in.

He starts addressing
himself as a third person

and he starts singing a song called
"Komuram Bheemudho" where…

he keeps reminding himself
not to bow down.

If there was any episode
I felt jealous of…

when I heard it, when I looked at Tarak…

was when I saw him in the
"Komuram Bheemudho" song.

Bheem needs to have a smile on his face,

he needs to feel the pain,

he needs to communicate his anger,

he needs to communicate his…

whatever backstabbing
he has gone through, with Ram.

So there is so much that
he needs to communicate.

But all this needs to be done
with a smile.

But still the reactions of each incident
or each whip…

needs to shine with each whiplash.

Cut! That's all!

I'm feeling bad that I am whipping
this guy who is my best friend.

I want to show some kind of empathy.

And then he added saying,
I am going to add a tear.

It looks like it is a slash of the blood.

But it's actually the tear
which I am cleaning off my face.

I think that was such a subtle but
such a strong shot in that whole episode.

It shouldn't look like as if
they are cheating while hitting.

So it had to be a real force
but it shouldn't hurt the artist.

There is a shot of them
putting on to the wooden post…

and when he pulls it, it has to rip out.

So we had to use special wood
and things like balsa wood,

so that the fibers come
out showing the effect.

That made it more effective as
much as possible to make it believable.

I think the story works and
that is what the director wants.

It is like a lifesaving drug.

He may physically die
but he is not giving up.

A song which connects to the innocent
village theme song Malli used to sing.

The tune remains the same
but the words are different.

He said all of this was
going to happen on the stage.

I was like, a full song on the stage?

I had my doubts.

Later he told me that
there is emotion and drama.

We started the choreography.
I rehearsed the song for 15 days.

Till then everyone was shouting.

When the song started,
everyone watched in silence.

Tarak really put his heart into it.

I didn't really need to
tell him how to express.

I loved every twitch in his muscle
when he acted for the song.

There was a sense
of the revolution

that he had to irk in people's
minds even if he died.

So there was a mix of emotions.

When you have a person like
Rajamouli, it gets even tougher.

But I really proved something to myself…

after watching myself
in "Komaram Bheemudo".

I could really feel that…

that sort of happiness
in Rajamouli's eyes as well.

Komaram Bheemudo will remain
with me for the rest of my life.

Cut! Perfect!

My reaction is recorded.

Really grateful for those two actors
to be in that sequence and…

take it to the level that they did.

Now they are going to get closer…

and suddenly you realize that another
misunderstanding is going to happen.

Clap.

Action!

As audience, we are willing
them to clear the misunderstandings,

get their hands together and rejoice
in what's going to happen next.

As writers, we didn't let it happen.

We stretched it a little
bit more, taking it further.

One of the best shots actually went to
Ray Stevenson who played Scott.

What movies are about…
it's motion pictures.

I didn't want to bring any pre-conceived
notions of other productions I've been on.

I've worked all over the world.

Ultimately, what we're
doing is story-telling.

This a new genre, a new
way of story-telling for me.

So I've tried to be as open
as much, like a sponge.

That bastard, damn it!

Cut.

I remember on the day of shoot when
I showed him what's going to happen,

he couldn't believe it.

"Can I take this shot back
and show it to my kids?"

How Bheem attacked
his bunch of soldiers,

and how Ram, even though he's bleeding
he's is going after Malli to save her.

It leads to the final moment when we
think, now they are going to get closer…

and suddenly you realize another
misunderstanding is going to happen.

Malli!

For me one of the very
important characters is Sita.

She comes at a crucial juncture

and helps the friends who
are traveling in different paths.

How she is able to bring them together.

Sir's brief to me also
about Sita was just…

her simplicity and her
innocence should really shine.

But just keeping it extremely pure.

She's all about goodness, I would say.

Cut. Okay, nice.

This is my first non-Hindi speaking film.

It was very different for me because I'm
speaking a language that I don't know.

Background action.

Action!

- He's got small pox.
- What?

Small pox.

Cut, yeah. That's better.

Just give the Hindi line.

- He's got smallpox.
- Yeah.

- He's got smallpox.
- What?

Small pox, sir. Small pox.

One of my favorite experiences
on this set is in between the shots…

Rajamouli sir coming and
narrating different stories to me.

Of our history, of our culture that I
have not known about.

It's very educative, I have to say.

Everyone out!

I'm alright.

And when I came on
set, I was very nervous…

about the pronunciations and the pauses…

because I don't know what I'm saying.

Rajamouli sir directing you,
telling you exactly what to do,

he just makes it so much easier.

But I didn't have to do much.

I just had to copy him and follow him
and it was very easy after that.

And she clears the air
for Bheem unknowingly…

when she talks about her fiance,
what his aim is.

He's not just a police officer who is
doing some service to the British…

but he's actually a revolutionary.

Initially shot as one flashback
but he broke it in two places,

so that the second time is
told to Bheem by Alia Bhatt.

When the blast happens and there's smoke,

you can see the other face from
the younger Ram to the older Ram.

Although the story is
about the younger Ram,

the image Bheem has
of him is the elder Ram.

So that's why through the smoke,

we had kept his face and
then come back to Bheem…

where he's shattered that he
has done it for such a good cause.

Those sort of things were all
improvised during the edit…

which was not really planned.

In the Indian epic of Ramayana,
Sita is kidnapped by the villain…

and Ram goes
in search of Sita in the epic.

Here the characters are named
coincidentally Ram and Sita again.

Bheem says, "Sita shouldn't
go in search of Ram.

Ram should go in search of Sita,

and I'm going to get Ram back to you."

It reinforces the
belief that I have that…

a good scene is a good scene,

a good emotion is a good emotion
for all the people across the globe.

He goes to the solitary confinement
where Ram is enclosed and…

in the whole sequence, there's this
rhythm, a sound which these people know.

It's like a communication
between two friends…

and if you remember, that's the
same sound which Charan makes

when he's bitten by the snake,

when Bheem is about to leave that place.

The same thing occurs here and
both of them get together and…

all the differences are sorted.

Now comes the craziest sequence of RRR…

where Rajamouli truly depicts
that they're not two souls anymore.

At this juncture, they are both one.

Every emotional high has an opportunity
to be developed as an action sequence.

What else can I do?

I have brought animals,
one man against thousands,

what more can we do here?

So I thought they should fight as one,

even though they are two people because…

now their ideas are aligned,

their misunderstandings
have cleared,

their goals are one.

So why not literally
make them as one person?

After all this drama,
after all the separation,

when both of them come again together,

Tarak and Charan coming into one body.

It's like both our souls
went into one person's body.

It should look bigger than both of us.

Sorry, both of us individually.

The mood of the theater was so jubilant
seeing both the friends coming back…

and they know that they're not
going to be separated ever again.

That's a very serious phrase.

But when you put it in a framework like…

It gives you an effect of action with fun.

Being chased by the police and shot at…

and trying to escape, climbing
towers, jumping over things,

running around, which is
actually really difficult to do…

when you've got someone
on your shoulders…

and you're running at full speed.

We're all fans of movies like Good
Bad Ugly, James Bond movies,

all cowboy movies.

Forces put together, I will cover your
weakness, you will cover my weakness.

It's the power of unity.

It looks great, it looks very brave and…

it looks fun also because two people are
accomplishing one thing in a strange way.

That's how we made serious music,

Dosti theme music with the
framework of a cowboy texture.

I had to make a rig in such
a way with a counterbalance,

that the weight doesn't go on to the
shoulder of the person who's carrying…

and also, there shouldn't be any gap
in between the shoulder and the seat.

We've got a large team, about 15
or 16 foreign stunt people right now.

And at the same time,

we've also used a large
team of the locals as well.

Between us, we're all working together
to make the sequence action-packed.

He's a guy who is ten-foot
tall, he has four hands and two legs,

he is no longer Ram and
Bheem, it is one person,

Ram plus Bheem.

When you see them, they're
just not two people anymore.

It's one whole gigantic
body of two friends.

And from there, the way the
sequence moves into the climax,

So, it's like a perfect take off for
the whole last showdown of RRR.

Charan. Tarak.

The climax of the film should
connect with the historical accuracy.

How Ram turns into Alluri Sitarama Raju.

Bheem giving the attire
of Alluri Sitarama Raju

is a beautiful forest fire sequence
where he appears in that attire.

Sitarama Raju is in that attire

and that was a very beautiful, I think,
a phenomenal fictitious way of…

telling the audience that it was Bheem
who gave Alluri Sitarama Raju his attire.

Getting into his character,
getting into his attire…

I felt a sense of responsibility.

I was scared to do it, but obviously, we
have such beautiful help from the team.

Most of the references we have
were Alluri Sitarama Raju with a dhoti.

We gave this look with an open
body and just a robe on his body.

Made Charan look more
heroic, more handsome as well.

Everybody knows how
he looks in the history.

Are we at least close to 70 percent
is what my biggest question was.

But the confidence on sets Miss
Valli, Rama, and Mr. Rajamouli gave…

helped me a lot to get into
the skin of the character

without having any apprehensions.

The most iconic back-lit shot…

of revealing Alluri Sitarama Raju

with the fire at the end
of the bow and lifting.

I had goosebumps.

I saw it as a third person. I didn't
feel like it was me watching myself.

I watched like an audience.

That's what I felt like
when I was watching it.

That is what movies do.

Though you've been a part of it. Though
you did work on the movie for 200 days,

when you come and sit,
you should be able to forget all of that

and see this as just any other movie,

like a child who is
sent into a candy shop.

So, that moment for me

was the most special moment for me
in my whole career as an actor.

Director always comes
with this one iconic image.

I think action sequence designs
based on that iconic image.

Senthil, he has used lights on the arrow.

That is where we can get the actual light.

We added fire on the arrow.

In the darkness, in the silhouette,

Alluri Sitarama Raju's burning
fire arrow is shot like this.

We exaggerated so much,
adding more fire, glow, and particles.

Even if it's surrealistic, it's fine…

because the background,
that momentum and editing,

there's a lot of energy
acting upon the shot.

So we thought even if
you do a little bit surrealistic,

it will hold the bike's weight.

Sabu sir mentioned that in those
days, when they are doing the war,

they have a heavy 50 kg bike where
they can actually lift and take off.

I guess he maintained that kind of design.

Background action!

How Malli was taken
away in the beginning…

for a creation that she did,

a tattoo on the lady Scott's hand,
which made her take Malli away.

How Malli was encaged
in the Scott's palace,

in a similar way, Lady Scott
is entangled in the wire

and her blood drips on the same tattoo.

Our director on this is a craftsman.

He's so humble, so kind.

He directs you.

Some directors don't direct you, but
he's very precise about what he wants.

And I like that.

I really enjoy working
with someone like that.

I just listened to the music, the acting
from the Indian actors, the passion.

In that moment, all came together
and moved me so much to tears.

I just said to the director,

"I just want to thank you that
I'm a part of this production."

Bheem made Ram into Alluri Sitarama Raju…

and Ram made Bheem into Komaram Bheem.

"Jal-Jungle-Jameen", which basically mean

the earth, the water,
and the forest is ours.

So, in the story, I made Ram
give the slogan to Bheem

and Bheem give the attire
of Alluri Sitarama Raju to Ram.

Even though it's a
happy ending at the end,

I also wanted the audience to go
out in a celebratory mood.

That's the reason why we
brought in the "Ethara Janda" song.

The song is all about paying
tribute to the many freedom fighters

who chose revolution as a
form of defying the oppressors

or inspiring the people.

And sometimes the leaders
are revolutionaries at their heart,

even though they didn't pick up a gun.

In the song, I just wanted
not Alluri and Komaram.

Here, the song is Tarak
and Charan themselves…

paying tributes to many of the heroes.

We had to be grateful to them for their
contribution to the freedom struggle.

Of course,
we anticipated that RRR

would receive a good reception in India.

Especially, given the immense
stardom of our lead actors.

And in general the hype,
which the film had carried.

It obviously reflected in the numbers.

However, what truly surprised us was

the overwhelming response
that came from the West.

Around September… end of September,

there was one show which
was at the Chinese Theater in L.A.

It was a completely sold out screening.

And I thought, okay, maybe it was
mostly the Indians who came

because they knew I was
attending and they came to see me.

When I went into the theater, I was…

really stunned to see that 90 percent
of the audience were Americans.

I-I-I didn't know whether I
was watching the film in America…

or whether I was watching the film…

"First Day First Show" in
my hometown, Hyderabad.

For "Naatu Naatu", I saw
people just throng to the screen,

dance for "Naatu Naatu" there.

Of course, I could imagine
the same reaction in India.

But in America, and
at the Chinese Theater,

that was something phenomenal.

I was told, I don't know, I was told
that Hollywood never witnessed fans.

American fans coming down
the aisles, coming into the front,

and dancing as the song
was playing on the screen.

That was something that was
never ever witnessed before.

Then everyone started taking
notice, okay, what is this Indian film?

What is this "Naatu Naatu"?

Why is everyone raving about it?

And it was like pushing
us forward and forward.

Actually, it was the first time that all
my friends had shown me the video

I felt really happy when they showed me
the video.

Because, I get it if someone
saw Michael Jackson,

got impressed, and
wanted to dance with him.

When foreigners were doing my moves
for the first time, I felt really happy.

Ladies and gentlemen, this is Los Angeles.

Get the out of your seats and
go crazy.

The Oscar campaign was something
that I had absolutely no idea about.

Not just me, none of our
team had any kind of idea.

But we were supported by some
incredibly talented PR agencies.

So as we embarked on the Oscar campaign,

thousands of miles west
from our country in the US…

something else was happening
thousands of miles east in Japan.

The subtitle version
of RRR released in Japan

and the love for the film is incredible,
just incredible.

About two decades back,
"Muthu" released in Japan

a Tamil film.

That is the highest grosser until then.

Our hope was that it should touch Muthu.

But it went on.

First week, second week,
third week, fourth week.

It would eventually run for one year.

Even now, as I am speaking today,

it is one year since
RRR released in Japan.

It is still playing in 18 theaters.

During this campaign,
RRR has won many awards.

New York Film Critics,
Los Angeles Film Critics,

Hollywood Film Critics,

Golden Globes.

We were attending many of them.

And…

during these times, I was
meeting my favorite directors.

People whom I looked up to all
through my childhood, my film career.

Incredible directors like Steven
Spielberg, James Cameron.

I was meeting them.

I was starry-eyed, just looking at them.

Oh, my God!

And not just meeting them.

Uh, they had such great
words to talk about the film.

RRR, the performances,
the writing of the film,

the technical aspects of the film.

And…

I think I was literally
flying in the clouds.

I had an incredible time.

Now, watching your characters…

it's just like such a feeling
to watch them.

And your setup, fire, water, story.

Reveal after reveal.

And I think during the Golden
Globes, when we won the award,

I think all of us believed…

that we were going to get the Oscars also.

So that gave us even more energy
for us to drive harder, work harder.

Me, my son, Keeravani
sir and Valli sat down.

We watched the full program together.

We watched all the nominated songs.

When we won Best Original Song,

when a Telugu song won,

we knew it was the
wildest dreams of all time.

Alright! You guys are ready? Ooh!

RRR!

RRR!

I used to dance on the roads earlier.

For the first time, I got an opportunity
to perform on the Oscars stage.

I was very happy.

When my team performed
on the Oscars stage,

Steven Spielberg sir,
Rihanna, everybody was there.

When I saw that, I felt very happy.

It never happened in my life.

This was the first time.

I want to thank Rajamouli sir because he
took the song to that level.

Thank you so much, sir. Thank you.

My brother,
on the Oscars stage,

sang the song "Top of the World",

changing the lyrics
to express his feelings.

And that was like the
talk of the Oscar awards.

♪ There was only one wish on my mind ♪

♪ So was Rajamouli's and my family's ♪

♪ RRR has to win the pride
Of every Indian ♪

♪ And must put me
On the top of the world ♪

Thank you, Karthikeya and Variance
Films for making this possible.

Love you all. Thank you.

Next day there was a tweet of
appreciation from Richard Carpenter,

appreciating my brother
MM Keeravani and the film RRR.

Rolling!

♪ We're on the top of the world for your
Winning creation ♪

♪ And we hope you know how proud you
We are! ♪

♪ You're the best there is around
And we hope you know it now ♪

♪ Your win puts us
At the top of the world ♪

Congratulations!

And then my brother started crying.

Then he had tears in his eyes.

And for us, that felt like
the completion of RRR.

More than the Oscar,

the most thrilling and…

the most thrilling and tear-jerking
experience I had in the US…

was that Mr. Carpenter himself
congratulated me with a…

with a song…

and with a video that was unforgettable.

I call it the best achievement in my life.

Knocking on the doors of every film
industry across the world and saying,

this is Indian cinema.

I mean, we had some great, incredible
films throughout history in India.

But this is the first time we are
opening the doors to the world for them…

to see Indian cinema,
to witness Indian cinema.

And I'm so happy, I'm so
grateful, I'm so humbled…

that the door is RRR.

The door happened to be RRR.

When I imagine my stories
on screen,

I imagine myself sitting in
the theater in my hometown…

with a lot of audience around,

watch the film with the same kind
of enthusiasm that I had as a kid.

Almost every time my films
come out in a very simpler way.

There are no complications.

And they essentially cater to the kids.

Whether they're kids
or the kids in the adults.

I, as a storyteller,
am greatly inspired by

the epics of Ramayana and Mahabharata.

Let it be the characters,
let it be the instances,

the wars or battles or the scenarios…

in which the confrontations
between the characters happen,

Even the ambition of the characters,
everything is larger than life.

RRR is a product of that.

The film RRR is a landmark for my banner.

Since they're like the Three Divine
Creators, I think RRR fared well.

Nobody had a no,

but always just had a "ready,
ready, ready", and that is RRR to me.

RRR to me, it's a God's gift.

Riveting Roller-coaster Ride.

RRR to me is Rise, Roar, and Roll.

That is Roll Camera.

I feel it is Rajamouli,
Rajamouli, Rajamouli.

Everywhere I can see him, in every frame

which he controlled and made it happen.

RRR means Rajamouli,
Result, and Recognition.

RRR to me is a "Naatu"
experience for me. I'm so happy.

RRR for me is a very satisfying film.

RRR is nothing but "Redo, Redo, Redo"
until you are satisfied.

RRR is my favorite because
it is leading the way to RRR 2.

For me, RRR is a film that put India…

on the global map of films.

RRR for me is
Rise, Rise, Rise of Indian cinema.

RRR for me is one more step closer…

to realizing my ultimate
dream, Mahabharata.

I have some business with you.

You can't get away with it.

It's not going to work out.

Jakkanna!

Jakkanna!

Jakkanna!

It's over, right?

Full….

Hey, did you record that?

RRR 2.

Do you know when?

Does anybody know yet?

Because Rajamouli has not
said anything to us yet.

Do you know that?

Seriously.

Did he announce it?

Did he? No?

Maybe.

I don't know.

But I'll be happy
if it happens.