December 10, 2025 • 63 mins
In this episode, Pooja meets Abbas Ali Moghul, the award-winning action director behind more than 300 films and shows, and the son of actor Habib, who fled Iran at seventeen to chase his dream of working in Hindi cinema.
Habib went on to appear in more than 150 films, yet passed away with little recognition. Abbas carries that legacy forward with quiet pride, and has become one of India’s most respected action directors, known for crafting iconic sequences in films like Ghulam, Josh and Agneepath.
In this conversation, Abbas reflects on performing death-defying stunts long before VFX and modern safety gear. He shares what it means to stand in for stars when things turn dangerous: jumping off an eleven-storey building without ropes, crashing through glass walls, even setting himself ablaze.
Abbas takes Pooja behind the scenes of some of Bollywood’s most unforgettable moments: Aamir Khan’s legendary train stunt in Ghulam, Akshay Kumar’s daring leap onto an aircraft’s wings, and the thoughtful lesson Hrithik Roshan once offered his son, Arbaaz.
The discussion traces Abbas’s extraordinary arc—from acting in Richard Attenborough’s Gandhi to witnessing his father’s struggles and isolation within the industry.
This episode shines a light on the grit behind the glamour: the underpaid stunt performers who risk everything, the moments Abbas worked while wheelchair-bound, and the sleepless nights that still precede every dangerous shoot, even after forty years in the business. It’s a heartfelt reminder of the invisible backbone of cinema, and the passion that keeps it alive.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:09):
If you can dream it, you can do it.
Speaker 2 (00:13):
Walt Disney said that, but in the story of Abbas
Ali Mugul, the dream did not begin with him. It
began with Habib, a young boy in Iran who left
home at a tender age and arrived in India looking.
Speaker 1 (00:28):
For a place in cinema. He didn't come as an
action man.
Speaker 2 (00:33):
He became a character actor, finding roles in many of
the mythic Arabian nights style films made by my grandfather,
not a by b Hut, a time when stories were legend,
budgets were small, and courage stood in for the craft.
Years later, in nineteen eighty two, during the filming of
(00:57):
Gandhi in India, a ba Us then barely twenty, appeared
for a fleeting moment on screen, not a major role,
but to him it was symbolic proof that even a
moment can hold the weight of a lifetime's aspiration. He
still carries that memory with pride. But the real turning
(01:21):
point in his journey came off screen. After more than
four decades of separation, Habib returned to Iran to meet
his family. He passed away there unexpectedly, and in the
wake of that loss, a bass, young slender, not physically
built for stunts, stepped into the world of action, not
(01:46):
out of ambition, but out of continuity, out of love.
He entered the stun fraternity in what we now call
the dark days, long before safety gear, before rehearsals, before
Scholey changed the landscape and for instant coordinators redefine the
science of impact.
Speaker 1 (02:08):
Back then, action meant risk.
Speaker 2 (02:13):
Every jump was a gamble, every fall, and negotiation with fate.
From that era of pure courage, a bass Ali mogul emerged.
Today we stand in a different world CGI motion capture,
digital mapping. The camera no longer risks lives to create
(02:35):
or action can be simulated. Precision has replaced instinct. Technology
now absorbs the blow that bodies once did, but the
heart behind the frame remains unchanged. The dream that began
with Habib traveled through a bas and now moves forward
(02:58):
through her bas Because sometimes legacy is not passed on,
it is walked alongside. This is not just the journey
of an action director. It is a story of time itself,
of cinema rising from sand and sweat to wire rigging
(03:18):
and pixels, of a dream that cross borders survived bruises,
touched history and still moves forward. Let's meet him now,
the man who still works as if every frame, every blow,
every life matters.
Speaker 3 (03:41):
You so much, Thank you so much.
Speaker 1 (03:45):
What is the earliest memory you have of Habib sab.
Speaker 3 (03:53):
The Fourth Center, the studio Hotel, New Heroes, worky friends
from jud to Jo Studios actor Trama shooting Hildy but
(04:15):
both the shooting and l T T J T to
MYO mythological picture shooting shot. But what's my screen was
to my acting Iran to my copy say m my
(04:45):
America many voice nicol or I'm just my key voice bo.
Speaker 1 (04:51):
I'm just like yes, yes yes.
Speaker 3 (04:57):
To the to school made the hundred is mambol Couto
to is a studio seek travels fighter a gurum cause
seek that Robert Master, I see name he Oky, what
(05:26):
mean lead stand many or el maa my Maya Bason
studio Ma John calls m Vardia in case Tarzan John
(05:49):
wis muller Ky, I was Tarzan picture tomorrow. I was
Nicolo b Naima to bas picture Safer Shuru to care
producers about difficult matfe mil to Jack the producer to
(06:26):
family Gobdon Matta do Bettia by say ok, they said,
don t them drop on okay or or bus dig
(06:50):
to Turkey t marry Turkey pie or family Matla Rista
eighty four eighty five. Habibi ran Tom doctor to doctor
(07:10):
semne Baki to doctor Iran, or came married Daddy my
airport jar suddenly put maried makak cam Nicola, my dad
whom and dad my airport name Jaska or gay or
(07:33):
my name is ok or investigation Pranza as the t
v B Tom is Galik sam Nick phone messages to
my ma Jez to Pran Bull actor trans sorry, thank
(07:54):
you and Joe phone, but I Yega Mavlan needs to
thank you so much. Film Federation chairman chat King President.
Actor Kane singsap monthly. Malan is a thank you time
(08:21):
monthly to use Phil. My name is Carada Fighter ninety two.
I thought I should become a fight director.
Speaker 1 (08:42):
So yourself taught you taught yourself on on the field.
Speaker 3 (08:45):
But no wife is jang Jack heroes.
Speaker 2 (08:57):
But I'm just struck by the fact Gunam whom this
is a school my garage college.
Speaker 3 (09:11):
College may interest neither to Mannesota mechanicam joint m lunch
time lunch time past were school care friends Habibaba actor
(09:34):
garage m s A situation Meta, My child is but
a javannes a fight director Jo Studio Opera training the
(09:57):
famous men to pay picture me Is and ganes many
Rashti Ma come ka future Gandhi Mamadi by fight director
The bombas a chance miller Camarga Toda one twenty rupees
somewhere and twenty rupees convence to the English picture English
(10:21):
per Day by mild up bad sub bossas statement data
okay to shoot nam and tom Apar my Youngrais Soldier
(10:41):
Banavata Indian Soldier or the Indian log a vector Now
to a luckily a close up picture Me close up
by the Mara clows up us Jabba Fighters the Jabba Movies,
(11:07):
Maxis Capers office walk to my jack kr my logo,
my mixed song k show fighters this up feet sad
feeds up bodybuilders looking or ex a Hoga to Egin
(11:30):
Rajput shooting maruma Zi by Joham fight director Betako b
Lelena Chance there to my did so looj to my
assistant Please marmid Azim by Mirabolak bus riding Hea Yoga
(11:58):
to my savage office to my sad please here a
zim rana, so he said, new yoga and finally he
went away, or my brism or many up came a
(12:22):
difficult journey to my cases who faced karunga to man
too many Jim joined man, get up, changed here daddy
Jim huka many body bana here my com curs tom
I duplicate curs to mak jootah. He didn't fight director
(12:54):
as an assistant six one hospital man, I think baba
hospital to ones to a director namekay master up sequence
but operation okay o patient too my name but correct?
(13:17):
Okay up said division ok up schoo seq once up
and answering yeah but about confused? Okay master to master
to my sequence? Nared to many? Director whose sequence ed
sequence a hog a hog.
Speaker 1 (13:38):
A short breakdown, a short.
Speaker 3 (13:41):
Breakdown or director's an impressed seques not the bull? What many.
Speaker 2 (13:58):
Your sense of camera? Your understanding of cinema performances? Many
could experience k as an actor, as a producer and
a director. You know more than most directors. Up can
the botany I could film directorly?
Speaker 3 (14:14):
Maybe thank you bus up direct hiroki demand are to
pass thirty two picture looking now says my director report
(14:43):
looking artists. Many pictures like those are really say up
down karna train without any convenance, without any money. This
is directory wi but but mouse time by U picture
(15:08):
jamm because to flop okay, I said, ok but I
s director, I I wickram but the going tyro and
they going to my four nik azim tom but t
(15:28):
sik one s vicm but pa or my ustim real
please your nharra com sector crown like in my honey
bus to local bus and the house was shooting jam
(15:55):
to see then rahul rokum but under yemalistanch my prica
will be declaim to like a bus by arch be
(16:17):
time CAUs ocal somalist to America assistant and urakatan Us
actually is in the tots in la are.
Speaker 1 (16:34):
I just want to ask you about.
Speaker 3 (16:38):
My ninety two to ninety two pase forty three.
Speaker 1 (16:42):
Somewhere was the money in safety gear concept in boxes.
Speaker 3 (16:47):
Boxes boxes, boxes, I say use curtain to seven la box.
The par three erica came in peking topers jump many
picture the aco garafs man eleventh floors a jump the
(17:09):
double to eleven floor said they had jumped without safety
on the boxes, Oh my god, double jossistant a joby
fight direction David David sing one more David Gama jump
one more to jacket, but my first time many but
(17:33):
the assistant maybe not We fighter fight Masters have calm
care but Mike to picture slimy Mumbai region gmalka incident
and if they or sequence up or shoot, okay, dig,
(18:00):
but suppose time pay Many okay, but some my references
need but much reference Moha the attract to ask follow,
but yeah they go chicken button hank shop and he
but chesy dalk DJ but but some my upick those sequences.
(18:30):
Many shoot cat but appreciate sequence go to skarb what
upr upcome and many pict or my but generation hot follow,
but will take Jo Jomine asked, Yak dot com g.
Speaker 1 (19:00):
In the gimme short Nanna safety because.
Speaker 2 (19:07):
But fighters and the action department GoJ your reality. Have
things improved for your boys for you?
Speaker 1 (19:16):
Kay? Would you pe like philosophy hokey hero co.
Speaker 2 (19:22):
Fighter Marga but nothing should happen to the lead actors
b s Ak Has there been any advancement.
Speaker 3 (19:30):
And improvement Kali technology, Jo stuntman safety importance, Fighter fight
(19:55):
Master both a fight director said, I sa who to
Mara job at stern safety Hiroki like her Artney can
(20:16):
master nickers now nickers No, this is a job. But
the fighter, the fighter. When I correct, you will aji
ton say technology cable said the fighter toy her art
(20:41):
which jet union mad teens Al Kabu was ten person
fifteen person insurance thanks to you. Insurance canay okay? To
safety okay, but the safety you be any ak up
safety correct safety unfortunate kab Glass glass always takes little blood.
Speaker 1 (21:11):
Correct to.
Speaker 3 (21:14):
A glass make a fight master crashman. The boxes of
glass made glass glass sugar Oh yeah India Bantai so
we used to fun glass only the weather real glass.
Speaker 1 (21:30):
Only correct to sugar glass.
Speaker 3 (21:33):
Small time order colass ice, factory.
Speaker 2 (21:47):
Taker, glass lighting department and the action department. They do
not get their due. K comfortable Reneka in travel and
the circumstances on the set.
Speaker 1 (22:07):
Could deliver to up stage because but hey, what is
the first thing you would change?
Speaker 3 (22:16):
Respect? Foreign technicians to respect compared to us A big
picture Garadino care pass by two per day okay, Hollywood,
(22:47):
Madam k R Department stun horseball you specialized glass breaker.
We'll call car che is high fall a fighter special
(23:11):
social and is a jung Tom producer correct special red
Tomko budget the producer, producer, producer A shot to body
(23:33):
p a fire, to comfortable, to film fixed.
Speaker 2 (23:40):
We'll call our make up artist Johann comparison create to
artists film shows me. But your aids has stayed more
or less the same same our web series. Have the
budgets become even tighter? Come budgets may come the know deliver,
but time.
Speaker 3 (24:00):
Budget remember the title enough shoot picture correct up scale
to my America, come serial because budget macar though to
hum Ko.
Speaker 2 (24:24):
Yeah, budgeting, so no value of the person who is
performing this start, not enough time for rehearsal, not enough
time to shoot jes sequence for.
Speaker 1 (24:38):
Joe Firo's Behind quick reference originally for Today's measure or.
Speaker 3 (24:51):
Or requirement the k yah yah yah yus a requirement
where they war result the perfect sequence they requirement.
Speaker 1 (25:12):
Sequence hot Balloon, which went viral.
Speaker 3 (25:18):
Memo Canada may shoot or master g ap camera push
run the camera man camera cha So he ran, he said, Tom,
don't stop, don't stop orrow wingspan on a jama or
(25:42):
pilot net take off earlier the camera man pan mams
a hero industry produced and he's very strong. It's very strong.
Speaker 1 (25:59):
To you do they have that same kind of strength
and stealth to you? Come up.
Speaker 3 (26:07):
Madam Joe Mark Joe heart Jo Yeah, bold without safety,
Got has a character long curling Hiro or her Artney
stuns John, I am liking Joe, Nikiya do you record
(26:32):
and I Jesse sungers to my I guess that first
time cam rather to video the mass the I s
I acrobat karunga, I s i krunga karma Sorry okay,
(26:53):
her sturns up coming emotional fight nias that either or
character professor so occupy throw us out? Whose zone may
giant to better? Luckily you set but director a key
(27:17):
a bust correct world right to follow or r interview
he may the best film Hamley the action correct.
Speaker 1 (27:26):
Also you short an amazing thanks you ideated the.
Speaker 3 (27:29):
Entire suggest bus socially and fight Jesse by the shoot
car nowsco to many poor our choreography b Maybe edit
to immediate cart cars. It's not better to too many
(27:54):
assistant card, too many bees, jumbo role many cart fight
many a k woman shay La Mara d s Guira
(28:17):
or my jat shutter whole town public hey.
Speaker 1 (28:24):
Me by.
Speaker 3 (28:27):
Holy family to Marabasque sports Mega toa arabas Jita Marabasca
wife Gola, Hey, it's not delay a reaction said to
(28:48):
man fight coounting there h m p un chimp utna
j maragai A sharp trolley cha put a crowd chill
(29:11):
rap star now dosy sa am mica name buss Wickham
Did you like it?
Speaker 2 (29:25):
No?
Speaker 3 (29:25):
No, no, take to do the cap man up to
mill flim the blanks, gap email a bus to my
name performed, I says a short smoongy. Wiki, Yeah he's
(29:46):
right here, gaps or yeah, I mean please take kia
or wiki trade guy fight master climate seen suggests to
a Basga suggestion.
Speaker 2 (30:11):
Many performed, You are performed under conviction or eventually energy
business up sat by You come with that energy and
with up Q the engage, the say what to reaction
to nicol or the famous train sequence shooting there and
(30:36):
that time special effects be it was a new thing.
Speaker 3 (30:43):
The VFX quickly Nicola or many live train are you
ambis and the healthy nabal big safety us at least
(31:06):
short to cool the success party verst mi bas By
Yes six ones can k I sequance okay by n
(31:29):
and s k I to manabl and June my many
interview to my Basaly mon c k I nine Mara seque.
Next interview makes.
Speaker 1 (31:52):
The credit. Let what the credit? A man, this is
the amazing thing about you. Okay, Apka interested basic cam
or credit.
Speaker 2 (32:07):
Shoot and smithy for pop seventeen thousand, five hundred eighteen thousand,
five hundree shoot.
Speaker 1 (32:15):
My shooting m.
Speaker 2 (32:18):
Us.
Speaker 3 (32:19):
But from nicol or um Lo Action Department to John
D you are a buzz by either both love to action, John,
don't worry make them shortly my sup attention into or
mem YEA and John fight John.
Speaker 2 (32:46):
Cut cinematic genius, but lokling or.
Speaker 1 (33:04):
Assistant.
Speaker 2 (33:04):
So you could be Puno and Lena. You do not
have to be educated education le cinematic.
Speaker 3 (33:14):
Right exactly a fight master and you know like Filmki
dil job sequencesca screen pay marumazim b s hum or challenge,
western Ize Indiana is foreigners technicians Hamar Gulam Mamaba Li
(33:53):
say Rabaza Oka RETI my my jack put course. So
he said no shooting pa idroop or book just clia names.
(34:20):
So he said that they got.
Speaker 2 (34:25):
Technology green screen b F x C g I has
the standard of action improved.
Speaker 1 (34:39):
Or has it deteriorated?
Speaker 3 (34:42):
Course the better? Why puts lazy lazy okay socket socket
fxtana jack stoo kidna time lata or it heck suggest
(35:07):
caroach Loya bas by senior a pu bowling any to
hum up suggestion la he suggestion ignored but bold mastery
(35:27):
look am Jessemry pictures the age but climate on only
Lita k Ritick. Joe was sane that Maga Sanje or
ritic is called dragga Ritick sang that dragga ja to
my job, but it's not possible, Pivato sans nick critic
(35:54):
Sanju go drag doe okay public shu or let's senjut
that's meant public or edge of the state by no
(36:18):
master in a script by suggests. Then they finally came
came master, will go your way or public clap trap.
Speaker 2 (36:41):
Retilate because one thing I noticed Marna mark Hanna his
reactions to a blow, Yeah, we're brilliant and.
Speaker 1 (36:53):
Otherwise many do three heroes what resistance?
Speaker 3 (36:59):
So he had that called but the powerful audience fans
zara picture the mission was Lama san Ju went with
the cable or picture example that nama you intense well
(37:23):
like seeing a time mar and Sanju said market other
action sequence highlight was squece highlight. Yeah, I am.
Speaker 1 (37:43):
What are some of the craziest, maddest moments with him?
Speaker 3 (37:53):
Picture no problem, Lara, artist, pin is goa packed up carrier,
Taiko times.
Speaker 2 (38:15):
That's true, man comes bike Usease said that was my
job to say, I'm the lion tamer Gary.
Speaker 1 (38:27):
Or blood obsession? Would you con my father would be
what is wrong with you?
Speaker 3 (38:36):
Why this cold?
Speaker 1 (38:36):
Your bloody enmy one? I but what is the most dangerous?
Turned to perform.
Speaker 3 (38:43):
Manager the ko many comes sick thus fire, Puri body, many, horseball,
man horseball, lock, big mark, cable, tight jack or full
(39:06):
speed or cable a rider, a shoot video made, my
Aya or Mara or my Gira to my chest or
surpl zamin pe fight master X, strift rate margether, Oh
(39:32):
my God, or my make up Jack the unit of
l fight Master Ja to my host Maya or.
Speaker 1 (39:47):
The shortage.
Speaker 3 (39:50):
Oh my God about animal scoop unkers so luckily God
okay co be Pair two D come like fair horse
bow when they would camel fall for glass break and
(40:13):
a beta may just made me a toilet job in
a whole second, holds my ghera, my god, when you
fight table to many table my gla, so he said,
I don't care directory table for locker, the climates, my
(40:40):
short and pick table giong my cash bio or cash
two minute, either my massive pig Fighter America Mary Manaola
or my yatach table man Mary body I or Joevo. Second,
(41:05):
hold up my producer to my medical kill many fight
master Bill Jemaine, Joe Joe, k I Dia producers Ma
(41:26):
Master Dia producer, So Lias okay producer then, but we're
a fight master.
Speaker 1 (41:38):
My god.
Speaker 2 (41:40):
Yes, our family with about the way I mean family
has come to terms with the fact every time you
leave to.
Speaker 3 (41:48):
Work, said today Marla to a k B app go
or yeah, producers be panda shift Kama association call lomit
(42:10):
mane kam Niger to producer has to pay them fifteen
shifts fifteen shift after her mil ti or dead we
too producer amount paup.
Speaker 1 (42:28):
But is it enough?
Speaker 2 (42:32):
Job accident, said j B. Think you some shooting crutches. Yeah,
you were doing six seven films.
Speaker 1 (42:39):
That that.
Speaker 3 (42:42):
To like Mazaratia to many production kin to many ame
instinct madame k a bus to many sikha guardi or
(43:05):
location like name j C do step sleep and I
went twenty five feet down, or I'm just short laid
the hand your point of view, I could see that,
or choke okay amera way to stempe. I think thus
(43:29):
ex to setting. I said, yeah, please said, and I
dragged myself to the light beneath it, to the light.
(43:53):
They can take another paras ankle. So many plaster a
plaster a cla. Now I was with the crutches a
bus by door location or a oh god, why went
with the distinct crutches gay do location final shame camera
(44:18):
man Joe bombay l Nana team book operation kayevo. So
when I came to Nan wife, Nanaim and Nana a
very special chabisky shooting the art tariko or permission and
(44:44):
not a place ham Ki above balance shooting tarikok to
my next day man married doctor k Wimica past tariko
che operation and ORNs remember a Dean resk sath picture
(45:06):
floor afford nikers picture h holda operation to s my
fly my deli or aunt tariko wheelchair iclea or my
short or pura sequence many shampo by other many complete
curly wheel chair or ask the best sequence Joe ba
(45:31):
or sar picture or thanks to nearest Panda, thanks to you,
mem or a busy continue sa me rely achievement or
many b shoot gear master car so go fight master, ch.
Speaker 1 (46:04):
Fight master.
Speaker 3 (46:07):
Actor jo my acting log both bus by acting chatter
late action acting wander actor to bijoy too many is
may joining many coffee acting a show, Caunder sick just
(46:28):
baccan father lea bus You have to action to direction
Maiana k Milla but some names Hockey night to this
story was up and now he's pitching us nowadays. First
(46:56):
time assist manusla beta sub chie Gna m local there
fight by q manak to me my wife Chi manaki
(47:25):
manaki okay there to side school my name man bus
basco a bit tire name assistant assistant rout you Ma
(47:53):
ruled following assan Rutney to bust my back light man
Lo night chel.
Speaker 2 (48:03):
J s assistant who arg individual fight masters. So you
have created half this industry. Job were fighters and you
taught them everything.
Speaker 1 (48:21):
So it's a sense of pride.
Speaker 2 (48:23):
Also, how difficult is it was by to constantly find
new people and groom them.
Speaker 1 (48:27):
And I've noticed insan clap.
Speaker 2 (48:32):
Two internship or hours or years?
Speaker 1 (48:36):
Do you invest?
Speaker 3 (48:38):
Is just who? Fast fast fast forward.
Speaker 2 (48:50):
A B B.
Speaker 3 (49:01):
Director to option a B B maraud came up the
division the mark maker, Yes, sequess yes, seques from shock head, passion,
passion and interesting rene retirement. You a passion, you my
(49:26):
time like you know your passion. It's an excited.
Speaker 2 (49:30):
Said that's the same thing that frustrates make a passionless
log or results may interested, but process you have enjoying.
Speaker 3 (49:47):
Joy or reference more reference amari, story reference, a story
a lot remember ye my s u.
Speaker 2 (50:12):
Timber to besides your understanding of performance, story angles, lenses,
being a producers man up quick psychiat with because egos
hand look okay, cast t K B up multi star
cars while film with multiple heroes.
Speaker 3 (50:33):
What I K I line clear, camera men camera reflector
wrote the eye line clear by island c clear Artists
performed Naya island clear artists island clear to my side,
(51:03):
assistant directors island clear. I want to make either island
is land to ye and short. I say either room
bolch theater. My last are one a t re please
(51:29):
Master shooting please tad again. Yeah, then I am either.
Speaker 1 (51:43):
Gangama train sequenced shoot kata.
Speaker 2 (51:49):
He used to be one of the most respected fight
masters we ever had. Buddy boy actors in is that
sedict to fight masters got you architaro? People who commanded
(52:15):
respect because of their demeanor, their dependability.
Speaker 1 (52:19):
Zaban bas By.
Speaker 3 (52:25):
Who's there, said lo, I act respect on kittyated respected
respect Jackie my network to hard me so my smart,
(52:57):
who my respect? My my parents old age by baby
job was, suggests m Loco, so much advice, legion prepared,
director correct, join up up time like director d B
(53:23):
he will be up local proof and my director hum
ya hum boy or whats the fight master say? Director
n mhu is up master? Din Bill discussed sequence cases
(53:51):
safety respect, I said technicians by Joe leaps up short
like you know, shoot shoot budget vice, I continued continuity
(54:23):
short short director director, Hey, yeah, associated.
Speaker 1 (54:37):
Okay, ho ra there's no center.
Speaker 3 (54:42):
Direction.
Speaker 2 (54:47):
I just want to take you back to Josh Sharuk
never had a reputation of being an action star. You
were largely responsible for giving him that reputation.
Speaker 3 (54:56):
Man energetic band energetic the first time, Pemaug licking my
name Pura choreograph Kiata mans j Pura, Climax design Guru
Hawaii man like video camera like j K man Pura
(55:16):
shoot Curke edit Halich sequence May Shadow by Chari Singko
is sa chain. My name is a design chain dal
Or camera will go round and round and Sharu Shadow
said Master, it's a gold go Ma sharu Wo energy,
(55:40):
I give impact Niaga band. Mansur look discussed bus Shark,
that's a shadow. What is your distinct suggestion? He said,
okay I said no, no, no, no bus is ride
to do it a buzz by way to my name
(56:01):
was Mansur h r a lang Maya industry jo Ja.
Speaker 2 (56:11):
Yeah because action or sharp.
Speaker 3 (56:18):
Who might discuss now to my ob superstar o you
the point of view ba bull a by or do.
Speaker 2 (56:36):
Many films are a heroine oriented may even though we
had san Jo finally Cajol, she was the one who
had to kill the villain.
Speaker 3 (56:45):
The villain. May postman said, look by generation villain is
or ka san Jugo to fight challenge ak San fight
(57:11):
Sanju came. He started fighting with Master. Remember I had
the camera over or hero to la bind I'm look
the support and finally he steps Sanjo heroic point the
(57:35):
gun and Sanju comes last minute he holds a gun
or fire and she takes the gun and she fires
the emotional shot gun for photo for her sisters.
Speaker 1 (57:52):
Short okay, But was the monam doubles like even then?
Speaker 2 (58:00):
And when I had to jump off the ship, the
double was a male with fighter go or costume and
they would make them do whatever, So it was very
difficult to get.
Speaker 3 (58:10):
Girls the man job up like fire or it was
in again okay or bet or fire made bat t
(58:33):
b my confused by shot the m M head so
the prep.
Speaker 1 (58:48):
Or scooper.
Speaker 3 (58:50):
Solution.
Speaker 1 (58:51):
I still remember the heat from that. But nothing happened
to me up? But how would you sum it up
a buzz bible or a dialogue? The big big you feeling?
(59:13):
Is there any sense of a completion in this journey?
Speaker 3 (59:17):
Opery he k k d Fleameline me camkhu or s
a like I would wish cam okay, my sugar, I
(59:37):
s s director jahame stiff experience game cart now my
hort jaga but now camel I saw institution story telling
Hey to hap quick dila, but I can interview how many?
(01:00:01):
But message here you follow heads off to big directors,
especially the word's up.
Speaker 1 (01:00:15):
You are one of the most honest people I met
up but false that and I am proof of that.
But you are so wise and automatically a bass by.
Speaker 2 (01:00:28):
So you are somebody who instills confidence and gives you
a feeling of I'm in charge.
Speaker 1 (01:00:34):
Is filled.
Speaker 2 (01:00:36):
Joe action sequences. They came maybe action Master, Naya. What
is the advice you would give them?
Speaker 3 (01:00:42):
Action Master, Joe, the pace is pre dosa as an
assistant Master Maxell believe my master one came, I sustained
(01:01:08):
Corona Industry, k App came looks PERI to stor Jacket
coachnic Buski, Madame Mexico makes the picture quick tiny air
is a basnet check, I'm and if a basnet check,
(01:01:29):
I'm say me to Iker Taker Taker America, Basili America
Opera and mad but may.
Speaker 2 (01:01:42):
Up play a buck Barssage, Tony up, dil Ma upkis
hen may bar bar a.
Speaker 3 (01:01:53):
Mere sixty four Bonne to p nineteen forties, thirty eight
fourties picture to Door, I am lo theter the Crown,
Dado mar to my picture to again Mary especially downfall
(01:02:29):
a man, They Buddy Sister Coffee, my Shad Cafe the
h kiata or was shaddy success Navy to the Big
Sano read to YadA, the cliff, the tak there's a
(01:02:54):
very orn like as in the game.
Speaker 1 (01:03:05):
Mm hm the log what was very moving.
Speaker 2 (01:03:15):
I'm sure he's watching you or he would have been
very proud because look at you so mayo voice resonate forever.
Speaker 3 (01:03:25):
A film.
Speaker 2 (01:03:28):
Or b.
Speaker 3 (01:03:30):
Thank you so much, thank you very much.
Speaker 1 (01:03:33):
Can I look forward to seeing more of your work and.
Speaker 3 (01:03:38):
Thank you, thank you, thank you.
Speaker 2 (01:03:42):
The show is produced by Mammoth Media Asia and Epilogue
Entertainment and distributed by iHeart Podcasts.
Speaker 1 (01:03:51):
The executive producer is Jonathan Stricklet.
If you can dream it, you can do it.
Speaker 2 (00:13):
Walt Disney said that, but in the story of Abbas
Ali Mugul, the dream did not begin with him. It
began with Habib, a young boy in Iran who left
home at a tender age and arrived in India looking.
Speaker 1 (00:28):
For a place in cinema. He didn't come as an
action man.
Speaker 2 (00:33):
He became a character actor, finding roles in many of
the mythic Arabian nights style films made by my grandfather,
not a by b Hut, a time when stories were legend,
budgets were small, and courage stood in for the craft.
Years later, in nineteen eighty two, during the filming of
(00:57):
Gandhi in India, a ba Us then barely twenty, appeared
for a fleeting moment on screen, not a major role,
but to him it was symbolic proof that even a
moment can hold the weight of a lifetime's aspiration. He
still carries that memory with pride. But the real turning
(01:21):
point in his journey came off screen. After more than
four decades of separation, Habib returned to Iran to meet
his family. He passed away there unexpectedly, and in the
wake of that loss, a bass, young slender, not physically
built for stunts, stepped into the world of action, not
(01:46):
out of ambition, but out of continuity, out of love.
He entered the stun fraternity in what we now call
the dark days, long before safety gear, before rehearsals, before
Scholey changed the landscape and for instant coordinators redefine the
science of impact.
Speaker 1 (02:08):
Back then, action meant risk.
Speaker 2 (02:13):
Every jump was a gamble, every fall, and negotiation with fate.
From that era of pure courage, a bass Ali mogul emerged.
Today we stand in a different world CGI motion capture,
digital mapping. The camera no longer risks lives to create
(02:35):
or action can be simulated. Precision has replaced instinct. Technology
now absorbs the blow that bodies once did, but the
heart behind the frame remains unchanged. The dream that began
with Habib traveled through a bas and now moves forward
(02:58):
through her bas Because sometimes legacy is not passed on,
it is walked alongside. This is not just the journey
of an action director. It is a story of time itself,
of cinema rising from sand and sweat to wire rigging
(03:18):
and pixels, of a dream that cross borders survived bruises,
touched history and still moves forward. Let's meet him now,
the man who still works as if every frame, every blow,
every life matters.
Speaker 3 (03:41):
You so much, Thank you so much.
Speaker 1 (03:45):
What is the earliest memory you have of Habib sab.
Speaker 3 (03:53):
The Fourth Center, the studio Hotel, New Heroes, worky friends
from jud to Jo Studios actor Trama shooting Hildy but
(04:15):
both the shooting and l T T J T to
MYO mythological picture shooting shot. But what's my screen was
to my acting Iran to my copy say m my
(04:45):
America many voice nicol or I'm just my key voice bo.
Speaker 1 (04:51):
I'm just like yes, yes yes.
Speaker 3 (04:57):
To the to school made the hundred is mambol Couto
to is a studio seek travels fighter a gurum cause
seek that Robert Master, I see name he Oky, what
(05:26):
mean lead stand many or el maa my Maya Bason
studio Ma John calls m Vardia in case Tarzan John
(05:49):
wis muller Ky, I was Tarzan picture tomorrow. I was
Nicolo b Naima to bas picture Safer Shuru to care
producers about difficult matfe mil to Jack the producer to
(06:26):
family Gobdon Matta do Bettia by say ok, they said,
don t them drop on okay or or bus dig
(06:50):
to Turkey t marry Turkey pie or family Matla Rista
eighty four eighty five. Habibi ran Tom doctor to doctor
(07:10):
semne Baki to doctor Iran, or came married Daddy my
airport jar suddenly put maried makak cam Nicola, my dad
whom and dad my airport name Jaska or gay or
(07:33):
my name is ok or investigation Pranza as the t
v B Tom is Galik sam Nick phone messages to
my ma Jez to Pran Bull actor trans sorry, thank
(07:54):
you and Joe phone, but I Yega Mavlan needs to
thank you so much. Film Federation chairman chat King President.
Actor Kane singsap monthly. Malan is a thank you time
(08:21):
monthly to use Phil. My name is Carada Fighter ninety two.
I thought I should become a fight director.
Speaker 1 (08:42):
So yourself taught you taught yourself on on the field.
Speaker 3 (08:45):
But no wife is jang Jack heroes.
Speaker 2 (08:57):
But I'm just struck by the fact Gunam whom this
is a school my garage college.
Speaker 3 (09:11):
College may interest neither to Mannesota mechanicam joint m lunch
time lunch time past were school care friends Habibaba actor
(09:34):
garage m s A situation Meta, My child is but
a javannes a fight director Jo Studio Opera training the
(09:57):
famous men to pay picture me Is and ganes many
Rashti Ma come ka future Gandhi Mamadi by fight director
The bombas a chance miller Camarga Toda one twenty rupees
somewhere and twenty rupees convence to the English picture English
(10:21):
per Day by mild up bad sub bossas statement data
okay to shoot nam and tom Apar my Youngrais Soldier
(10:41):
Banavata Indian Soldier or the Indian log a vector Now
to a luckily a close up picture Me close up
by the Mara clows up us Jabba Fighters the Jabba Movies,
(11:07):
Maxis Capers office walk to my jack kr my logo,
my mixed song k show fighters this up feet sad
feeds up bodybuilders looking or ex a Hoga to Egin
(11:30):
Rajput shooting maruma Zi by Joham fight director Betako b
Lelena Chance there to my did so looj to my
assistant Please marmid Azim by Mirabolak bus riding Hea Yoga
(11:58):
to my savage office to my sad please here a
zim rana, so he said, new yoga and finally he
went away, or my brism or many up came a
(12:22):
difficult journey to my cases who faced karunga to man
too many Jim joined man, get up, changed here daddy
Jim huka many body bana here my com curs tom
I duplicate curs to mak jootah. He didn't fight director
(12:54):
as an assistant six one hospital man, I think baba
hospital to ones to a director namekay master up sequence
but operation okay o patient too my name but correct?
(13:17):
Okay up said division ok up schoo seq once up
and answering yeah but about confused? Okay master to master
to my sequence? Nared to many? Director whose sequence ed
sequence a hog a hog.
Speaker 1 (13:38):
A short breakdown, a short.
Speaker 3 (13:41):
Breakdown or director's an impressed seques not the bull? What many.
Speaker 2 (13:58):
Your sense of camera? Your understanding of cinema performances? Many
could experience k as an actor, as a producer and
a director. You know more than most directors. Up can
the botany I could film directorly?
Speaker 3 (14:14):
Maybe thank you bus up direct hiroki demand are to
pass thirty two picture looking now says my director report
(14:43):
looking artists. Many pictures like those are really say up
down karna train without any convenance, without any money. This
is directory wi but but mouse time by U picture
(15:08):
jamm because to flop okay, I said, ok but I
s director, I I wickram but the going tyro and
they going to my four nik azim tom but t
(15:28):
sik one s vicm but pa or my ustim real
please your nharra com sector crown like in my honey
bus to local bus and the house was shooting jam
(15:55):
to see then rahul rokum but under yemalistanch my prica
will be declaim to like a bus by arch be
(16:17):
time CAUs ocal somalist to America assistant and urakatan Us
actually is in the tots in la are.
Speaker 1 (16:34):
I just want to ask you about.
Speaker 3 (16:38):
My ninety two to ninety two pase forty three.
Speaker 1 (16:42):
Somewhere was the money in safety gear concept in boxes.
Speaker 3 (16:47):
Boxes boxes, boxes, I say use curtain to seven la box.
The par three erica came in peking topers jump many
picture the aco garafs man eleventh floors a jump the
(17:09):
double to eleven floor said they had jumped without safety
on the boxes, Oh my god, double jossistant a joby
fight direction David David sing one more David Gama jump
one more to jacket, but my first time many but
(17:33):
the assistant maybe not We fighter fight Masters have calm
care but Mike to picture slimy Mumbai region gmalka incident
and if they or sequence up or shoot, okay, dig,
(18:00):
but suppose time pay Many okay, but some my references
need but much reference Moha the attract to ask follow,
but yeah they go chicken button hank shop and he
but chesy dalk DJ but but some my upick those sequences.
(18:30):
Many shoot cat but appreciate sequence go to skarb what
upr upcome and many pict or my but generation hot follow,
but will take Jo Jomine asked, Yak dot com g.
Speaker 1 (19:00):
In the gimme short Nanna safety because.
Speaker 2 (19:07):
But fighters and the action department GoJ your reality. Have
things improved for your boys for you?
Speaker 1 (19:16):
Kay? Would you pe like philosophy hokey hero co.
Speaker 2 (19:22):
Fighter Marga but nothing should happen to the lead actors
b s Ak Has there been any advancement.
Speaker 3 (19:30):
And improvement Kali technology, Jo stuntman safety importance, Fighter fight
(19:55):
Master both a fight director said, I sa who to
Mara job at stern safety Hiroki like her Artney can
(20:16):
master nickers now nickers No, this is a job. But
the fighter, the fighter. When I correct, you will aji
ton say technology cable said the fighter toy her art
(20:41):
which jet union mad teens Al Kabu was ten person
fifteen person insurance thanks to you. Insurance canay okay? To
safety okay, but the safety you be any ak up
safety correct safety unfortunate kab Glass glass always takes little blood.
Speaker 1 (21:11):
Correct to.
Speaker 3 (21:14):
A glass make a fight master crashman. The boxes of
glass made glass glass sugar Oh yeah India Bantai so
we used to fun glass only the weather real glass.
Speaker 1 (21:30):
Only correct to sugar glass.
Speaker 3 (21:33):
Small time order colass ice, factory.
Speaker 2 (21:47):
Taker, glass lighting department and the action department. They do
not get their due. K comfortable Reneka in travel and
the circumstances on the set.
Speaker 1 (22:07):
Could deliver to up stage because but hey, what is
the first thing you would change?
Speaker 3 (22:16):
Respect? Foreign technicians to respect compared to us A big
picture Garadino care pass by two per day okay, Hollywood,
(22:47):
Madam k R Department stun horseball you specialized glass breaker.
We'll call car che is high fall a fighter special
(23:11):
social and is a jung Tom producer correct special red
Tomko budget the producer, producer, producer A shot to body
(23:33):
p a fire, to comfortable, to film fixed.
Speaker 2 (23:40):
We'll call our make up artist Johann comparison create to
artists film shows me. But your aids has stayed more
or less the same same our web series. Have the
budgets become even tighter? Come budgets may come the know deliver,
but time.
Speaker 3 (24:00):
Budget remember the title enough shoot picture correct up scale
to my America, come serial because budget macar though to
hum Ko.
Speaker 2 (24:24):
Yeah, budgeting, so no value of the person who is
performing this start, not enough time for rehearsal, not enough
time to shoot jes sequence for.
Speaker 1 (24:38):
Joe Firo's Behind quick reference originally for Today's measure or.
Speaker 3 (24:51):
Or requirement the k yah yah yah yus a requirement
where they war result the perfect sequence they requirement.
Speaker 1 (25:12):
Sequence hot Balloon, which went viral.
Speaker 3 (25:18):
Memo Canada may shoot or master g ap camera push
run the camera man camera cha So he ran, he said, Tom,
don't stop, don't stop orrow wingspan on a jama or
(25:42):
pilot net take off earlier the camera man pan mams
a hero industry produced and he's very strong. It's very strong.
Speaker 1 (25:59):
To you do they have that same kind of strength
and stealth to you? Come up.
Speaker 3 (26:07):
Madam Joe Mark Joe heart Jo Yeah, bold without safety,
Got has a character long curling Hiro or her Artney
stuns John, I am liking Joe, Nikiya do you record
(26:32):
and I Jesse sungers to my I guess that first
time cam rather to video the mass the I s
I acrobat karunga, I s i krunga karma Sorry okay,
(26:53):
her sturns up coming emotional fight nias that either or
character professor so occupy throw us out? Whose zone may
giant to better? Luckily you set but director a key
(27:17):
a bust correct world right to follow or r interview
he may the best film Hamley the action correct.
Speaker 1 (27:26):
Also you short an amazing thanks you ideated the.
Speaker 3 (27:29):
Entire suggest bus socially and fight Jesse by the shoot
car nowsco to many poor our choreography b Maybe edit
to immediate cart cars. It's not better to too many
(27:54):
assistant card, too many bees, jumbo role many cart fight
many a k woman shay La Mara d s Guira
(28:17):
or my jat shutter whole town public hey.
Speaker 1 (28:24):
Me by.
Speaker 3 (28:27):
Holy family to Marabasque sports Mega toa arabas Jita Marabasca
wife Gola, Hey, it's not delay a reaction said to
(28:48):
man fight coounting there h m p un chimp utna
j maragai A sharp trolley cha put a crowd chill
(29:11):
rap star now dosy sa am mica name buss Wickham
Did you like it?
Speaker 2 (29:25):
No?
Speaker 3 (29:25):
No, no, take to do the cap man up to
mill flim the blanks, gap email a bus to my
name performed, I says a short smoongy. Wiki, Yeah he's
(29:46):
right here, gaps or yeah, I mean please take kia
or wiki trade guy fight master climate seen suggests to
a Basga suggestion.
Speaker 2 (30:11):
Many performed, You are performed under conviction or eventually energy
business up sat by You come with that energy and
with up Q the engage, the say what to reaction
to nicol or the famous train sequence shooting there and
(30:36):
that time special effects be it was a new thing.
Speaker 3 (30:43):
The VFX quickly Nicola or many live train are you
ambis and the healthy nabal big safety us at least
(31:06):
short to cool the success party verst mi bas By
Yes six ones can k I sequance okay by n
(31:29):
and s k I to manabl and June my many
interview to my Basaly mon c k I nine Mara seque.
Next interview makes.
Speaker 1 (31:52):
The credit. Let what the credit? A man, this is
the amazing thing about you. Okay, Apka interested basic cam
or credit.
Speaker 2 (32:07):
Shoot and smithy for pop seventeen thousand, five hundred eighteen thousand,
five hundree shoot.
Speaker 1 (32:15):
My shooting m.
Speaker 2 (32:18):
Us.
Speaker 3 (32:19):
But from nicol or um Lo Action Department to John
D you are a buzz by either both love to action, John,
don't worry make them shortly my sup attention into or
mem YEA and John fight John.
Speaker 2 (32:46):
Cut cinematic genius, but lokling or.
Speaker 1 (33:04):
Assistant.
Speaker 2 (33:04):
So you could be Puno and Lena. You do not
have to be educated education le cinematic.
Speaker 3 (33:14):
Right exactly a fight master and you know like Filmki
dil job sequencesca screen pay marumazim b s hum or challenge,
western Ize Indiana is foreigners technicians Hamar Gulam Mamaba Li
(33:53):
say Rabaza Oka RETI my my jack put course. So
he said no shooting pa idroop or book just clia names.
(34:20):
So he said that they got.
Speaker 2 (34:25):
Technology green screen b F x C g I has
the standard of action improved.
Speaker 1 (34:39):
Or has it deteriorated?
Speaker 3 (34:42):
Course the better? Why puts lazy lazy okay socket socket
fxtana jack stoo kidna time lata or it heck suggest
(35:07):
caroach Loya bas by senior a pu bowling any to
hum up suggestion la he suggestion ignored but bold mastery
(35:27):
look am Jessemry pictures the age but climate on only
Lita k Ritick. Joe was sane that Maga Sanje or
ritic is called dragga Ritick sang that dragga ja to
my job, but it's not possible, Pivato sans nick critic
(35:54):
Sanju go drag doe okay public shu or let's senjut
that's meant public or edge of the state by no
(36:18):
master in a script by suggests. Then they finally came
came master, will go your way or public clap trap.
Speaker 2 (36:41):
Retilate because one thing I noticed Marna mark Hanna his
reactions to a blow, Yeah, we're brilliant and.
Speaker 1 (36:53):
Otherwise many do three heroes what resistance?
Speaker 3 (36:59):
So he had that called but the powerful audience fans
zara picture the mission was Lama san Ju went with
the cable or picture example that nama you intense well
(37:23):
like seeing a time mar and Sanju said market other
action sequence highlight was squece highlight. Yeah, I am.
Speaker 1 (37:43):
What are some of the craziest, maddest moments with him?
Speaker 3 (37:53):
Picture no problem, Lara, artist, pin is goa packed up carrier,
Taiko times.
Speaker 2 (38:15):
That's true, man comes bike Usease said that was my
job to say, I'm the lion tamer Gary.
Speaker 1 (38:27):
Or blood obsession? Would you con my father would be
what is wrong with you?
Speaker 3 (38:36):
Why this cold?
Speaker 1 (38:36):
Your bloody enmy one? I but what is the most dangerous?
Turned to perform.
Speaker 3 (38:43):
Manager the ko many comes sick thus fire, Puri body, many, horseball,
man horseball, lock, big mark, cable, tight jack or full
(39:06):
speed or cable a rider, a shoot video made, my
Aya or Mara or my Gira to my chest or
surpl zamin pe fight master X, strift rate margether, Oh
(39:32):
my God, or my make up Jack the unit of
l fight Master Ja to my host Maya or.
Speaker 1 (39:47):
The shortage.
Speaker 3 (39:50):
Oh my God about animal scoop unkers so luckily God
okay co be Pair two D come like fair horse
bow when they would camel fall for glass break and
(40:13):
a beta may just made me a toilet job in
a whole second, holds my ghera, my god, when you
fight table to many table my gla, so he said,
I don't care directory table for locker, the climates, my
(40:40):
short and pick table giong my cash bio or cash
two minute, either my massive pig Fighter America Mary Manaola
or my yatach table man Mary body I or Joevo. Second,
(41:05):
hold up my producer to my medical kill many fight
master Bill Jemaine, Joe Joe, k I Dia producers Ma
(41:26):
Master Dia producer, So Lias okay producer then, but we're
a fight master.
Speaker 1 (41:38):
My god.
Speaker 2 (41:40):
Yes, our family with about the way I mean family
has come to terms with the fact every time you
leave to.
Speaker 3 (41:48):
Work, said today Marla to a k B app go
or yeah, producers be panda shift Kama association call lomit
(42:10):
mane kam Niger to producer has to pay them fifteen
shifts fifteen shift after her mil ti or dead we
too producer amount paup.
Speaker 1 (42:28):
But is it enough?
Speaker 2 (42:32):
Job accident, said j B. Think you some shooting crutches. Yeah,
you were doing six seven films.
Speaker 1 (42:39):
That that.
Speaker 3 (42:42):
To like Mazaratia to many production kin to many ame
instinct madame k a bus to many sikha guardi or
(43:05):
location like name j C do step sleep and I
went twenty five feet down, or I'm just short laid
the hand your point of view, I could see that,
or choke okay amera way to stempe. I think thus
(43:29):
ex to setting. I said, yeah, please said, and I
dragged myself to the light beneath it, to the light.
(43:53):
They can take another paras ankle. So many plaster a
plaster a cla. Now I was with the crutches a
bus by door location or a oh god, why went
with the distinct crutches gay do location final shame camera
(44:18):
man Joe bombay l Nana team book operation kayevo. So
when I came to Nan wife, Nanaim and Nana a
very special chabisky shooting the art tariko or permission and
(44:44):
not a place ham Ki above balance shooting tarikok to
my next day man married doctor k Wimica past tariko
che operation and ORNs remember a Dean resk sath picture
(45:06):
floor afford nikers picture h holda operation to s my
fly my deli or aunt tariko wheelchair iclea or my
short or pura sequence many shampo by other many complete
curly wheel chair or ask the best sequence Joe ba
(45:31):
or sar picture or thanks to nearest Panda, thanks to you,
mem or a busy continue sa me rely achievement or
many b shoot gear master car so go fight master, ch.
Speaker 1 (46:04):
Fight master.
Speaker 3 (46:07):
Actor jo my acting log both bus by acting chatter
late action acting wander actor to bijoy too many is
may joining many coffee acting a show, Caunder sick just
(46:28):
baccan father lea bus You have to action to direction
Maiana k Milla but some names Hockey night to this
story was up and now he's pitching us nowadays. First
(46:56):
time assist manusla beta sub chie Gna m local there
fight by q manak to me my wife Chi manaki
(47:25):
manaki okay there to side school my name man bus
basco a bit tire name assistant assistant rout you Ma
(47:53):
ruled following assan Rutney to bust my back light man
Lo night chel.
Speaker 2 (48:03):
J s assistant who arg individual fight masters. So you
have created half this industry. Job were fighters and you
taught them everything.
Speaker 1 (48:21):
So it's a sense of pride.
Speaker 2 (48:23):
Also, how difficult is it was by to constantly find
new people and groom them.
Speaker 1 (48:27):
And I've noticed insan clap.
Speaker 2 (48:32):
Two internship or hours or years?
Speaker 1 (48:36):
Do you invest?
Speaker 3 (48:38):
Is just who? Fast fast fast forward.
Speaker 2 (48:50):
A B B.
Speaker 3 (49:01):
Director to option a B B maraud came up the
division the mark maker, Yes, sequess yes, seques from shock head, passion,
passion and interesting rene retirement. You a passion, you my
(49:26):
time like you know your passion. It's an excited.
Speaker 2 (49:30):
Said that's the same thing that frustrates make a passionless
log or results may interested, but process you have enjoying.
Speaker 3 (49:47):
Joy or reference more reference amari, story reference, a story
a lot remember ye my s u.
Speaker 2 (50:12):
Timber to besides your understanding of performance, story angles, lenses,
being a producers man up quick psychiat with because egos
hand look okay, cast t K B up multi star
cars while film with multiple heroes.
Speaker 3 (50:33):
What I K I line clear, camera men camera reflector
wrote the eye line clear by island c clear Artists
performed Naya island clear artists island clear to my side,
(51:03):
assistant directors island clear. I want to make either island
is land to ye and short. I say either room
bolch theater. My last are one a t re please
(51:29):
Master shooting please tad again. Yeah, then I am either.
Speaker 1 (51:43):
Gangama train sequenced shoot kata.
Speaker 2 (51:49):
He used to be one of the most respected fight
masters we ever had. Buddy boy actors in is that
sedict to fight masters got you architaro? People who commanded
(52:15):
respect because of their demeanor, their dependability.
Speaker 1 (52:19):
Zaban bas By.
Speaker 3 (52:25):
Who's there, said lo, I act respect on kittyated respected
respect Jackie my network to hard me so my smart,
(52:57):
who my respect? My my parents old age by baby
job was, suggests m Loco, so much advice, legion prepared,
director correct, join up up time like director d B
(53:23):
he will be up local proof and my director hum
ya hum boy or whats the fight master say? Director
n mhu is up master? Din Bill discussed sequence cases
(53:51):
safety respect, I said technicians by Joe leaps up short
like you know, shoot shoot budget vice, I continued continuity
(54:23):
short short director director, Hey, yeah, associated.
Speaker 1 (54:37):
Okay, ho ra there's no center.
Speaker 3 (54:42):
Direction.
Speaker 2 (54:47):
I just want to take you back to Josh Sharuk
never had a reputation of being an action star. You
were largely responsible for giving him that reputation.
Speaker 3 (54:56):
Man energetic band energetic the first time, Pemaug licking my
name Pura choreograph Kiata mans j Pura, Climax design Guru
Hawaii man like video camera like j K man Pura
(55:16):
shoot Curke edit Halich sequence May Shadow by Chari Singko
is sa chain. My name is a design chain dal
Or camera will go round and round and Sharu Shadow
said Master, it's a gold go Ma sharu Wo energy,
(55:40):
I give impact Niaga band. Mansur look discussed bus Shark,
that's a shadow. What is your distinct suggestion? He said,
okay I said no, no, no, no bus is ride
to do it a buzz by way to my name
(56:01):
was Mansur h r a lang Maya industry jo Ja.
Speaker 2 (56:11):
Yeah because action or sharp.
Speaker 3 (56:18):
Who might discuss now to my ob superstar o you
the point of view ba bull a by or do.
Speaker 2 (56:36):
Many films are a heroine oriented may even though we
had san Jo finally Cajol, she was the one who
had to kill the villain.
Speaker 3 (56:45):
The villain. May postman said, look by generation villain is
or ka san Jugo to fight challenge ak San fight
(57:11):
Sanju came. He started fighting with Master. Remember I had
the camera over or hero to la bind I'm look
the support and finally he steps Sanjo heroic point the
(57:35):
gun and Sanju comes last minute he holds a gun
or fire and she takes the gun and she fires
the emotional shot gun for photo for her sisters.
Speaker 1 (57:52):
Short okay, But was the monam doubles like even then?
Speaker 2 (58:00):
And when I had to jump off the ship, the
double was a male with fighter go or costume and
they would make them do whatever, So it was very
difficult to get.
Speaker 3 (58:10):
Girls the man job up like fire or it was
in again okay or bet or fire made bat t
(58:33):
b my confused by shot the m M head so
the prep.
Speaker 1 (58:48):
Or scooper.
Speaker 3 (58:50):
Solution.
Speaker 1 (58:51):
I still remember the heat from that. But nothing happened
to me up? But how would you sum it up
a buzz bible or a dialogue? The big big you feeling?
(59:13):
Is there any sense of a completion in this journey?
Speaker 3 (59:17):
Opery he k k d Fleameline me camkhu or s
a like I would wish cam okay, my sugar, I
(59:37):
s s director jahame stiff experience game cart now my
hort jaga but now camel I saw institution story telling
Hey to hap quick dila, but I can interview how many?
(01:00:01):
But message here you follow heads off to big directors,
especially the word's up.
Speaker 1 (01:00:15):
You are one of the most honest people I met
up but false that and I am proof of that.
But you are so wise and automatically a bass by.
Speaker 2 (01:00:28):
So you are somebody who instills confidence and gives you
a feeling of I'm in charge.
Speaker 1 (01:00:34):
Is filled.
Speaker 2 (01:00:36):
Joe action sequences. They came maybe action Master, Naya. What
is the advice you would give them?
Speaker 3 (01:00:42):
Action Master, Joe, the pace is pre dosa as an
assistant Master Maxell believe my master one came, I sustained
(01:01:08):
Corona Industry, k App came looks PERI to stor Jacket
coachnic Buski, Madame Mexico makes the picture quick tiny air
is a basnet check, I'm and if a basnet check,
(01:01:29):
I'm say me to Iker Taker Taker America, Basili America
Opera and mad but may.
Speaker 2 (01:01:42):
Up play a buck Barssage, Tony up, dil Ma upkis
hen may bar bar a.
Speaker 3 (01:01:53):
Mere sixty four Bonne to p nineteen forties, thirty eight
fourties picture to Door, I am lo theter the Crown,
Dado mar to my picture to again Mary especially downfall
(01:02:29):
a man, They Buddy Sister Coffee, my Shad Cafe the
h kiata or was shaddy success Navy to the Big
Sano read to YadA, the cliff, the tak there's a
(01:02:54):
very orn like as in the game.
Speaker 1 (01:03:05):
Mm hm the log what was very moving.
Speaker 2 (01:03:15):
I'm sure he's watching you or he would have been
very proud because look at you so mayo voice resonate forever.
Speaker 3 (01:03:25):
A film.
Speaker 2 (01:03:28):
Or b.
Speaker 3 (01:03:30):
Thank you so much, thank you very much.
Speaker 1 (01:03:33):
Can I look forward to seeing more of your work and.
Speaker 3 (01:03:38):
Thank you, thank you, thank you.
Speaker 2 (01:03:42):
The show is produced by Mammoth Media Asia and Epilogue
Entertainment and distributed by iHeart Podcasts.
Speaker 1 (01:03:51):
The executive producer is Jonathan Stricklet.
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