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Hasith Goli breaks down the intricacies of his sophomore feature, SWAG, its writing, editing and the reception
Chapters:
00:00 - ADs
00:09 - Intro
01:14 - SWAG in one line
02:25 - Starting point of SWAG
06:25 - First brief to Sree Vishnu
08:00 - Bhavabhuthi - Sexist or Misogynist?
11:16 - What to highlight - Gender or Inheritance?
16:40 - Feedback from test screenings
19:19 - Letters in screenplay
23:32 - Multiple plot connections - explained
29:16 - Screenplay - Writing vs editing
31:49 - Different versions of SWAG
35:56 - Connection between Anubhuti & Rukmuni Devi
37:57 - How does Vibuthi know about others?
40:18 - Risk of too many details
42:02 - Anubhuti's hypocrisy
43:55 - Is Singa that important?
48:47 - NAMES
52:07 - Coincidences in screenplay
54:14 - Hanging glass
55:51 - Sculpture metaphor
01:00:04 - Sree Vishnu playing a transgender
01:01:29 - King Bhavabuthi's curse
01:05:08 - Maharshi's mother
01:07:29 - Bhavabhuthi and Sree Vishnu
01:11:01 - Roshan's performance as Dhanabhuthi
01:13:19 - Yayathi hitting Dhanabhuthi - Scene
01:16:00 - Dhanabhuthi & Mom conversation - Inclusivity
01:17:37 - Bangles scene
01:20:24 - Rainbow shot
01:21:53 - Sree Vishnu's best expression
01:26:06 - Mother leaving the plate
01:28:43 - One moment between Vibuthi and Yayathi
01:31:18 - Vubuthi accepting that she's a man
01:34:43 - Hasith's interactions with trans community
01:37:14 - One thing Hasith wishes to have done differently
01:38:31 - Vivek Sagar's work
01:42:18 - Did SWAG appeal to everyone?
01:44:23 - Gender awareness among kids
01:47:12 - Bhavabhuthi's transformation
01:51:16 - Swag's core plot points
01:53:01 - Raja Raja Chora vs Swag - writing
01:53:56 - Daveedu dialogue
01:56:45 - Connection between Raja Raja Chora and Swag
01:59:11 - Art work