Yeah

... as a kid, and, uh, started performing at, like, cultural festivals like Diwali and whatnot.

And eventually, that made me fall in love with dance in general.

Got into contemporary and, and hip-hop.

And then Princeton happened, and I was like, "Okay, You know? And, um, I think that over time there have been chapters where I, I was a little jaded by experiences, by particular people that I'd worked with.

But fortunately, you know, you, you, you, e- every, every now and again, when you're about to lose hope, you get a project like this, and you're working with people like Hassan and Prashanth and Leena, who are just beacons of joy and light and positivity.

The whole energy around this film was so collaborative-

I love that

Ankur, can you speak to kind of what your mindset was when you first were reading the script?

You know, I grew up dancing so much of my life and I've been dancing on camera in the Indian film industry for quite some time.

So I was well versed, you know, in that kind of craft.

But I will say this was a huge undertaking.

Like the mere production and scale of some of these dance numbers, as you saw in the film, is just so large.

I mean, at one point in the finale, we're not just dancing, but we're moving entire set pieces around on stage.

It was really involved.

Is that what I'm understanding?