 Who came up with the brilliant idea that to overcome your stage fright, just imagine your audience naked? I think that was Stanislavski. No, it's part of the method. Well, Stanislavski didn't come up with the method, but that's okay. He did, he was like. No, he came up with the system. The method was created by Strasburg. Do you want to get a boner to imagine your audience naked? Method. Josh! Hey, welcome back to our Steve with reactions of Corbin. I'm Rick. You can follow us on Instagram, Twitter for more juicy content. Thanks for on Patreon, follow us on Twitter. Subscribe if you haven't hit the like. I don't know if that's helped you, but for the entirety of the history of OSR, I have consistently, without fail, every reaction, review, and interview imagined everyone watching naked. There's children watching. You are gross. I'm just putting your words out there. Today we got a behind the scenes of Sardar Uda. Oh, that makes me frickin' happy. Apparently this came out the December of last year. I'm sorry, we missed it, but this is recreating 1919 through 1940s era with Sujit Sarkar in Vikku Khashog. If you haven't seen our review of Sardar Uda, I mean, if you haven't seen Sardar Uda, go see Sardar Uda, it's on Amazon. Or if you didn't see our dummies where we voted for the best films of the year. Which was Rick's best of that year. Yep, my second best of that year, only behind Great Indian Kitchen for me. But, fantastic film. But this is a little behind the scenes of Sardar Uda. In our review, we talked about, this was Spielberg level production design and an art direction for the totality of the scope and the scale of us putting us in this era of history. This is gonna be great. Here we go. All right, so then, let's talk about Uda's scene. The research and to create the era of this film, Sardar Uda was really, really tough and challenging. That when you're doing a period film and you are creating 1919 and 1920 and 1930s, you are literally creating everything. So I've been on this subject for almost like 20, 21 years. So I have lived, I've read each and every possible book, every article, every essay. It shows, it showed. I went through mostly the statements by the survivors. So that helped me a lot. Yeah, so the first segment was Amritsar and we actually started off with Jalyan Abad. We go down to certain old lanes now also in Amritsar. They still retain those. The typical wooden balconies which are there. So those are the things that we had to really look into when we were creating the... You also have to pay attention to anything contemporary. Because there are many cars still available in Punjab which are from that particular era Some cars of Rajas and Maharajas. Some cars are still there with some particular people, the museum who has still kept it as a treasure. So we requested and got them there. I was really nervous in terms of how will I create this Jalyan Abad, that space where I find it. And as you know, Jalyan Abad was under renovation, which has just come out. It was when we were there. It would have shot over there. Then we had to go through a lot of old images and everything. How exactly the old Jalyan Abad looked like. So my friend Shubhendu and my EP suggested to see it in Amritsar and around. And also the kind of faces and people we'll get. When Shubhendu and Umar showed me this particular location where we shot this. So we got this school called Gyanash from there. We took this whole ground. We made a whole base of the film over there. It was a school. You wouldn't believe. I was so happy. I was looking. This is Jalyan Abad location. Yes. Such an intense sequence. I thank the entire people of Amritsar for welcoming us. In terms of location and identification of the location of Jalyan Abad, there are two things. Of course, the brick walls, that particular iron gate, a little small temple at the corner. And there was a well. We didn't have the well. So we actually dug the well there. Oh, wow. We created it. You see that the mention of the well is there because a lot of people died there. And the most important was we made 10 bodies. Oh, wow. We had 210 bodies. And again, with more detail of Sujitha, he was very specific, the color of the blood. So I think we must have used at least almost 1,000 liters of blood, maybe more or less. So everywhere around, it was nothing else. There was no water body. It was purely blood. I needed to recreate this event the way it is. You did. They're a phenomenal job. In terms of casting of the characters and the faces, that was very, very important for us. So we requested Makranaji and Makranaji don't get people's particular faces from the city event. So he said, then we'll have to go to the village. We have brought the people from different villages. We have brought the people from different villages who are proud and junior artists. So they are also valued. There's a martial arts group. Every Gurdwara is associated with it. They are known as Guttkars. So what they do is they have children who are 6-year-old to say at least 40 or 50-year-old. They perform martial arts. They go from village to village and they perform. So we wanted those, you know, Guttkha people to come and they just came with us. Without them, I would have been really handicapped in terms of recreating that Jalehwala event. There's a certain kind of requirement that I was looking for, especially the even the British force people, because the people who were firing were actually from the Mugurkha unit of the British of that time. Are you going to out them to go? No, sir. Many jamming sessions. How to create this realistic kind of wounds, you know? And then the body skin types were... Which was beautiful. Because what the Europe they got, sometimes they get their skin type, but they didn't match with our skin type. Those were absolutely matched with our skin types. Because this film is all real about, which has happened. And that's the reason he has created all this... Spielberg level of attention to detail. ...the whole RPG or anything. His action is not about flying or going away. It was quite raw. So, you know, it was just purely running, stamp it and pull it in. Hey! Brilliant. Being in Jalehwala Bagh, between action and cut, and I would see those bodies around me, I would freeze. Because not as an actor, not as a human being, I was prepared for something like that. The research part was one of my favourite, going through so many beautiful pictures of a certain time period. Even again, following that, even for the Jalehwala Bagh, they were a lot of whites. The clothes were aged. The aging process was really technical. Extremely well. That's so hard to do. There are a lot of people to get ready every day. Sometimes four o'clock, sometimes five o'clock. That was itself a big challenge for us. Clothing, a couple hundred people. We did a lot of research over there to find out how skirts of London to see if we can recreate that era. I have never been to London. I have seen London through pictures. And especially all the cinemas also. All the films that's been shot on that era. We took that as a reference point. Because today there are so many modern elements. Road signages, road paintings. Those were not there in those days. So these were certain things that were taken into account. So what happened is, at least the basic architecture is still the old architecture. Then the newer elements had to be removed to make sure that it is... There's a lot of work taken down so much effort. The wall design, the streets and everything. And of course, we would prop it up in those like the taxis and the buses of that era. We are used to a very Indian winter. Which is probably 0 degrees, 1 degrees, 2 degrees. And here I was in minus 5, which is feeling like minus 20. At that moment, I was not thinking of what I'm going to shoot. I was thinking how will I handle the cold, freezing cold, cold, chilling cold. It was really challenging for actors to be in a shirt, to be in a blazer, to be just without extra layers. You know, some places we did have overcoats. But sometimes... Best wide actors we've ever seen in Indians. Yeah, without question. Did great casting. It was really challenging. I don't think so. Any of us will forget this experience. When everybody forms in those small areas of their artistic vision, then that we can create that realism. That organic, realistic, that cinema. Which is more mythical in nature, you know. So I think that art we can achieve. Last take, stand by. That's a wrap. I think you want to watch the movie again. Yeah, and watch a full two hour of how they made it. And it's just, it's literally like having oxygen to see the intimacy of behind the scenes. Yeah, and we say it all the time is the most collaborative art form in the world. Truly. There's no, I don't think there's a more collaborative art film. Art form than filmmaking. And that incorporates all of the fine arts in very specific and fundamentally needed ways. Yes, it does. It's very difficult to do a film alone. Almost impossible, I would say. And almost pointless. Yeah, obviously some people have to. But even then, I don't think you can. Because unless you write it, direct it, film it, act it all yourself. Edit it, score it. And you really can't produce it, distribute it. Yep, you really can't. You really can't. It's the most collaborative art form in the world. And it's absolutely wonderful. And I love seeing stuff like this that shouts out like, and we raved about it, the set design of this thing was impeccable. The costuming and makeuping was impeccable. Like everything, I think we said it. If this was a Hollywood film, it would have won multiple Oscars. I think I had said at the time that this would have had at least 10 Oscar nominations if this had been an American film that had been released at the time because of everything, direction, acting, score, art design, costume design, makeup. Some day they'll do fricking stunt work at the academy. It's so insulting that they don't, thankfully, SAG does. But yeah, this is truly, this is on my all-time favorite list. It's a magnificent motion picture. It is. And it was a really good behind the scenes. Yeah, great one. We've seen a lot of ones that don't highlight as much as we would like, but this one did a really good job at letting the, because what you really want to see is, you don't want to see like just a collage of shots. No, no. You want to hear the artist talking from the VFX people to the makeup, to the costume people. See the production designer talking about production design and see the teams of people working because for people who love this art form, and it's not just actors. It's everybody who loves this art form, everybody who loves to be on set. You literally, I'm not kidding. You, and sometimes have to do this. It is a joy to sit on set for hours and just be in the world of that creative process collaboratively. There's nothing like it. It's the most wonderful experience. Yeah. Yeah. So to watch it is almost like being there. Absolutely. That was great. Please let us know what other making of and other videos we can react to and what should be Sargeant. We need to see more of his films. And what's he doing next? Because I can't wait. Because he did Piku. Yeah. And we love that behind the scenes we got of him with Piku. He's a fantastic. He's a great director. Please let us know what his next film should be down below.