 🎵ahahaha🎵 🎵I want to buy some c-🎵 🎵but couldn't find any🎵 🎵ah get it🎵 🎵I want to buy some camouflage pants🎵 🎵oh no🎵 🎵but couldn't find any🎵 AAAAAA Because they were camouflage Shush! hey welcome back to our Super V chúnges Youtube Corbin i'm rek you post in the other friended video Hey, get away from my apples! I blocked you! I blocked you! I blocked you! I defy you! Today we got a video's earfront con on Bollywood versus Hollywood. Hey! He says, Bollywood better cocaine, Hollywood better weed. Probably true. Bollywood better nepotism, Hollywood better racism. Probably. Yeah. Actually, we don't see color. No. Just like dogs. Anyways, always love good insight from the late great earfront con. Oh my goodness, yes. Any and all content with that man makes me... Personally, I think I am an actor on par with earfront con. Yeah, here we go. Bye everybody. First I was looking for acknowledgement from my mother. When I didn't get it, I started looking, you know, outside of my, you know, surroundings. In our industry, we are, the center of the story is the image of the star. The films which I do in Hollywood, they're the, the center is the story, the power of the story. Yes. In the East versus West, are there different ways that we make films that, that make you an actor in a different way? See, there are a few differences and they are very, you know, very important differences. Like, sometimes in our industry, we are, the center of the story is the image of the star. Oh, deja vu. And all the departments serve that image. All the characters around him serve that image. The, the films which I do in Hollywood. Story as king. There the, the center is the story, the power of the story. You can take anybody, you know, from Tom Hanks to everybody, all the big stars, they are serving the purpose of the story. Yeah. Not the image of the star. So that changes everything because all the departments are working towards communicating that idea, that story. Yes. And people bringing their own reflection, their own experience of their life to enhance that story. Not about serving a particular image or, you know, star's image. If you are not doing a conventional work, if you are not following conventional, you know, storytelling, you are made feel guilty about what you are bringing in a newness to the craft. Right. Yeah. You are in pressure. You know, you are always like a threat. What, what is this guy doing? Why we are not being able to, you know, either you should come and serve our conventional storytelling, or you are an outsider, you are creating kind of disturbance. At one point of time, I started my career as an actor because I was looking for acknowledgement. At first I was looking for acknowledgement from my mother. When I didn't get it, I started looking, you know, outside of my, you know, surroundings. And that somehow manifested into, you know, becoming an actor that, you know, I thought actor, you know, basically it was for acknowledgement. And then through, you know, after drama school and, you know, after many years, I came to know this is not acknowledgement. It is, it is an experience, you know, which you share with the audience and that becomes your, you know, wealth. That is the most important thing. When you do a story, you pour in your life and you make that thing, that story, an experience for the audience. And that becomes an experience for the audience. And that sharing is something which is, which is so precious, you know, you cannot match that kind of thing. So that is something, you know, very, very special to me as an actor. And sometimes I don't plan, you know, I rely on how nature, you know, nudges you and you follow that and, you know, see what's going to happen. There are some buffer jungles, you know, buffer forest of Jim Corbett. I don't want to tell the exact location because of, you know, so many things. And they are still pristine forest, you know, they are still untouched. All the poachers, you know, they find out things about that. But it's still, you know, they are forest like, you see a tree which has fallen down 20 years back. They're still there, it's getting, it's getting decayed. And you see that there's not, not many people come there in those kind of forests when you go. And you know that, you know, after 50, after five meters, you don't know what is there. It's so dense. So when you go there and when you're walking around, you know, on the riverbank and you don't know what is there. Suddenly, you know, we were there and a guy from local guy was with us and he just has one stick. That's it. And there was a mound and after that there was a deep inside. And as we, you know, climbed on that mound, like, you know, 10 meters away, there was this tiger. It's a grout. Grout, but because, you know, what happens when the tiger is there, he, first, you know, he warns you. Then grouts. Then when you are too close, then he attacks it with fright. You know, he doesn't attack because of, you know, some, because, you know, he is, he's basically trying to save himself. So unfortunately, you know, the distance was too close. So he suddenly growled and he started growling. And then this guy panicked. The guy who was with us, the local guy, he panicked, he panicked and he started growling at him. And he growled in a, you know, he just shouted desperately because he knew if, if, you know, this is, this is something that we have gone. We have, we have gone, you know, we have crossed the limit. Too close. Too close. Because we didn't know. And then suddenly, you know, he backed up and he, you know, he went away. Wow. You have to start growling if you see. I think you have to. You shouldn't go. Yeah. You shouldn't take away your eyes. Yeah. And, you know, you have to face it. Aw. Yeah. That looks like a good interview. That was too quick. Looks like a good interview. Yeah. He missed that man every day. Yeah. And his intellect in terms of the craft and what he knows of it. And his perspective because not many people. Have that perspective. Have the perspective that he had being able to tell you the details and the nuances of work in both American cinema and Indian cinema. The way that he came. Obviously he was talking about commercial Hindi cinema. Yeah. About being centered around the star. Yeah. Because obviously, as we know, with few exceptions, I think the two exceptions would be like Mamudi and Mohanlal in some of their films in terms of Malayalam cinema. That's a pretty story driven industry, I feel like. Yeah. And obviously there's much more smaller parts that have always been there in Indian industry with parallel cinema. Correct. But that was a result of people wanting. Wanting that who were like theater storytelling. We want to be able to tell stories and not have it be the focus on just whoever the hero is. Yeah. Which is not a bad thing about Indian cinema. It's just a unique thing about Indian cinema. Well, I'd love to have heard and maybe there's a video of it as well. Another differentiation is the approach to the craft both in the storytelling and in the acting of the penultimate piece de resistance in Indian cinema for a long time and consistently still is emotion. Achieving an emotional state as an actor or getting an emotional response from the audience versus in American cinema, it's the emotion has to come from a place that's justified and that you don't do anything to the audience to manipulate the emotion. It has to come from a genuine place of them feeling something because you've created a believable reality for them to empathize with. Yeah. For sure. Always great. Yeah. I wish that was longer. We're going to get to another Irfan film. Let us know what that should be down below.