 Did you kill it? I did. Eat it. Oh, look. It's baby red beer. What? He's so cute. Hey, welcome back to our channel. This is Corbin. This is Rick. Hey, follow us on Instagram. Twitter. It's so juicy. Bye. Hey, welcome to some Patreon. Oh, I just said that. Don't do drugs because you'll peat yourself. No. And you'll see baby red beer in your hands. Do drugs. Anyways, today is... Run Vier's birthday. Happy birthday, baby red beer. Wow. You sexy, sexy beast. I thought you were just going to say happy birthday, baby. And then Pika was going to have some words with you, man. No. Anyways, we're back to a video of his. This is how Run Vier sing prepares. For what? Just prepares. Oh. From Band Baj Bharat to Gully Boy. That Band Baj Bharat was his first film. Mm-hmm. Gully Boy's last. On his birthday, here's a compilation of how Run Vier sing prepared for his roles from Band Baj Bharat, Padma Bhat, Lutera, Simba, Bifekri and Gully Boy. The actor shares his process on the roles which he considers his toughest ever. I do hope that's cool. This is what that said, and it's not just like a promo. Yeah. So we'll see. It'd be cool if it's like, if it goes from how he prepared in his first one. Right. And then it shows how he grew as an actor basically. Yes, yes, yes, yes. And obviously because you do. Mm-hmm. You learn stuff and what you thought was the right way to do it is either not the right way or no longer the right way for you to do it. Exactly. And there's a big, huge learning curve, especially if you haven't, you know, obviously we may find out, but just there's so many things you don't even know about when you can show up on set. That's why I encourage people to be background actors. Yeah. Because you learn things just like what a call sheet is and what base camp is. Because there's so many things that can be really, really intimidating that if you don't know, everyone will know. You don't know. So this is what I say. Here we go. When you've talked to me often about your process of getting into character and how you go into some of this rabbit hole and prep and look at it. Sometimes it's sort of, you know, it's impacted on you physically. I remember this interview we did where you actually apologized on camera to Anushka because you said it was such a pain. Anushka Sharma, if you're watching this, I am so sorry for being such a pain in the behind. I just didn't know any better. I'm just painful. Like, before the take, I'm just like getting in a zone doing my own thing. I'm either skipping or just like, rapping off my line so that they sit on my tongue better. I'm just like, I'm just, I was really painful to work with. Even Manish, I would love to work with him again to show him that I've evolved and how much easier actor to work with. Because I mean, you pull as a co-actor or director, you have a guy like that who put your hair out, you know, who's just so difficult to work with. You know, just, it's not, you know, you want to tell the guy it's not that complicated. Just do it. Don't do all these things to do it. Just do it. Just do it. Yeah. And I mean, my sincere thanks to Anushka and Manish for bearing with me. I'm much better now. I understand now a little bit. She was pretty hard. I remember when I got shot in the tear. It was the first time. And I was very raw at that time in my craft. And I really submitted to what was going on. And as a result, that night, I couldn't sleep. I was dog-tired, so my body would pass out. But then every 20 minutes I'd have a different nightmare about dying in a different way. And I'd wake up every 20 minutes feeling like somebody shot me. So it was a hard experience. It just, I feel completely shattered. I went through a lot when my shoulder got busted. It really, I mean, I came crashing down. Because it happened at a stage, you know, I knew that people were going in for the action schedule. And I thought to myself, man, if I'm going to have to portray a killing machine, I better be a killing machine. So I had conditioned my physicality to that point. I was at the peak of my fitness, you know, the strongest, fastest, most agile that I've ever been. And we finished the entire action schedule. And it was the last day, the last shot. We were losing light. After this, we would have moved on and done some pretty wide shots where I would just have to wave and not do much. It was just that one shot, you know, I got so unlucky because I could have come out of this action where we were completely unscathed and the kinds of stuff that I was driving. And I think I've actually been in battle, you could say. And that was just that last shot, you know, there were explosions and elephants and fighters and horses and, you know, the stunt went wrong. And I fell off the horse. I got flung off the horse. And I immediately snapped my shoulder. And I was like, man, then like eight months to go for shooting. And now I'm out of action. I didn't think it was much. I went to the hospital and I did all my tests. I walked into the room and the guy is like, some bad news for you. And I knew what it was. And I just came crashing down. It's very difficult to do this kind of acting. She seems to have, I don't know. I was very surprised when I first started performing scenes with her even in workshops because this, what I, for lack of a better expression or articulation, call it new school acting, which is like not acting, acting. You know, it's not theatrical. It's very, very casual, candid, conversational, spoken, trying. When there's a, when there's banter, it should feel like a real conversation, like two people just hanging out, you know, which is acting. And learn from, you know, influences around me. Why? Because you're naturally directing. Yeah. Historianics, you know, theatrical is what comes very naturally to me because I've been in theater since I was in school. So, and also the kind of stuff I did growing up is always, it's like Shakespeare and stuff, you know, so it's like very meter, very structured, very heavy dialogue. Shakespeare. That's why this film was quite a challenge, you know, for me because everything I've been doing has flow, like, what I have to just be effortless. Oh, that's true. And the conversation had to feel like a real conversation. Like, you shouldn't feel like two people are acting. And that's very challenging. How do you really work out is eat a lot of red meat and lift really heavy weights? That's the key. It's very simple. I actually crashed. And I'm very excited to share this. I ate red meat for a year and a half straight. Every day. Yeah. I was like, if you want to subscribe to the notion that you are what you eat, then I'm going to eat red meat throughout. So, yeah, I had been on a diet of just meat, like that eating scene that you see, that was what I was eating for a year and a half. Just meat. He had to eat meat. It's a lot of fun. I like being, personally, I like being a big brute with big muscles being like, hey, what's up? I like that kind of this sort of gully boy physicality, this sort of human thing is not my thing. But, yeah, it was a lot of red meat and a lot of heavy lifting. In Rohit Shetty films, you don't just walk. When he's watching the take back, he already knows the background music is already playing in his head. So, you've got to take his little cues when he reads them to you because then you're going to just see the most immaculate walking shot. Karan Jalti is joking about it because he comes and sees the rushes. He's like, how much have you walked in this film? How many steps have you achieved? Because he's just walking in slow motion. He's walking in slow motion all the time. Don't close your face, need them a little loose. Just cross your steps like this. Keep your eye line slightly above or depending on where the camera plays. So, he does. He's one guy who definitely micromanages the swagger. Of course, there's an inherent swagger there. Of course. Which is why you walk fast. If he walks with it, it makes it just immaculate. Simba in Ghalipur. In Simba, there's a lot you have to do. There's a lot to do, do, do. In Ghalipur, you just have to be. In Simba, I'm driving everything. I'm the center of everything. I'm saying a lot. I'm doing a lot. I'm speaking a lot, a lot of dialogue, actions, and I'm driving the scene. In Ghalipur, there's a lot happening around me. And I'm just reacting. I'm very quiet, very reserved. Two very different modes of performance and how blessed I am that I have Zoya Atar on one hand and Ruhi Chetty on the other. Gold standard in their respective genres and styles. But they're poles apart. So, in terms of just output, I don't feel as exhausted on a day of Ghalipur shoot as I would at the end of the day on a Ruhi Chetty film. There's just in terms of sheer energy, wattage, output. There's just a lot more you've got to pump in there. And yeah, so in that sense, it's tougher. But personally, I'm a doer. You know, so to just be I need to wrap my head around it. It takes a Zoya to kind of frame me in. Cool. That's what I was up for. Yeah. That was great. I enjoyed that. And you could tell, like, I don't know how far these were because obviously you didn't get to see him talk during... While he was making it. Right, right. So you didn't know his process. I just heard that he was like, yeah, I was a complete joke. I was hard to work with. Yeah, it was more of what his experiences were like. Yeah. Obviously he wasn't a star, so film companion probably didn't interview him then. But you could tell, obviously, his growth. And he's so interesting because I feel like he wants to do those type of films that where he talks about a lot, where you just be. But he also knows his personality is not that. Yes. And marketability as well. Yeah. His marketability is simple. Yeah. His big, big, over-the-top, colorful. But I feel like that's what he wants to do. He wants to be a lesbian. He wants to be those type of characters. But you can tell, like, because he has such a massive personality, it's actually more of a challenge for him to not doom the over-the-top. Shahid is also similar that way. Because Shahid's got an extremely electric personality and he can do those musical numbers. He doesn't have the same physical presence that Ranvir can have in a scene. But there's that energy level. But also Shahid, I mean, he's an actor, man. He's an actor. So I think he obviously is at a place where he can make the choices in his career. I think he is. And I think he would be bored. I think if he just played gully boy roles, he'd go out of his mind. He'd be like, somebody give me something to jump off of. I've got to do something massive right now. I think if he's not challenged and constantly stimulated as an actor, he'll be crazy. One of the things I love is that he wants to do different stuff. Because he doesn't want to get bored. Because obviously he's one of those people, since he's going so much, he'll get bored very easily. I feel like he has ADHD. And in that style of mind where it's just, I have to be doing something. I can't do that because I just did that. Yeah, why would I do that again? My favorite trait about him in all of this is that he's clearly teachable. And that's one of the most important attributes for a human being is to be teachable. Because you can't be teachable unless there's a level of humility. And it's got to be really wonderful to work with him. Because even, for example, he realized that realization when he's apologizing and saying, I am so sorry that I worked the way that I did, that's a very humbling teachable moment. He's very sincere about it. He's great. I'm really sad because 83 would have been out already. I know. So much would have been out already. We would have already seen it. I'm really excited about that film because it looks like, I think it's another Golly Boy style of the film. It's very grounded. And he looks totally different, obviously. But obviously, we don't have it yet. And I don't think we will until the theater's open again. I know. I don't think that's going to go to OTT. I was realizing this is possibly, I have to do the math longest ever. We're getting really close to the longest I've ever been. That's the era I have to look at because when Ashley and Alexis and Micah were really little, I probably went longer at those points because it's hard to get to a theater when your little ones are little. It's hard to stay in a theater for two to three hours? It's hard to watch something at home when your little ones are little. It's very difficult now. It's much more difficult than it used to be for me. The process that I watch films now, it's a 10 to 30 minute increments. Right. It's basically. Yep. And then Lee thinks it's tired and he wants to go to different rooms. We've gone from there. And I'll turn it on in here. And I bet often when he sleeps, you're like, my turn. No. No? I've never met. No? You don't sleep when you don't? No. Now, come on. You've done the, he's napping on the chest and you go out with him? Oh, really? I can't nap. I've never been able to. Oh, you've never napped? Never. Sorry. I've never been able to nap. Oh, I love naps. Especially with your baby. He's falling asleep. But to sit in the chair and have your kid here. One that scares me because what if I fall over as well? Anyway, that's not what this is about. Anyway, happy birthday to you, Renvere. I can't wait to see what you do next. Yep. The **** Yeah.