 There's a very old joke from many, many years ago. Good, you're gonna tell a joke. Only if you've never heard the joke. Does the phrase death or yugumba mean anything to you? No, magumbo means something to me. Okay, these three guys get stranded on an island. They think they're alone until they're captured by the natives that live there on this island. And they're tied up and brought to the tribal chief. He looks at the first one and he says, death or yugumba? He says, what is yugumba? Death or yugumba? Well, I would like to, death or yugumba? He doesn't want to die, so he says yugumba. And the tribal chief says, yugumba! All the men come out and sodomize him. Goes up to the second one. Death or yugumba? That guy says, oh man, I don't want to die, but death or yugumba? He takes a deep breath. He says yugumba. Yugumba! All the men come out and they sodomize him. Goes to the third guy. Death or yugumba? The third guy looks at him and he says, death. The tribal chief smiles and he says, death! We'll go back to where Steve Baderick says the quorum. I am yugumba. You can follow us on Instagram, Twitter for more juicy content. Thank you Steve Baderick for supporting us on Patreon, follow us on Twitter, and subscribe to like button. I wish I had my dad joke cut, but I don't, it's the grandpa one. Today, we have a video from Thumb Companion and it's actually Shade Kapoor. Hey! Count to five, Shade Kapoor, he actually goes over five of his films in depth and different things. So like four of them we've seen, one of them we haven't. Why, which films are chosen and by who and why? By him. Thumb Companion, I suppose. They just choose him. All right, I hope. Jab we met. Great. Kamini. Great. Heder. Great. Oda Punjab. Great, I'm in. And then there's also one we haven't, I remember the title. Yeah, I think we've seen maybe the trailer or a couple songs. Yeah, it was very early film of his so I think he was still chocolate boy at the time. But he's just gonna go over and he's gonna go in depth into acting and different stuff about the film. Great, great, great. We'll always have a film companion. Here we go. Like this video, please subscribe to Film Companion. Shade, thank you so much first of all for making time for Count to Five. So I'm gonna show you five scenes from your career. 16 years, 28 films is what IMDB says. So I'm still under 30. Yeah. It's not bad, dude. Not bad. I've not done so many films. You have done so many films. You know, sometimes you cringe about the fact that you've done so many that, you know, you're like, that's so wrong. You know, because you need to give each film time and, you know, so. No. 20 is not so bad. 20 is not so bad. I thought I had crossed 30. No. I say I stopped counting. So I've had crossed 30, but 20. You have now. Yeah. 20 years, 28 films. Yeah, that's less than two films a year. So that's okay. I'm okay with that. So I want you to try to watch the scene and then just go back to what you can remember. Just deconstruct it for us. What was your brief? How did you get into Canada? I have a terrible memory, but I'll try my best. I might be the wrong candidate for your show, but I'm fine with my best football. I don't remember anything. What kind of a mixture is this? Huh? I was in this. Are you sure it's me? No. We're relying on you to do better than that. Let's start at the beginning, 2003. Wow. Yes. You've not done anything. It's not funny. Oh, I need some chocolate. Ladies and gentlemen, presenting Mr. Spencer College, Rajeev Mathur. That's me. Stop. Not bad. Thank you. I was waiting for him to say that. Thank you. You're going to get very cringey expressions. What are you doing? With good looks, why don't you taste it? Otherwise, it might be like you're staring at me. I'm all alone. This is hurting him to watch. Tons of Spencer College, Javed and Danny. Not me. But just you wait and watch, Mr. Javed and Mr. Danny. I'm not going to eat now, nor my best friend. Mambo. I'm going to eat. Oh, God. He's like, thank God that's over. Why? Oh, God. I cringe when I watch a lot of my work from the past, because I don't know, I just feel like I was so bad. But you weren't so bad. It's so fresh and kind of, you know. Yeah, but you know, fresh is just, you know, it's not a word that you can attribute to yourself and say that, you know, it was my achievement. It's not a note you want to get. That acting was so fresh. It used to be, you know, you know, it's just because you're new, you know. And if you have a slightly pleasing personality, people tend to kind of forgive you for all your imperfections and stuff. That's very true. I mean, I just look at it and I feel like, I guess I was right for the film. Yeah. Because I didn't need to be anything more than what it is. Right. He has these tough edges and I think that kind of works for the character. What do I remember about this scene? But we shot this scene on a 23 hour shoot day. Oh, shit. So yeah, we didn't have long days. Ishwish was a film full of new stuff. You guys need a union. No joke. This was one of those days when we had to finish a lot of work in one day because this was Rajeev's house, Rajeev Mahathur. And so we had to finish all of his work in one day, all that housework in one day. And so we, I think, took this shot around one in the morning or something. And so I was extremely exhausted. That's one thing that I remember. How many takes? I think 10 or 11 takes. Because it's like, you know, it's just... It's a monologue. And you know, usually at that time... It's a monologue. It's a monologue, kind of. I've done a few. Yeah. Yes, yes. Think of it, this is also my introduction shot. So my career kind of started with monologues. And I never really thought about that. So I guess that big poetic justice or whatever. We heard. You knew your lines? Are you? I knew my lines so well that sometimes the director had to tell me, like, Shai, you know them too well. Make them sound like they're just coming out of your mouth. You know? Because I was super enthusiastic, excited and like stuff. But I was very nervous before this shot. Like for me, this shot, I was more nervous before this shot than I was before my Heather speech. Really? Yeah, because it was a monologue and it was for the first time that I was going to do something like that. Sure. And your director was like... Introduction. So I was like, dude, this is the first time people have watched me and... You had Vishal. 40 seconds or whatever. Correct. You're in his hands. And then go somewhere else. And he's trying to prove, you know... I need to do well. That's all on there, you know? You end up saying that, bro, you know, you need to be an actor and you need to be able to hold this shot for 30 seconds. You know, so I was really nervous before this shot. How old were you? I was 22. Yeah, I was quite young. 22 today, I think, is a lot more grown up than 22. Back then. 15, 16 years back, yeah. And I was just like this kid from Lokhandwala didn't really know too much but just really wanted to be in front of the camera. And I thought I knew how to act but I kind of knew how to be comfortable in front of the camera. I was, like you said, kind of fresh. And... It's very endearing. Of course, it is. You know? Not for me. That's for the audience. Right. To you it may be, but for him it's painful to look at. I mean, a lot of people think that I'm a star kid or something but actually, you know, I never lived with my dad and when I got cast for this film, they didn't even know I'm his son. Right. You know, that happened much later because I never really presented myself like that because it was a complicated family dynamic. So I had to go for an audition and what a sitar and explain to them. It was like that. And then it was like that. And then it was like that. That's why I'm like this but you don't know but I'm like this. You know, so it's a bit complicated. So I was like, I used to just, you know, say, okay, my name is Jahid. And we used to... And move on. And move on. Yeah, yeah. So then, yeah, so I remember my mom was actually a lot of what you see of me in this film came from the support that my mom gave me. She was almost every day of this set with me. Really? Yeah, yeah. And... But you didn't find that... No, I used to seek her out. I used to seek her out. I was not that confident where I would tell her that, you know, I know what I'm doing. You know, I think that's something that exists in this generation a lot more than that generation. Right. And I think that's really good. I think people are very confident and very prepared and people kind of always self-assured and they know what they want to do. They've already decided in their heads and we could see all that, you know, with actors today. I'm like, why do you have to... I was like, mom, just stick around because if I'm messing up, like, I want to, like, have somebody who I really trust, who I've grown up with. Also, you know, my mom was always an aspiring actor. She was a wonderful Gatha dancer. She was a very good actor. She did try to... Her hand at mainstream cinema and, you know, things didn't work out exactly the way that she would have. So it was almost like we were doing this together. Right. You know, like a part of my debut was also a part of her dream, you know. She's living through you. She did live through me in many ways, especially, you know, we had a big struggle and, you know, it was always a dream, a very far away dream that I would be in front of the camera and be a mainstream Hindi film actor. It was just like something that we told ourselves that this would happen. But deep down, you knew that it might never happen. So when it was happening, I wanted her by my side. You know, because that was the moment. And I said, she wouldn't be in the 23-hour days. Man, she would just stay as much as I would ask her to stay. And, you know, how we are as children. I said, Mom, now you leave. And she would leave. You know, I'm saying, like, so unconditional. That's amazing. I could just, like, tell her to be there. And she didn't make you conscious. No. In fact, I would always look at the director and right after looking at the director, look at my mom. And, you know, that reassurance from her would mean the world to me, you know. So I think I needed that in my first. Well, that's the only time after that, never. You know, she never came. In fact, she's hardly ever come on my film sets. But that time, it really mattered when she was there. So I'll always be thankful to her for that. She's always there, always, like... Because, Mom, all that is true. Really? Yeah. She wouldn't tell you you could do that. She wasn't willing to just say, Billionton. Not at all. Not at all. I mean, we had quite an honest relationship. And I think at that time, we used to have film cameras. Yeah, yeah. 2003 would be on film. So one other thing that was a massive thing was, you know, raw stock. Right. I think it was like... You only have that much. 10,000 bucks for 4,000 feet. Correct. And 4,000 feet would last about four minutes or something. Yeah, yeah. I don't know if I'm saying wrong. But 4-5 minutes is enough. That's money. Or the actual product with every second that passes, yeah. But you just start building on it. Yeah. You can use it like trash. Right. It doesn't matter. Just non-stop. Like, when you know that you have only so many opportunities and every opportunity has a cost attached to it, changes everything, right? I mean, today it's like we can keep farting around if we want and then when we get it, we get it. You know, it's like everything can be a rehearsal and everything can be, let's just see how it goes, you know. That time it was like, you know, it's not like a live performance, but kind of. Because you want to get eight or nine shots and then the director's going to turn around and say, dude, I can't do this. You've only got so much tape. You know, raw stock on you. We're moving on. I make the most of what I can. And you were aware of this at 22. Oh, yeah. I've assisted in direction and stuff. Right. When you're dying to be an actor, you do all your research. Yeah. Rock and roll. Yeah, I did my bit. Yeah. Nice. Okay, let's go to scene number two. You know what? Geethe... Okay, a man going the other end, he's a philosophy, right? Keep this with you. Right now, you're coming with me. You can't force me, Aditya. Of course, I can. Geethe... You're coming with me? What's wrong with you? You're white in this. What's a white? This is my life. Get out of here. Leave me alone, and all that. That's a nice thing. Yeah. It's a legit nice scene. Even 10 years, 15 years down the line, if I was to look back at that, I'd say that was a nice scene. I can't say that about the series. I got lucky. This is a legit nice scene. It's actually a very memorable scene for most people. I love when you just pause when she says, Don't you mean that your chance is here? That's actually the nicest part of this character and their relationship. It was one of the first films where the hero of the film wasn't loved by the heroine of the film madly. It was a very real take at how the two protagonists of the heroine of the film and how their relationship can be. I remember this day was a bad day for me. You know, in the sense that when you keep shooting back to back to back to back to back, there is always that one day or that some moment that you reach and it's something you're back to. Nothing's working. You get better with time because you learn to be aware of the fact that you will get spent at some point. And so you need to be very... You need to conserve. You need to be very instinctively aware of how you are going to conserve your energy and be aware of the scenes that are going to be demanding and keep yourself... So always do the demanding ones first. Interanged in the character. You know, you have to keep yourself wet. Right. Because every day it's almost like the character is going to do that to you. Great analogy. So you've been shooting a long time. This was towards the end of the schedule. Right. And I was just not being able to feel the emotion. And I know people really like this scene, but I was pushing. I was actually pushing the emotion this day. And therefore, you know, it's very out there. Right. Like I'm really like, you know, really saying my lines and I'm really, you can see the neck and you can... Because I was not feeling it enough. And so I was feeling the need to compensate for that. And you know, perform more. You know, that happens with that. It happens, man. It happens. Very few directors... I think it's more to do with your relationship with the filmmaker where they know. But you know. Right. You know when you're giving a shot and you know when you're feeling the shot. Yep. And if you're not feeling it, there's no way to put it on. Audience won't always know. Right. But you know. But you know. I will definitely know. Sometimes the audience will know. It's possible to feel every moment. Completely. I don't know. There might be some actors out there who can see it. Especially in film because you do stuff in such blocks as opposed to theater. I'm just on and it's just flowing. And there are days where I feel like... You have to strain a little more. I need to... Like honestly, acting comes naturally to me. I'm... A lot of people think that I'm a method actor and all this because it's... You know the roles that I play are very complex and... And I don't... Like better people have liked me. It's been different from what they've seen me in the past. And that's been the reason why people like me. He surprised me that something different. But I'm not... With time I have become... Very instinctive. Like I started off with a lot of thoughts and I was process oriented. I used to put a lot of brain into it. It was an intellectual process. And over a period of time it became a very emotional process. It became a very organic process. It became a very... It stopped becoming a process. It just started happening. It's like a gut reaction. It just needs to be what it is. You need to flow with it. It's like energy. I bet you're by the instinct. The better you get at that, the less... I think you're thinking of hibiscus. You know you can't feel the effort. You know that effortlessness starts coming in. And sometimes... You're on school of acting. The audience and filmmakers... My point of view as an actor sometimes is that... Just being effortless becomes being a great actor. But you have to be effortless in different things. Right. When you learn to become like a Meryl Streep. You know you see her perform. And she does such different roles. She's effortless in all those characters. Being effortless at being yourself is somebody who's good at emoting. But I think being a great actor is about being effortless at different people. Different characters. You know representing... That's why your font's a goat baby. That to me is JD Great Acting. And that requires time and effort. And having a very open mind. Of course a lot of time and effort to do nothing. It's a living organism. One time I had a chat with me and we were in Manali. And he just took me for a walk. And I used to take a lot of pride in the fight that I was very prepared. And he just took me and he put his arm around me. He said, you know, maybe you're a good actor. Just stop thinking about it. Great advice. Great advice. Don't you appreciate the effort I put in? And I think that reflects in this character. The effort's in the prep. There shouldn't be effort in the presentation. It looks like there... You know, you can see straight lines. It's geometric. It's not fluid. And that really worked for Degash. Because I think that contrast between how he was and how Geet was is what made the film what it is. And so I guess I was right for the part. This is one of my favorite scenes. I did struggle a lot on this scene. I did struggle a lot. And yeah, it's a lovely scene. It's a very nice scene. Like you're happy. I'm happy because I've done other things after that. Which we wanted to do. You know, so this kind of works in the... You know, sometimes things that are limitations actually end up working in your favor. So it works in different ways. Yeah. Yeah. Okay. Oh, come any. I'm just gonna get to talk about Vashal. See, nice that you chose a scene of Guddu's. Because I felt that the poor guy don't wish I was by Charlie. Yeah. Because everybody was so into Charlie. This is a great scene choice. It's also like when he gets his rocks or chasms where it is untouched. You get another one already leveled. It's so funny and so scary. Exactly. It's so awesome when he does that. And you're so afraid for this poor guy. Yeah, I can feel that. You know the tension in the room. And I'm not even there, but I can feel it. I'm like, what's gonna happen to him now? Right. And he used to be laughing before the scene. It's so bloody funny when you read the line and you read the scene. And when he says this, you're like, dude, that's really funny. And then you have to go out there and really do it. Yeah. Like, this is serious shit. It's going down right now. Yeah, yeah, yeah. It's not funny. You know, I don't know. He is so commercial. Some of this deep part of Vishal sir is just so commercial. This was a very special scene. When we read it, we knew that the writer has written a great scene, which is Vishal sir's obviously has written a great scene. And it's very dark. It's really funny and entertaining and very commercial. And we need to do it in a manner where at no point do people feel like it's a scene. You really need to feel like this is happening. And the first conversation that me and Vishal also had about coming in was he said, you know, both my heroes have a speech defect. And at no point in time do I want people to feel that we are making fun of people who have speech defects. It's just who they are. It is who they are. And we need people to relate to them at every level. People should feel what they're feeling, understand them as people. And yeah, they should be no different from any other character. So that was the challenge. The challenge was to, you know, be able to make people feel how it is to be there. Because then you can't make fun of it. Then it touches you somewhere deep down. And that makes impact. And that would probably be more relevant than just having a scene where it is funny and you're just like that kind of stuff. So I met a lot of people who had speech defects. There's a reason why people stammer. It's different from something like listening. Listening is more of a technicality. It's a physiological problem. But stammering is a psychological problem. And it's amazing, you know, the kind of stories I heard when they told me why they started stammering. And as a parent today, when I look back, it's of great help. Because a lot of times it happens when you're spoken to very strongly or you see something that's too much for you to absorb as a child. And because of that, you know, it just becomes, you know, turns into a physical problem. Because psychologically you've been so affected. So that was amazing to know. But Chad, until this point, Uncle Kamine, you're doing films. Many of them were love stories. You know, it felt like this was really like a massive leap. It was. I mean, it was. It was. I was doing that typical shit. It went from love to substance. You know, got the opportunity and fortunately with a great filmmaker in great form at a time in his life when he was raring to go, you know, and so was I. And he just, God sent him to me because I had done nothing to deserve this opportunity. I don't know what in his head made him decide and then when he threw it at me, I was like, wow, you know, here's an opportunity to really change it out. But did you ever have a moment of, what if I just can't do it? Like are those kind of self-doubts ever in there? I, the only reason I'm sitting here today and I think I always, it's really stupid, but I always thought that I'm a great actor and I'll be a great star. Like that was just like set in my head. It was set. You knew this. I mean, I believed it. Right. Is it the truth? I'm still figuring out. You know what I'm saying? But there was this voice inside me which gave me that drive. I think you said I want to be an actor, not a star. Really sort of. You're high ground, bro. Like, you know, you're the cream of the, you know, the most mootie critics. There's always shit in America. They're gonna trash me only. She's one of them. So, come on. I need some impact. You did? I love this movie. Thank you so much. Love, Kamine. And let's go on to another performance that I love. There it is. Moji. Chana. Yes. Do you remember? What did you say in your childhood? What? I'll get older and marry Moji. I'll get older and marry Moji. And I used to sleep in between doctors every night. And doctors used to kiss me. So, I used to fight with them. And now they kiss their brother. I adore this film so much. It's beautiful. Amazing. Love the lines, dude. What a script. What a script you were given. I think it's the lines that, you know, the great dialogue writers have written that give actors the opportunity to show complexity, to be able to throw the audience off or, you know, make impact in a manner which, because it's the words that come out of your mouth. I mean, if the words don't have, don't provide you that opportunity, then, you know, then there's no point. Because you can't force something that doesn't already exist. You can only take from what's in the script, you know. And of course, there are films which are great because of the screenplay, because of the drama, because of the emotion. But for an actor, I mean, when you get lines which have this kind of, you know, just lines which are so kick-ass. That's all you can say. They're just kick-ass lines. It's, you know... Tell me, when you have a line like that or... What can I do? How do you decide how you're going to play it? You don't. It was very instinctive. It was very instinctive because I was already... Naturally. You don't make decisions beforehand how to play it. No. It's like something I can't help and something that pains me so deeply. Yeah. But it is what it is. So it just... You know, sometimes you say, you remember something from the past and you're just like, and that happened, you know. It's that kind of a thing for him because he can't help it. You know, and now his brother touches you. Yeah. It's such a simple scene. Actually, it happened very simply. We didn't really work it that much. It just... We just shot it. And, you know, Tabu is a great actor, yeah. I mean, yeah. She's just one of the finest actors of her generation. Amen. She's just getting better and better and better with time because I think it's not really about her getting better. It's just about people recognizing who she is and giving her opportunities and cinema reaching a stage where it deserves her, so to say. Yeah. You know, because the films that she did initially, the characters in the films were so... Yeah, yeah. Yeah. There was nothing great there. Correct. But today because that stuff is happening and when people think about who can do it, it's only her. She's the only one who can do stuff like this. And she's still so beautiful and young and she still doesn't really have that motherly quality. Yeah. That's who we need. This equation work. Yeah. You know, if you had somebody who was maybe older and you know, then that oddness... No, no. Especially that moment when he puts that ether on her. Yeah. He gives it a peck on her neck. Yeah. You know, so... There has to be a closeness in age. ...things to which is being said. Yeah. And I was very clear about the fact that I don't want to ever use it as a tool to titillate the audience. Yeah. It has to be something that makes you uncomfortable. Right. And it does. Yeah. So it was always meant to be like that, that people should feel uncomfortable. They should not like what's happening, you know. But the characters can't be uncomfortable. No. Exactly. The mood has to make you feel like... Yes. What does Vishal do for you that no other director does? I don't know. I think, you know, some things are best timed. You know, certain equations are best timed. There's always somebody who brings the best out in you. And I think Vishal sir is that person in my life. He's brought the best out in me. And I think every actor is fortunate to find one or two people like that. You're not going to find too many. Right. And it's just something which is special. And yeah, he makes me look better than I am, I don't know. I mean, it's his lines. It's so many things. It can't be explained. Everybody in the films that he does are great, you know. Yeah. Everybody is suddenly at another level. Correct. So all he has to do in the film is craft. Does he do anything specific with you in his briefing, in his sort of just what he wants from time to time? He just scares the shit out of you by giving you the part. So you put yourself in that position where you can't let it go, but you're so scared of messing it up or falling short, you know, and with Hamlet, you always fall short. Right. That kind of character. Oh my God. That's correct. Yeah. So yeah. It's the choices that we make that make us who we are and he makes great choices for actors for sure. Okay. Last one. Oh, we'll punch up. Great scene choices. I love this role. Great stuff. Great stuff. Oh, it was a great scene. Yeah. Great stars. Love the expression on your face. Love the scene. Love the scene. Love the scene. And then you show me this again. Nice scene. Actually, that's my, probably one of my favorite scenes in the film, but people liked a lot of other scenes. No, that was a good, so was the head or choice. Starting up and go. Great choices. Weirdly, those are the louder things that people tend to, you know, get affected by, you know, but these are the things that you do roles for, you know, these are the kind of scenes you do roles for. Such a nice scene. Actually, I had so much fun watching it because I haven't really seen it for really long. So it was really nice to see it. Look at something and say, like, yeah. Yeah. When you're that far away from it, you get a different perspective. You can see it more objectively. Yeah. So you don't know whether to laugh, you don't know to be, whether to be afraid, you know, it's, it's. I find Tommy's character very funny. He is very funny. You know, as an audience, like, like as a reader when I was being read the part, I was just cracking up because I just found him like extremely stupid and highly entertaining and just a mess, you know. Right. And I'm right, the opposite of that is a person. Like, my whole life, I've spent keeping it together. That's the kind of person that I am. And people tell me that, you know, just relax. Right. You know, I'm kind of like, yeah, yeah, you know, so it was completely the opposite. And like, you know, how he's saying that, you know, and my interpretation of, in one line of the character actually has been shown very, like it's as close to that interpretation. In my head, he was a five-year-old Punjabi child. Who didn't know what the hell he wants. And he was lost. Right. Okay, so my entire, because if you don't show him as an overgrown child, you can't forgive him. Correct points. You know, when, you know, you know, whether it's your kids or whether it's, you know, your cousins or somebody else's children, when they do something wrong, you know they don't know any better. Right. So what you tend to do is you tend to try and explain it to them. You really did it with them. Right. Versus an intentional deception or something. Yeah, yes. You know, that was the only way that we could have got Tommy to be liked. Absolutely. Otherwise he would be hated. Yep. And if he was hated, we lose the purpose and the purpose was to take people through the journey of an addict and to make them understand what's going on in their life. Love that movie. Great movie. Him and Alia. Amazing movie. And then they can be compassionate towards them and kind of, if they ever have to engage with one, they can deal with him the right way. So, we'll all, at some point in time, come across somebody who's having an issue with addiction. We all have our issues with addiction of different things in life. So, this is just a very out there version of that. And in this scene, I feel he is as childish Correct. And as vulnerable and as just, you know, stupid as he can be. This is literally shouting like a kid in a candy store saying, you know, I'm on that chocolate. I'm on that chocolate. Right. Yeah, he's having a tantrum. And so, he's just, you know, he's just there. And Satish uncle is so good at this. He's so good. He has so much fun working with him, you know. But, Chad, when you do a role like this, is there ever any vanity about how you're going to come off? Or are you as an actor? What do you mean when you say vanity? Like, I'm just very interesting how people ask actors about vanity. Like, what is there in the petition of vanity? Only that, right? I should sort of look good. But I have to because he's also a rock star. Right. No, no. I mean, this guy, Kabir Singh can't. No, he's She's talking about the star mindset. First of all, Kabir Singh look great. She's asking him about the mindset of a star and he's defaulting to his mindset as an actor. I think that's how he always does. Yeah. Is that Tommy Singh is this guy who people look up to and he's a star and he's a celebrity and his introduction is, you know, singing in a studio and then you see him performing on stage and, you know, so he's meant to be this Larger than life. Larger than life guy. But at the same time, he's completely screwed and he is an addict and I need to, so I needed to get both those things going. So it was so difficult to achieve it because cocaine addicts tend to lose a lot of weight and, you know, and, and, as a star, he needed to have a good body. He needed to have a good tattoo thing with him. Yeah. And so it was really tough to find that, to bring growth, those things together. It's easy when you have a brief that's kind of single-dimensional. It's difficult when you have a brief which is so, like, opposing to each other. Like, he's a drug addict so he should look effed. Right. And he is this rock star so he should look amazing. Correct. Like, how do you, like, what do you do with that? Yeah. Yeah. So we just, like, figured some way of doing it and, you know, it's not about good. It's about playing a character that's very attractive. And I think being attractive doesn't come from looks. I think it comes from how the audience feels when they watch a character on screen. That doesn't just have to ... Yeah, of course. It's a good looking but that's boring. Yeah. Wow. You know, that's boring. I got that for the first four years of my career and then I was like... It's wrong. You know, like, somebody else do it. Right. Sorry to pause it. My issues. Like, because I know you have to edit it then, but I want to focus on our last few minutes. I have to pee so bad. I'm finishing a movie two, three days before I start telling people around me, they are over. I am now done. And so, and they are like, they get really thrown off. Like, what do you mean? This character still means so much from you and I'm like, yeah, but like, I've given everything. Now I want to go. It's like that. Check out, check out. It makes a long process, man. I wanted people to be attracted to him because I couldn't have people respect him, appreciate him, or, you know, none of those things because, you know, handsome is as handsome does. There's nothing this guy was doing that was, you know, nice. So he had to have that for the right balance. You know, otherwise sometimes you can get really put off by a character. Yeah. And I'm happy to play a character where people get put off by me, but then that character shouldn't be a character which needs to be redeemed or a character because my first feeling about Tommy was that he's lost. Yeah. And when somebody is lost, then you need people to feel for them. So I had to do all those. Right. But when you look back at all these scenes, how do you feel? First of all, I must say that I'm really actually enjoyed the scenes you chose. I kind of Absolutely. I was, I enjoyed the fact that he chose not the scenes like with Heather, you didn't choose the speech. Yep. And say with Tommy saying, you didn't choose the portion where he's passed out or the scene with Alia, you chose the scene. So I appreciate that because, you know, some of those are my favorite scenes, but you know, people don't really talk about them. So it was nice that you addressed some of those scenes. Shaad, when you look back, do you feel like you can't pat yourself on the back and say, good job? No, you know, it's a kind of weirdly like the opposite kind of feeling. You know, like it makes you feel right now how I'm feeling. It kind of makes you feel nostalgic and you do feel a bit emotional because most of the characters that I've played have taken a lot from me. You know, so they are a part of me in some way. And it's been 15, 16 years I've been doing this and a lot of these roles have been spread over time. So, you know, you know that these are special opportunities that come your way. And I feel very thankful, very, very thankful to all the filmmakers who gave me these opportunities. And to God, of course, that he gave me this main, main actor, you know, I never thought I would be one. And I feel really I hope that I get more opportunities like this. You know, because they don't come by every day and this is what I really love. I feel like it would be a life well spent if I could do this for another 15, 20 years. You know, get a few more of these and really be able to see my teeth inside and and give people an experience that makes impact on me. You know, because I think that that's the most beautiful thing about cinema and that's the least that's the last thing that we tend to focus on because it's surrounded by so many of these tropes, you know, the bells and whistles, Ache Kapade Ache Kapade Paine se actor kyu mantaya I mean, mujhe yeh samaj bhi niya raya why we are going this way where, you know, it's becoming so driven by social media that you're so conscious about your physical appearance. Correct. You know, your focus is so much on that that stepping out of your house, somebody is clicking you and posting it somewhere, you're bloody, you know, it's becoming like a, like what's the difference between fashion week and actors? I mean, are we supposed to be, you know, like fitness, you know, like people you emulate who are very fit? So are we meant to be athletes? Are we meant to be fashionistas? Or are we meant to be actors? I mean, it's, you know, it's getting very complicated and it's getting very stupid, you know, or missing the point. And the point is, people walk into the theater to have an experience which makes some impact with them emotionally and touches their soul at some level. And that has nothing to do with clothes in your body, you know. I've done it myself, you know, so, I mean, with time, I've learned that there's more to life than just being narcissistic and wanting to look amazing and go, I've done that, you know. You want people to love you for the roles you play and for what you made them feel like. You know, that's really what being an actor is. I remember seeing Harrison Ford's interview, you know, about Indiana Jones and one of the Indiana Jones and somebody asked him, so do you do all your stunts yourself? He said, I'm an actor. They have a stuntman. I'm an actor. I'm an actor. I'm an actor. I'm an actor. I'm an actor. You know, he said, let's understand who we are. Yeah. You know, what my job profile is. Because that profile is getting altered for all the wrong reasons. Yes. And so, these are the roles which helped me, you know, I think acting and filmmaking is a very cathartic process. You know, it can have a deep impact on others and you cannot make deep impact with other people if you haven't made it with yourself. I think somewhere the roles that you play, the films that you do, they really somewhere play a huge part in who you are as a person and your understanding of life, your understanding of relationships, your understanding of people. And I think that is the deepest and the most beautiful part of this job. And I hope I get more roles where I can experience that. I'm sure you wish. This was so much fun. Thank you. I had a blast. Thank you. Even though we didn't know how to use that laptop. We've got through. We've got through. Just as how pretty much most of my career was, I never knew I'm going to do it, but I got through. Thank you. So if you like this video, please subscribe to Film Companion. And if you like one of those scenes. That kind of just emulates everything we've thought about Shahid. Yeah. We've heard him say candidly before about acting. We're very early on and are getting to know him. He's heard a clip about his understanding of the craft. He's first and foremost an actor and wants that to be his main. I would love to hear him talk about more his love for dance if he still has his love for dance. I would too. Obviously, I think since he's primarily an actor first and wants to be an actor first, most of the meaty roles don't have those dances. Yeah. That obviously happened earlier in his career. Mm-hmm. Because that's more the commercial aspect of film. Yeah. But I would love to hear him talk a little more about that. But yeah, it's clear that and what he said is true. Filming is a interesting process because it's long. It's what a lot of people a lot of people think it's this glamorous thing. You show up on set. You do these amazing scenes. And you do. But also, primarily, you're waiting around. You're doing the scenes that you don't care about as much. 15 times. Sometimes, if they can't get it correct. Mm-hmm. And you're doing all this sometimes 23 hours a day. And so you're not always going to be your job as an actor is you have to be on. But you're not always on. And like you said, the audience might not know but you know that I wasn't in the correct head space. A short film I just did recently. We and it was just a short film. We were on set for all day and the big emotional part of this the thing had had it was happening later in the day. And I just couldn't I couldn't get couldn't get to where I wanted to go and everybody all the other people were like it looks great. I'm like, no, and they could tell that I was extremely disappointed in myself for what I was giving them. I was like, like 10 minutes. And I asked because I I think I was actually just really hot under all the lights and I I'm a very warm person. And so like I I think all my because I had to cry in the scene. Oh, my tears are like dried. Sweating all your liquid out. I couldn't get anything out. And so you said this was at the end of the day. Yeah. Yeah. And so I went outside. It was nice and cool. I could offer about 10 minutes. I came back. Luckily I was able to do the scene how I wanted to do the scene. But like I was just like I was I guess I was just burnt and really hot. Yeah. Yeah. All this stuff just happened. Sure. During the day. But like it's also as an actor you know when you give the correct performance. Yes. The audience might not know. Right. Like because you can we could trick the audience but we always know where we are and you know if you've given what you've wanted to give you can feel it. It's instinctual. Yeah. Absolutely it is. Yeah. But also like it's 12 hours of just you might do a 10 second scene. I cut you don't continue it's very rare that there's a continual shot like in theater. It's very rare. And then you're not even guaranteed the scenes going to work because it's going to be changed in editing. Yeah. There's scenes that work I was talking to director friend of mine last year about he was called in to help edit something on a first time director. He was on set when they filmed a scene. And the scene was so beautiful that everyone on set was moved. They were so excited. And when he was shown the final edit my director friend it just didn't work it was clunky and did not feel good. And he talked to the director about that and said here's what you've done we all witnessed the work of the actors that day but your editing screwed it up and the director agreed it's why he showed it to my friend who is directed for 35 40 years who then went and made changes to the editing so that there was less edit more flow from the scene. Yeah. But the opposite is true as well. Thankfully you can be saved by a magnificent director where you have a day where it's not working and the director and editor know and they make editing choices that make it work. Yeah. Yeah. You can make a film 180 degree difference. Yes. Just with editing the most astonishing thing that I've ever experienced as an actor is when you're certain nothing's working on stage and your process is just not instinctual. It's not habituated. It's not in the moment and you and your fellow actors know it. Everything's flat. The audience isn't responding and you go out for your curtain call and they rise to their feet and give you a standing ovation and you're talking to them after and they're blown away and you as the cast are going no idea how that happened and then there's the shows where everybody feels like it's on all cylinders. You felt so good and then it's over and it's a real tepid response. Not one person stands up. You're like, what the hell? The mystery of acting. Yeah. Filming is especially filming as opposed to theater is just such a Different animal. Yeah. Because it's Your approach as an actor is the same but the actual process of doing it is very, very different. That's why a lot of actors love theaters because it's this continual emotion and you can really get into It's an actor's medium. There's not 10,000 stops in between which is why some theater actors can't be film actors in a vice versa. Yeah, each have their pros and cons. You have to be able to turn it on when there's nothing you've done nothing at all or also you might have done this emotional scene or a really silly scene before and now you have to go into the extreme emotion if they're very mean to you. Or if they're very mean to you. You better have your characters arc and everything fully fleshed out and know your script backwards and forwards because we've mentioned this before you're not going to be filming everything within context and so you have to already know where this character is and what's going on in the story and have all of your questions answered because you may start day one the legendary story of Lin-Manuel Miranda working on Tic-Tic Boom and the climactic moment catharsis for the lead character in the film they had to shoot the very first day of filming because that's when they could get Central Park. You didn't have any chance to get to inhabit this character while filming you better have known that day one. Yeah it's amazing. And obviously Shahid is such a brilliant actor and you could tell he and you could see it in his work he cares so much and he's such a great actor which obviously he gets from his dad and I'm guessing his mom is a very big part of his life and he's an actor step mom and he's like he's such a great actor I would love to be able to sit down and have a chat with him about it but anyways let us know what the next Shahid Kapoor obviously besides Bloody Daddy and any other information about him that we need to know down below