 Deeper, deeper, deeper, deeper. It was a really great sport. Yeah. Rugly. I'd ruggle you with your mom. Ha ha. Da-dink-dink-da, tink-dink-da, da-dink-dink-da, de-di na di-di na di-di na di-di na di na tu na ca da da da da dee na dee na dee na dee na dee nagentle da da da da dee na. Ooh, my head's up there. First two breaks between the four of them. I got rug burns of playing rugby with your mom on a rug and you could falsely Instagram, Twitter, our music content. And it's Say! She said Count me ghost on the cake. the baton, welcome to Jeff's subscription below. Today we're acting to a, inside the scene. Oh cool! But this is with LJP, and it's the one shot from the diaries. The diaries. Yeah! So I believe he's breaking down the 10 minute or so single shot. Awesome. That he did. Awesome. If not, that's what he should be doing. Awesome. But yes. My favorite, that was my favorite part of the film. If you haven't seen our review, it's up. Go watch it. I'll link it as well. As well as a couple of other of his films. In the video. Sir, if you're watching this, I'd love to interview you. Love to talk to you. So yeah. So this should be fun. I hope he goes deep, deep into the scene. This is great. That was an extremely difficult scene to pull off. Very, very. It'll be fun to watch him talk about it. Here we go. Also, this is the first time we're seeing him. Yeah. Hi, my name is Lijujo Spellisserie. I am here to talk about the climax of my film, Angamali diaries. It's a 11 minute long single take. When you start the scene, you can see that there's a fireworks trolley, which is there. Which is normally the clubs there in Angamali. They organize these fireworks during church festivals. So it's a fireworks thing which is more about the start. That's what you're seeing. So it's basically getting the audience to the scene. Basically, you don't feel like you're watching a cinema. I mean, that was the idea during this long take. So what we did was initially, it was like in the daytime, we went with our actors, the DOP and our basic core team. So the street was empty in the morning. So we just structured the entire choreography of the sequence. So where to stop, where to move, what should happen, where should the fight happen. All this, we started improvising with only these actors. So basically, it was not even a rehearsal with the crowd. So we didn't know how it'll be when the crowd come in in the evening. So we just practiced it like that in the camera movement with a normal phone. When the evening, when the crowd came in, so the real fear and the real hang of the entire thing we got. It wasn't that easy as it looked in the afternoon like an empty street. The best thing happened in the shoot was movie 10, movie 10 as an alternative for Steadicam. Steadicam, we used to get a moving shot in a steady form. But now we have much more easier equipment to handle. Movie 15 has much more compact and more handling. So since it was a very long take, like 11 minutes, so the cam weighs around like more than 2 kgs and is equipment again. So it's basically around 4-5 kgs of weight, which the camera operates as well. So the initial 10 minutes, it was like normally moving with the characters. Backing up, people making sure he doesn't fall. He just did a seamless turn. One of the most common things that's said to it is the Fs. Then halfway through, it gets into a brawl and when the characters start running and that is a difficult part, it is when you have to follow the character and the character should not move out of the frame. And you are moving through massive crowds who are not at all controllable. I mean you can't, you don't have any control on the crowd. They just move in and out. There is this one instance where you can see the camera hit on someone's shoulder. And so what happens in the equipment is like the camera is basically hung in the center of the equipment. And so once it is hit on an object, it will take a while to balance itself to the center. The crowd was stretching from one point of the street to the other point of the street. So we had these loudspeakers which was hoisted in each post-lamp. So whichever instructions we give, so we knew that the crowd has the characters that move to that house, this place, this place. So we'll instruct it like that. Now we'll be attentive when the characters are moving to your place. They're coming to your place now, right? We don't look into the camera. So let's not hit on the camera. I mean we have to cut the shot if you hit on the camera. Initially we had planned a stunt artist who will come out of the fire and will fall in front of... So basically when both these guys will run into the close vicinity of fire, they'll have a fight. Maran Kothi Sijo, who's the negative guy, he's kicked into the fire. So after he kicked into the fire, we literally go round the main guys and come behind the main guys. So we'll see the stunt artist coming from the fire outside. So that was a plan. But it didn't work like that because it looked so odd when the stunt artist did it. It wasn't looking real at all. So we had to remove the fire artist and till the kick we shot and we rolled into the fire mode. So we later added a layer of fire and a structure passing through the fire later in the film. So finally I remember when we finished the shot, D.O.P was literally... He just fell down because he couldn't hold the cam. He couldn't let me stand up. When we were talking about that, it was like all... We were breathing in and out like so heavy. Everyone, I still find a lot of flaws. I find it like... This is what the best we could make it on that day. And I was so happy. And I said, grain, I think we've got it. How many mess-ups there were and how many times they had to run this 11 minute scene. If you don't know of Insider Scene, please subscribe to Film Companion for more videos. How excited they were in the thought of I can't wait for... When you finish that, you're like, I can't wait to see that shot. I can't wait to see what that looks like. Yeah, like the DP just fell down. So if you've never been on a working set, one of the most common things you'll ever hear said to the cinematographers or the director photography and if you don't know the difference, a lot of films have more than one cinematographer on it. Like Ridley Scott will have seven cinematographers working seven cameras because he can have that kind of a budget. So they're all cinematographers, but there's one person who's in charge of all the cinematography that works hand in hand with the director. And that's the DP or DOP, director of photography. They're the head cinematographer. And they're usually the ones that are doing the main shots. And one of the most common things on set you'll hear said is somebody saying to the cinematographers or especially the DP, you okay? Because they're, first of all, they're almost always wearing gloves. They're almost always wearing knee things. They're wearing comfortable shoes. They've always got the camera strapped to them in some way, shape, or form. And so they're in positions, if there's a shot and a bus and you're just seeing two people talking on a bus, you don't realize that for the whole day, the cinematographer has been on the floor. They've put a mattress on the floor and they've been holding the camera like this in their chair and making sure the shots the way it needs. And they're like, okay, do you need a break? And they leave a cinematographer be here and go, I just need a bottle of water. And they're just sitting here like this. Okay, all right, we're just going to get this one more time. That's the life of a director of photography. Yeah, and often that person has sometimes, that's why it's great if you like their friends already. And I think that's why a lot of directors do bring on their own. Yeah, they're very close relationships with the DP. Because a lot of times if they're not, those two can butt heads because obviously the director, he wants his vision obviously, but this guy, he's like, okay, I know what I'm doing. I know what looks good. Right, I was explaining this to Andrani last night. We were watching the Sorkin's thing, the Chicago Seven, and she was asking me about the director of photography versus the camera people. And I said, there's a reason why, and she said, who is it that's responsible for the shot looking so nice? The director of photography or the director? I said, ultimately, it's the director. But that's why you have directors who use the same cinematographers and DP's all the time. Because they trust them. They trust them and what'll happen is they'll be working on a shot and very often the DP will go, hey, why don't we do this? And the director will go, love it, let's go with your idea. Yeah, I think most of the time, and obviously there's some brilliant directors that do what they want to do. But I often think it's best to, obviously film is probably one of the most collaborative art forms there is. It takes so many people for something to work perfectly. But make sure you let the artist be the artist. Right, let them, like they know their position for a reason. Correct. And so it's your job as a director to accommodate everybody. You hired them for a reason. And that's why I love being on a set. Even if you're just doing background work, I love just sitting in a chair and watching because everybody is a specialist at what they do. So I love just watching a grip set up the lighting for a particular scene. And how they'll be working and they'll notice how in the last shot that light was framed this way. But this background person bumped it. So now they have to reframe that shot. And it's just the expertise. Like the header scene I did, my friend Valerie, she directed the scene for me. And we actually had a DP and a grip. Okay. Because they were her friends. And if you didn't know the grips are the ones that they literally, they're taking the things and setting all of the lights that have scaffolding and sandbags. And oftentimes they have clips and clamps that they put filters on. And we did that at the YouTube space. So YouTube space is a phenomenal place. Beautiful. It's free for YouTube creators, which is a wonderful thing. Because of COVID has not been able to be used for months. Anyway. Yes. But we set up for hours. Like I wasn't doing anything. They would just, they asked my opinion sometimes like, what are you, they asked me what I was looking for. Because I had a vision of where I wanted. Right. But it was just a, it's a black studio box and they made it look incredible. Like the lighting, it looked like this deep void with lighting going. Like they can do incredible things. And the crew. And it's going to let them be themselves. And I'm assuming that's what he does. And you hear all the time about actors having to show up. Like I know the crew for say the show Blackish, the actors have to show up sometimes. They have to get up at four in the morning and be to set by like five, 30 or six. And it's usually. They've been there since midnight. Yeah. And it's usually a 12 or 14 hour day for the actors. But it's oftentimes a 16 or 18 hour day. For the crew. For the whole crew. That by the time you show up as an actor, you may have an early call. But as you're going, you're seeing the crew working who not only got there before you this morning. They were there as you walked away and said good night everybody. And they still had a couple of hours of work to do as you were going home. At least to SAG in Hollywood. Actors are very coddled. Well, and obviously we have a union that makes sure. Well, and they have a union too. But the difference being is because so much is resting on the performance of the actor. The actor isn't rested and ready. Which what actors do for eight out of nine hours on a set is just sit around and watch the crew do their work. Most of it's waiting. Just sitting and waiting. Yeah. But love these. I love these all day long things. I would love to talk to the man. I was hoping his new film would be out already. Yeah, me too. So hopefully. And I want the VR stuff he's been talking about. That'd be so cool. So let's know more that we can react to down below. Thanks for watching. I'll see you guys next time. Good bye.