 Oh, Jimin. Actually, I'm a no-go. I don't give two flying fuckities what you want. I'm going to the gym after this. Okay, don't be a little bitch. My wife might drink it. Yeah, she'll drink it. It's antiquity blue. She likes antiquity blue. Does she? Yeah. It looks like breasts. This does not in any way, shape, or form. Oh. Josh! The eye holes make them look really weird. I think you should take this home and use it for intimate times. Cosplay. I think your wife would really appreciate that. Because sex was Shahrukh Khan. Hey, welcome back to our Stupid Direction News Corp. I thought she was going to wear it. Yeah. Yeah. That's how you do it. Today, we got a behind-the-scenes of Darlings. Oh, cool! They just dropped us Meet the Darlings. Obviously, if you haven't seen our review of that, you can go watch that. We enjoyed this film. But yeah, it apparently did. I don't know how in-depth of behind-the-scenes it is. Right. If it's a montage kind of thing or it's unnatural. It's $5.50, so who knows? Let's just get into this. Yeah. To tell a mother-daughter story, where the one line idea was that the mother and daughter want to set the daughter's marriage straight. They wanted to change the husband. They just answered my question. I always wanted to talk about the message of violence against women. I wanted to tell it as a dark comedy. I approached Red Cherries with a script and we went to Alia. And Alia connected with it. She also came in as a producer. I think Darlings picked me as its first film to be produced. It was a very big decision to make to be like, what is your first film to produce and all of that. Absolutely. But it happened very naturally and very carefully. I absolutely loved the script. But I didn't like the part. It's super entertaining and brilliant. I fell in love with it and there was no going back to that. So the film is based in Baikala and Mumbai. People in Bombay because we all dream big and sometimes we don't. And I think all four characters represent that. So Alia's character is Badgunissa. She is in love with her husband, Hamza. The marriage is going wrong. But she has so much hopes that he will change. Hamza on the other hand, he genuinely loves Badru. But he feels like he's entitled to be dominating and abusive towards her. Shamshunasa is a protective mother. She is obsessed with her daughter's happiness. She believes that men like Hamza can never ever change. She believes that her daughter should just leave him. So Zulfi Bichara, he wants to become a writer but he didn't succeed. And now he's selling secondhand golds to these women. And these women bully him all the time. And he has a real soft collar for them and he really wants them to be happy. Baikala has this cosmolingua of Urdu, English, Hindi and Marathi. We started writing dialogues. And in the first few scenes, there are a lot of essays that we kept adding and it started developing so beautifully. Now this thing goes mostly for Badru. So Badru has this thing of like adding an S to every English word she knows. She wants a S, she wants a S. She wants a thank you, she wants a thanks to you. The title has an S, we're darlings. So we thought it would be a fun thing to carry people. Nice, thank you. Interesting. I was wondering why it was darlings plural. Every time there was a funny scene, we would just crack up. But I think it's just a fact for the film. Shamshu, my favourite character. You know when I heard the narration, I was like, oh my God, who's going to play this character? Because it's so important, it's so important. Enter Chef Alisha. I'm here working together for the first time and I think they have a great chemistry. You do? Yeah. That's why I'm here. Vijay is extremely professional considering he had to be tied up a lot until he tortured and he definitely got very comfortable for the film. He was a total sport. There's a great deal of regard that I have for Alia as an artist. I've never worked with anybody who comes with this kind of an insight about the story, about the character. Alia, Chef Ali and Vijay, all three of them. I've seen their work or do they really like their work? Roshan is one of my favourite characters. Again, on papers, he's such a sweet, distant boy. He's trying to help, but he's tapping and he's too bad with it. These actors are fat, not just Alia, Chef Vijay and Roshan, but everybody else. I think I got my dream cast, I'm very happy. You should be happy. Everybody did a great job. Just meet this fear delight, I don't know. I've never seen her lose her cool. She gets the job done, she stays very focused at one of those points I really like. She has an insight of the relationships of the characters and she's open to your ideas and suggestions. So she really is very good with making the moment come to life with all these real details. I think she's done an extremely special job and this is just the beginning for her. I think every film should say something. Every film should have something important to say. This film did. And if you can tell it in an engaging, entertaining way and not preach, I think that's the best way to tell a story. That was good. I thought of a question I'd like to ask the next director or actor we talked to. I'd like to know if the last shot before rapping for the day is called Martini in Indian cinema. Why? Well, because it is here. It's the last shot of the day. Oh, the Martini shot. It's the Martini shot. Yeah, okay. Sometimes, you know, if you're on set, you know that we're going to rap really soon because you hear them say Martini. So I didn't know if that was part of the vernacular there. I don't know what the history behind that is. People had Martini. Exactly, everybody. When they were done filming, they went and had Martinis. The other thing I saw answered my question is so many times you see films and you realize, okay, this is set in say, you know, a home in Mumbai or Kolkata or Delhi and you're like, how did you all do this with real sound and not have constant horn honking? It's because that place was built in a sound stage. It was full green screen, everything. So that apartment was controlled atmosphere. It always helps. That'd be a good question for a director. How often do you have to do it? How often? Because of the state of just going out in India and the sounds of the people and the horns. It only helps when you want it, when you don't want it, like especially filming, like if you're filming something like Delhi Crime that takes place in Delhi, how much of your interiors are you doing in sound stages because you just cannot get sound? Yeah, and like people think, oh, it's great. They already have that there. But then if that's there in the background, you can't hear your actors. Correct. You don't have consistency. You always want to be in control of your sound. Absolutely. It's bad enough trying to film in Los Angeles. I can't imagine what it's like in the cities in India because there's just horns everywhere. Not stop noise. Also, I feel like closed down sets as hard. I mean, I know they do, but I always see so many people watching a scene or watching on the streets. They close down streets, obviously, depending on the budget. Depending on what they're doing. But obviously, especially if it's a big budget thing, here in New York, streets will be closed down. Especially obviously if it's like Marvel, because then you get spoiler stuff. Exactly. All that kind of stuff. For buying the scenes? That was very good. That was good. That was very satisfying. You got to hear some insight. You got to hear the actors and the director talk, even the writer talk about different things. See some of their table read. Even though the montage are good, but obviously I always much more enjoy the in-depth. Yeah. I mean, because if you're like us and Andrani was very much of the same ilk because she was with me for all of the filming of the short film that I just did. But all she did was just sit around. I was like, are you okay? Are you okay? Of course she was okay. She's an artist, so she loved just, I don't know how you cannot love being on set and watching the process of every craftsman and craftswoman that is involved. Yeah, craft services. Yeah, from craft services to... The best artists. Makeup, lighting, continuity, the relationship. Just watching the setup between shots of the relationship with the director. It's so funny to watch. This is the case in most scenarios where you have a cinematographer who really wants to do something and the director just says no because the director is the one with the primary vision. And so the cinematographer is like, what babe? I have a huge amount of respect for what I saw the cinematographer because of just setting up the lighting. Like how intricate it is. Every nuance. I never got to understand and now when I saw behind the scenes what goes through, I'm like... Yeah, so you have the cinematographer setting up a shot and the cinematographer here, she wants it a certain way. And so they say, what do you think about this? I think if we tilted it up and the director says, no, I don't want that. And just you see the biting of the tongue and the cinematographer just submitting to the director's wishes. And there was this one point where our cinematographer who was fantastic that happened and we were really behind on we were like a couple hours behind on our shooting schedule this one day. And he wanted to do something and we didn't have the time. And I saw all over his face in private. He puts the camera down and he's setting up the shot the way the director wanted it. But in his head I see coming out my name is on this thing. It's going to say cinematography and it's not going to be the shot I want. It's so true. A lot of times if you've never been on a set like those are the two very close relationships but also probably the two most contentious relationships on set. They often have a love hate relationship for each other directors and cinematographers. That's why they're usually if you have one they always work with another because they found somebody they can like usually work with. And you also see like on a set how it's a family. It really is because you're with each other all the time. Families are with each other all the time. You have the best of times where you're celebrating. Things are great. And then you have the worst of times where you're pressed for time. People are disagreeing. Somebody's angry at somebody because they forgot something. You're like okay where is that sandbag I asked for 30 seconds ago and it's not here yet and your patience is running thin because you're getting tired and you're running out of battery and it's beautiful, beautiful collaboration. So that's what we love behind the scenes. That was great. So let us know what other videos we can react to down below. Thank you.