 This has shit in it. I'm back towards Jupiter XZ, it's Corbin. And you can follow us on Instagram and Twitter. Come on, juicy content. It's so juicy. Okay, John, follow us on Twitter account. We are reacting to a very long video. Remember when we used to call them Shaheed and everybody was laughing at us because we were calling him a martyr. I do. I know what that meant. I do. We are reacting to the Tos19 round table. This is by an interviewer. His name is Rajiv Masam. Yeah, he's a movie critic, interviewer, all that kind of stuff. Now is this the Bollywood actors round table? Would this be comparable to the actors round table? Yes, the actors round table here. Yeah, a variety one. It's basically the same thing. This one has Shaheed Kapoor, Ranveer Singh, Ayushman Karana. Cool. And then it also has two that we're not as familiar with, but we've seen VJ and Barma that him from... Oh, sweet, from Gully Boy. Yeah, from Gully Boy. The VJ. And then also him from article 365 and Dil Chattah. We haven't actually seen anything of his yet, but it's just them. No, but I remember his face from the trailers and people telling us he's a great actor. Yeah, this is just that. And the interviewer, Ranjiv, gave us permission. So thank you so much. Thank you. We really appreciate that because we love hearing actors talk about acting. You can listen to it all day. I hope you can too. Yeah, because it's long. We're gonna be here for a little while. Yeah. So strap in, get five or 10 cups of chai. And here, the... And also our subject, because it's mostly in English, but there is some Hindi that they are... Wow, you guys, they went this whole hour long thing. It's mostly in English. Okay. They found the spots where they go off and... Yeah. So thank you so much. Cool, thank you. Here we go. Acting. Acting. Acting. The Hindi film hero has changed dramatically since we last checked. The most overused versions of your standard nail protagonist, honorable to a fault, squeaky clean, frequently larger than life, savior angel, The Rambo? Half of the most part been replaced by vulnerability and an every man quality. In 2019, our favorite leading men sportingly showed off their grades. Some went brazenly bored. They showed us you could be a physically strong army man who has the josh... Stop it! Stop it, sir! ...as a soft side as well. They showed us that their egos needn't crumble when women do the heavy lifting. In Article 15, Ayushman Khurana imbued empathy and righteous rage into the role of an urban, educated IPS officer confronted with the horrors of the caste system. Himbala, playing a young man, crippled by insecurity over his rapid hair loss, Ayushman struck just the right chord between humor and heartache. In Gully Boy, Ranveer Singh practically vanished into the role of a rapper from Dharavi whose dreams outsize his reality. Anger in the poetry threw a performance that was equal parts aching and electric. He kept your eyes riveted to the screen. The car that was used to pick up his bullet The car that was used to pick up his bullet The car that was used to pick up his bullet The car that was used to pick up his bullet Also in Gully Boy, Vijay Varma peeled away the layers to reveal the stars had been slighted despite his place as the Sultan of the slumber. It was a magnetic, ultimately heart-breaking portrayal of a man who clearly deserved better. He did really well. Shahid Kapoor delivered an intense compelling performance as an entitled lover whose spirals are a self-destructive streak when separated from the woman he loves and believes that he owns in Kabir Singh. In committing fully to the character, he flirted fearlessly with the possibility of coming off as distinctly unlikable. And as a smug defense lawyer, unafraid to ask the uncomfortable questions while fighting a rape case in Section 375 Hakshe Khanna chewed up the series with a sharp, intelligent performance that was the film's biggest strength. Cram drama. Who do you know about Veer's wearing? Five artists who delivered some of the strongest performance artists here spoke about the role of the character but don't get all over it and revealed how long it takes to find the character when they start shooting their new film. If you look that way. They spoke about the craft and the process when they assembled for the actor's round table. Also, I love the table. Thank you. Well done. Gentlemen, I look around at this table and I'm instantly reminded of the incredible performances that each of you would have delivered this year. You know, this is the eighth year that we're doing the actor's round table and every single year, this is the exact moment that I'm completely overwhelmed by the volume of talent at one table. So thank you and many kumarachis. Thank you. You know, I want to jump right in. I want to ask each of you what was that one scene or that one moment in your respective films that represented why you wanted to do that film? Hmm, good question. It's a good question. Yeah, it was good. I'm never going to listen to a real film. You've had way too many. I don't see many. Well said. I picked Article 15. Article 15. In fact, that scene where we were discussing casts of all the actors, when they narrated the script to me, I stood up and applauded it. This is it. I'm doing this film and that scene was a great scene. Nobody has blatantly discussed casts ever in mainstream Indian cinema. So I think that was one of the good moments. That's incredible. I think in section, a lot of the monologues like that, big, big, big dialogues, two, three pages, that was... Most actors will be intimidated by monogues. But you don't get an opportunity to do it in most films. So I think that was something that... That's a good idea. Yeah, that's on the timid end. I don't have any specific movement. I just... I remember ever so vividly the moment where you wanted to do the film. So, you know. I remember being on a couch at Zoya's house and she played the video of a few tube of Merigalimo. And she was like, this is it. These are the boys. And this is the world. And I was like, that was the moment. I was like, I have to do this. I have to do this. You know, it was so beautiful when I saw the film. Entry shot and he came in front of me. Right? He was looking at me in the back. Correct. And they played... Like a young, young child. Yeah, shot exactly like that. It was precisely that I opened the script. When you open the script, you're playing a supporting part. And it says, moving walks and moving walks and moving walks here. And then he starts to play and he says, So, may I leave you there? If anyone comes, just do it. And I was like, first page, I'm so... I mean, it's so beautifully written. And I just want to be in Zoya's movie. That's about it. I was desperate to be working with this gang. I have been admiring a friend of his work from Lutera. And he created it in Bajirao's house. I was like, cheeteke chaal. So, it was a great opportunity for me. Our suffers are fantastic. I can jump over it. Really great. Well, the film, I think it was a remake, you know? So, I kind of saw the film. So, it was very different. Because my first feelings were that the original performance was so good that I didn't want to spoil it. But then there was a huge opportunity to do something which I felt was rather... I mean, you rarely get an opportunity to play a character who is so messed up. I mean, I remember when I saw the film and I saw the intro scene where there is that thing that happens between Preeti and Arjun. Right. Yeah, in Arjun Reddy. And that moment when he slapped her, I was like, he slapped her. Yeah. Right. Right. He slapped her. Exactly. And then the music started playing and then he went and he ODed and he passed out and that was into it. And I was so... I had so many thoughts running through my head. But I was so fascinated that somebody made a film which was so ballsy and which was so raw and wasn't trying to manipulate the audience but was just expressing things as how they might happen. Right. And the character who I'm actually the protagonist of the film and I'm hating on him in the intro. Hmm. You know, so... And by the end of the film, I actually felt... My favorite for the character. Yeah, I love this comment you said about climate. So early on in the interview, what I'm going to ask you, Shaila, I know that you've said that you don't see the character of Kabir Singh as a misogynist. You don't see the proprietary behavior that he has, his sense of entitlement of the woman, the angry outburst, the slap you said comes from a piece of intense love. And the film did exceedingly well. And the women that connected with it as well. For me, there was... I mean, that was as much endorsement as I could have really asked for because the people who loved the film, which was a large section of the film. It was. No film of mine is that even close to this kind of... It was, yeah. You know, really got the heart of it. Right. You know, and I think the heart of that film was just to tell a very passionate love story about dysfunctional characters. But Shaila, did any of the criticism make you sort of think and reflect on why this film was making a sizable number of people uncomfortable? First of all, I don't think that number was very sizable in comparison to the number of people who liked the film. Of course, of course. But it was a strong point. Thank you. And I actually don't have a problem with people not liking a film that I have done. Because the whole idea of cinema is for people to have opinions. Yes. And I think only very, very potent films, which are made very, very highly effective, caused that kind of a reaction, a intense reaction. And I think it's great that that film has brought up the conversation of violence in a relationship, what's acceptable and what's not acceptable. Because I think cinema is a tool which is meant to make society reflect upon itself. Of course. And it can't always talk about the right thing. Because if it does that, then it's actually being hypocritical and not addressing the issues that lie there. Criticism was about the fact that it normalizes abusive behavior. But it wasn't normal about it. I think there was nothing normal about it. No one thought that what he was doing was good. Out of control character. In most films where, I mean, Kill G is an example, bad guy, romanticized, very sexy. But basically, over that part of saying, heroes and villains, does a complex character not deserve to be the protagonist of a film? Of course he does. Should we not allow people who might have made mistakes in the past to get a second chance? Come on. Is it bad to give hope? And whose business is it what happens in a love story? The fact is that eventually two people who are in love have to find a way of living with each other. And this was a very dysfunctional love story about a very messed up character. I think the problem is that it's a really compelling performance. The problem is that it's a really good performance. You're so good that it's attractive. And that's the problem, the messaging. But I do have a point. I mean, we have to make people feel good or bad till the time they get attached to a character. They have to connect with the character. Otherwise there's no experience. The willing suspension of disbelief. Come on. What cinema is based on. Come on. Has to happen. You have to start connecting with this person. Start feeling for him when there is just a movie. Right. So you have to draw them in for them even to not like him at a certain point in time. They have to be existing. Exactly. You have to play it with the total. I mean, I don't know why I'm having this fundamental conversation because I've seen Waging Bull where there was domestic violence and I had these coffees where there was extremely violent. It's the ultimate messaging, right? It's ultimately what is the messaging. In this film, he's rewarded me. She's left her husband, she comes pregnant and she decides she wants to be with this man. So what you're... And it's done in this... I would never want to go through all that he went through to reach the climax. He could have done it a lot simpler. The day he came to ask for the role. And things could have ended there but then we wouldn't have had a movie. Exactly. And it is a work of fiction. Sure. Should have also. It does have that disclaim. Okay. Okay. Okay. Actually, section 375 was this very intelligent courtroom drama that takes the very complex subject of rape and the laws position on rape. And it actually sort of explores the gray areas. It actually explores the, you know, the complexities of the law, the murkiness of the law, how it's abused frequently. You played the defense counsel who's not an especially likable person. He's constantly bullying the victim. He digs up uncomfortable, detailed relationship between the victims and the victim. No, the rapist. The rapist, even though he's against the law. He's against the law. That's correct. Especially in today's times. That's not my opinion. It's the law. You know, the climate is about being the women when me too is a reality. Did you ever have any reservations about how this, this lawyer would come off looking and you'd look like he's on the wrong side of the argument? No. It's just like the way it was written. I really like the writing. It was really good. Very type and very authentic. Gave me a great opportunity as an actor. So, you know. Straight forward. I like it. Is there anything in your performances that you would change? I would rather not. When you look back at it, do you feel like I could have done this differently? Or I would do this differently? Given the chance. I think you feel excited. At least as a rapist, you don't have to deal with the dilemma. Then you realize that you've got a great take and you watch yourself on the murder film. No, it's better. So, and sometimes you're not excited. It depends on what the camera is showing you. It comes through. It's so magical. But at times you're so confident, you don't want to look yourself. I knew it. This is right. That's the magic moment that happens. So, I won't watch my films. I just watch it once. Not more than that. In the edit or probably cast and crew screening. So, never after it's done. Actually, you never watch. Apparently, I read some of it. You watch all? You do? Once. As you said, once. Once, yeah. Once. So, and of course, overcritical when it comes to my performances, I get really overcritical. It could have been like this, it could have been like this. No, actually, that's the question. You know, are you obsessive? Are you obsessive? You're not necessarily this performance. You're a full girl boy. Are you the sort of person who looks at your work and feels like I could have done it differently? I wish I had another chance. I would do this differently. Are you sort of... I would try. All the time. I would react to it. I would react to it. It was a very parrot. I did it with that. It was like a bird. But there are other films like Monson Shoot All Life and I was really too, what do you call it? Passive. As a player in the film, I want more participation. And I look at it, I can't stand it. It depends on the character also. Yeah, yeah. You just... Yeah. You don't have the crutch of that, you know, the active part. The active. Like, I thought I was a little passive in the movie. But active in Bala and Rheem. And passive, the first half of the article, putting active in the second half. So, it really depends how it's written. It depends on the realm of the character. What is it? What is it? Yeah, you're right. You're right, yeah. Actually, Rheem, would you... Do you do that? Do you look at your performance and think of how you'd fix it if you could do it again? Not in the last few years. But maybe my earlier work would say, yeah, maybe if I see it now, I'll probably eat it. So, I'm Rhaaz. And you really have to... I'm Rhaaz. I'm Rhaaz. I'm Rhaaz. I'm Rhaaz. I'm Rhaaz. I'm Rhaaz. What a great voice. I hate it. What are you talking about, Rhaaz? I don't know. No. So, that song, Kissaan Nikhege... ...Hanchal Surya... I don't know about it. I think so. Yeah, that's what I'm talking about. Rhaaz, I'm talking about Kissaan Nikhege... ...Hanchal Surya... No, that's a pre-dash. Pre-dash. Really? Yeah, yeah. Really? Rheem, you've talked about Vijay, Muin, Strak and Gully Boy. Yeah. There is a whole chunk that's not there in the film. Really? Yeah. I don't know when Zo makes the entire package. I'm sure those deleted things will be there because they're cracking. There was a whole Garnah track of Muin and Murad that was... ...that was left out in order to make it more crisp or whatever. But credit to Vijay in whatever he had made it so impactful. Yeah. One of the most, if not the most memorable character. My favorite character, even at a script level. I told Zo once. Yes, exactly. I told Zo once. I was like, man, if you had offered me something, like, if you'd given me a free hand of choice, I would probably pick Muin. I love the guy. Right. In fact, I remember when... That's when I ran to your role. ...Zo's place. And every time I was reading, this guy was jumping out of the sofa because he's like, I don't know. And he gave me two incredible inputs. He told me the first thing is, he said like, city of court. Where? Lil Z. Lil Z. This is it. Lil Z. And I just get back to him like, I was like, yeah. Do you ever wear right-fair shirt, Rick? Because... He told me to come over there. No, I mean... He's the king for me. Oh! Although, this is just what I am at the... But the idea of... He's never wearing shirt, Rick. ...been owning that space came from Nandini. And in fact, it gives... I can't... I don't know if I'm allowed to say it, but I will say... So, he said, you need to feel... You need to be the king, but still feel out of it. Right. Nobody gives you the bhaug that you think. Right. I should get. And he said, Brother, this can happen anywhere. It can happen with anyone. Any demographic, any economic background, it happens to me. And he said that I looked it to his eyes, I saw a movie right there. I really kind of like the movie. When I heard the narration, my biggest connect was with the movie, actually. And it shows in the movie. But what is the biggest input that I gave you, Vijay? Please tell everybody. I want the credit for this, yaar. So much love. So, yeah, during the reading, so there's the scene in the Palatin Shop. Yeah, so in the script, it was written, I just say, if everyone leaves, Mohini, I do a wrap, 10 lakh rupees... 10 lakh rupees, I can do 10,000 rupees like that. And it ends there. So, I want the next scene and he is like, wait a second, I think Mohini should just let go. And improv. Can't he choose each one? I looked it in my... I didn't understand what he said. It's like, you should just break it to an input. Yeah. I was so proud of myself. I was like, wow. Is it rare to find that level of nuance, that level of layering in a supporting movie. You know, this is a guy who is awesome. I mean, I'm born to my dad, who has mostly played supporting roles, which eventually was centered in the film. So I just understood at a very early age that, like he said, he felt most drawn towards Moin. The most supporting roles are actually quite interesting. The biggest flaw actually is when you're giving the center character. Because a lot of the time, the central character is just the lens through which you can find depth in a supporting role. And a lot of the very, very exciting parts which have the masala are around. We are very fortunate that we are mainstream actors where we get to play those parts, which essentially have a little bit of all of that in them. But if you look at cinema at large, I mean, it's not the central characters who are always the most excited. Exactly, it's the supporting roles. And the performances and roles which might have been shorter than some other people in the same film. But I agree partly with what you were saying, because there is this tendency of putting supporting cast in a certain bracket. Like the token guy who is a carjacker, he has kids running drums for him. But we see a side to him, there is this great friend, we see a side to him, this childish side to him in that show. So a lot with his performance. I mean, that level of layering and setting, it's rare to find. Also, because there is this strong tendency to put supporting cast in a certain bracket. There is like a token friend, that is written for a lot of actors and they come to you and they say, I need an actor for this role. And so who have you got for the central part then? Gully boy is usually the best. You often go the best of it. So I have heard of that and I have discarded it for so many years. I have been hanging around for 10 years now. I hit pink in 16, Gully boy in 19. So I have been trying to get a role. He was the guy that I remember. He was one of the guys in the car together. Really? He auditioned for Sushant. Sushant got it. I auditioned for Rajkumar's part. At Mukesh Shabda's earlier office. So we were reading lines. Agha, he is right. And Amit Saad was there. He was there. So Priya was there. Amit was there. Amit was there. This was before Wikidoon. Yeah. Has there been a role that you said no to initially? That you didn't want to do for whatever reason? But you changed your mind. Perhaps because you were convinced by the director's vision. Perhaps the filmmaker or the writer convinced you to look at it in a different perspective and made sense to you. Was there a moment you didn't necessarily think was right? But you had a different opinion. Article 15. Though I had extracted the script out of Anwar Saad. But when I read the first draft, I was like, I don't want to read it. It's just so vanilla. There's nothing exciting in it. And in my head I said no. He said give me two months. He came back after two months. And I was shocked. What have you done in these two months? So that happened to me. Also it's critical because it's one of the most cinematic. It's a story. And the moochie. If there's no moochie, there's no moochie. No moochies? Though back to your former mooch. You put all versions of the mustache possible for any actor. But you have a very nice mustache and your hair is very soft. You can shape it in many ways. I have thickest clothes. You have to mold it. You have to cut your hair. You have to pose it here. I'm the only one clean-shaver. The only one clean-shaver? Yes. I think it's very dirty without the moochie. I think it's very dirty. I've been dirty for the first time in my life. You know something about violence. But what is going on here? This should be addressed like this. Why are you dressed like that? Why am I dressed like this? Why am I dressed like this? Good point. This is a t-shirt. This is a t-shirt. Ask Mukherjee what I'm wearing. This is a true t-shirt. This is a true t-shirt. Has there been a role that you said no to initially? Yeah, Khilji actually. Really? Yeah. What? I found the character so lonesome. Like so despicable. So despicable. And so dark. So messed up. That I was actually out of just sheer fright fear. You know that. And I told Sanjay sir this might take me into sort of like a hole that I may not come back from. Or come out of. That happened though. You know. I can say I'm a little bummy on this guy. And I don't know if I'm in that stage in my life. I was very happy. Deepi and I were going to get married. You know it was all like. It was all like roses, you know. That's what you made out of. You changed first and changed. You did that in the middle. That was a cut out. So initially I was a bit afraid. But Mr. Vansali convinced me very quickly. I remember that one moment on his balcony. Eating Machigari. And we were just going back and forth. I was apprehensive. And he got frustrated. He could not have said another word to convince me. And he just got frustrated. He put his towel back in his plate like this. My boy don't you want to pay a character who's got 75 kilo balls. So I was like. You know what. I mean. I'm all. That was the deal. 75 kilo balls. It was I mean. It took some to it. But most most most times I'm an interval green lighter. Yeah. By interval. By the interval. Yeah. But you know whether you're interested in a movie. Yeah. Of course. Then you're getting into. That's what it's all about. You care about. Yeah. It's wrong. It's wrong. I want to say I mean. Yes sir. But if my interval. Have you ever done a movie that you're not in by the time you reached interval. Then suddenly decided to do it when you heard the second half. I've never had a movie. Yeah. I'm always like known in the first 20 minutes whether I'm interested. Not 20 but interval. By interval. Yeah. Yeah. Because popcorn is a bloop. Yeah. I was kind of scared to bloop pink. Because it was all of four or five scenes. And those four or five scenes were loaded with a lot of. Good scenes. And again that's a supporting part that I've had known. You know that scene where the old man you drop him off the bike. You're actually threatening him. Yeah. But you sort of are loving and caring and putting him in that auto-action. Yeah. It was a great input by the director. He said you have to attack this guy. The rickshaw driver to threaten the old man. Correct. You'll be very nice to him and attack this person in front of him. He'll know who we are. We were. Basically that was the power dynamic. The tough part is we don't have the arsenal. Right. As a character. Right. How do you bring those nuances. That's the toughest part. Yeah. Like there's nothing in the script. Still you have to. You know what Charlize Theron said. She read this. She actually was quoting someone. She said when the writing is bad actors act. It's interesting. That's true though. Charlize they say that. He means it because they don't have to act when he's the writer. They have to act. They have to get something out of it. Yeah. Like the fly episode of Breaking Bad. You see them doing everything they can to make it work. But actually never. You've never been in that position where you've changed your mind about. I know. I can't remember. No. I know. But it's really interesting to hear what they are talking about because it resonates with me. What you're talking about the interval and you know you get a sense of if you want to do this. How long into a narration or into a script do you carry from script to script. But I think what they're saying is absolutely right. It resonates with me. It's great. It seems like. You know what makes you feel that you're interested in it. Who's like a lesbian. But I want to make a point. A real lesbian. But he doesn't. He just likes to listen. He likes observing amongst us all. Which is interesting. Once you've done it. I guess when you're next to the right fear. You're not hung up on revisiting it. Going over what you could have done. You feel like it's over. Right. And since then you were born as a person also. You don't want to go back. You will cringe if you go. I think it's over. You know. Yeah. And it's like you if you really live it. You know. When you're done with it. When you're done with it. When you're done. You don't want to go back. You want to go back. Because it is a. So what I was going to say. It goes on. I was reading the papers today. And there was a great quote from somebody. I don't remember. He said. If I have to sum up everything. I know I've learned about life in three words. It's this. It goes on. Yeah. Yeah. It's a fact. Yeah. It's a fact. You know. It's like that honeymoon period you enjoy. When this film releases and makes all the noise. Yeah. It goes in two months. Next film comes up. But. I mean. You feel a bit empty. Like I usually feel a bit empty after the release. Because like. So hard. And then you get into that moment where it crescendos. And. Whether it did well. Even when it does exceedingly well. I remember after a month of focusing on this really. Empty feeling. Like. Like you know. Like everything was over. And I. I mean. We are. I want to. I'm not gonna get it. I mean. I'm also going to shoot it back to back to back. What. The time. I will empty. I was crazy. How do you know those busy days is going through. But nobody knows about it. Because it's so busy doing shit. Right now. I have to break for three months. See. When I am. Just promise. Nothing. I have to break for three months. I have a new song for you. What do you say? Oh I. Ruhi. Ruhi. Oh Ruhi. What do you say? Ruhi. So. So. So. So. So. Is it. Come. One. This. Very admirable. Has. Thanks for the. Madam. He will find his nuances and it will be 3 months or 1.5 months. It happened in Bala. My character was a bit flat. I told him to add some vibhickery. Colin would do the vibhickery vibhickery. So I was like looking at the right part. The vibhickery was that much. The one who took out the mood, put it in his hand. What's the one movie? There's one movie sir in my filmography that I can watch anywhere, anytime, any of our times. I want to see it now. Now I want to see it. What's your name? It's a guy. What's your name? No, it's a guy. He said Robert Wood. Bang Bala. No, it's a good watch. Every time watch. But come on guys, come on. No sir, nice movie. Nice, you can watch it again. There is only one sir. Guys, what's your name? Shahid. Come on. I'm wondering what movie you like. That's very different. You're having fun. Your names are having fun. You're having fun. You're having fun. You're having fun. You're having fun. You're having fun. You're having fun. You're having fun. You're having fun. You're having fun. You're having fun. I remember we were shooting for a movie. And all of a sudden we kept saying, you're having fun. I really liked the movie. But you've just come back from Surimanshi. That little portion there. Yes sir. What has that been like? Did it give you exactly what you needed? It was juices. Sir, on the first day about half way through the day a few shots into what we were doing. Rohit sir and I had a moment in between shots. He had his hand in his pocket and he was like, Simba sir has gone inside. He has gone inside. What he means is like, now you... It's really... You made it your own. And now you're going to have sex with Simba. Please. Yeah. But I can totally get that. Because Ranveer has that side in him. I just... Totally has that side. Just... You've made me a body. I've never seen that before. No sir. After the release, I used to go for the entire theatrical run. Finish work at 10, 11 in the night. And I used to go and watch the late show with the audience. The show every night. Every night. Every night. Every night. It was no longer a surprise. Every night. And I'm straight into it. I'm in trouble. I'm in trouble. You have shown now. You have shown now. You have shown now. You have shown now. You have shown now. You have shown now. You have shown now. What it's tough to pull off Simba. You know. It's tough and easy to pull off Simba. Yes. It's actually tough. And you have shown now. And quite entertaining. I've compared you in that year though. Honestly. What has brought you like... You've brought like.... You've brought like so far, Simba. That's the one. You've brought like so far, Simba. That's the one, sir. That's the one, sir. That's the one. One more. He's just... After watching it. Did you remember the dialogue? Pyaat Pyaat Pyaat, on there? Yeah, yeah. Which song is that? I'll tell you what. Do it! You find that it was a song. The song that you did to this. Oh, that's most of Prabhu Deva's songs. You just read it. That's most of Prabhu Deva's songs. Yeah, Mari Mari Mari. Yeah, yeah, yeah. We have like a doggy, Shahid. We doggy, sir. Doggy and then another doggy song after that. I don't know what it is about. Sir, I need to ask Akshay Sain, in the Taal film that you had put on your glasses, that was beautiful. What was going on at that time? Oh, I'm sorry. You don't remember? Mind everything with Taal. I remember seeing that promo where he falls in the water. You know, and I was a wannabe actor at that time. And you know, he falls in the water in slow motion and then you see him go inside and he's still in the shot. And I used to always try and go in the pool and see if I can keep my breath in the air or not. Because I am a little claustrophobic about water. So that was one of the things I felt that I must be able to do this if I want to be an actor. It's hilarious. It's hilarious. Actually, you're sort of the most experienced in this group. You know, you've been making movies for longer than the others have. In fact, you started just when sort of Hindi cinema was going through that really exciting change when there was that whole tectonic change taking place. And your film was a fact, the marker of how, you know, for the point that we saw. Yeah. Not just that, but actually the original gangsta. Isn't that nice for you? Which we did see before. I must say that everything's so impressive. He gave you so much confidence that as an actor you know, great songs. Don't sing in Ramri, that's T-Series. It's going to get blocked. You know, he's acting like he has forgotten this song. You forgot it? I'm my favorite song. I don't know if I just broke into this song. I love your accent. No, really. I know. It's touch feel, everybody. Like, put this on the table. It changes the landscape of Hindi's films. Yeah, the syntax. The syntax. You know, though, at the time, this was something different. We were doing something different. Yeah, you get the sense of that. Yeah, definitely. The writing was so good and so fresh and pharang was just amazing. I think the credit of each other was done totally. I don't know why he's not made another one. Yeah, yeah. Why don't you just revisit those characters and see where they may be today, what they're up to. But what is so interesting to me is, as an actor, that's where he kills his job at. You could say that you've never ever been made. That's the term. In that language. It's very high. Once you're meant to play the other role, I want it. I'm not. Pharan said, no. I've written this for you. I was like, okay. There were three friends in the group. One was you and the other was you. What are you saying? We used to play something in the school. Something was going on. He used to play. I was like, you used to play something. He used to play something in the game. He used to play something but he didn't. He used to sing songs over time. He played his own role. He used to play the role. He used to live in the same place as him. He used to play in the same place as him. You used to play his role. I'll take this one. I'll take it. I'm not sure if he's playing a role. I'm not sure if he's playing a role. He went to a different school. I was about to buy the cool locket. It was cool. I stopped myself, I don't know why. Then we have Zoya has said that in Kali Boy, in that scene in Kalki's bathroom, where Murad first wipes his hand on that napkin and folds it quite perfectly and leaves it right there. She said that was an improvised moment, that wasn't actually in the script. There was no water in the taps apparently and you improvised that moment where you fold it perfectly. It's a very little moment. It's a very little moment but it really is so much. Then of course you immediately follow it up with that scene where you measure the bathroom with your feet. You've spoken about the prep that went into learning the rap, the lingo. But to play a guy who feels small, because that's what he's feeling in that moment. He doesn't belong here, this is beyond. What was that like and what was that like? Shai just has an aside. Have you actually done that? And I have. I don't feel that. My upbringing has been such that I used to stay in Bandra West but on the border. So like right on the border. So if you move east, then very different social strata. And if you go west, where I used to go to school, used to go to the club, you know some very different social strata. So I had that good fortune of being right in the middle where you could see the best of both worlds. It's also complicated to be in that. Right. So when you move west, there are several instances where you find yourself in the position of a head knot. You know for sure. Right. That's what he meant when he said I get moving. But it's tougher being in Bandra, in the middle of all that and somewhere in the middle, not having a clear identity of being to the this side or to that side. In Andheri, you can stay in Andheri and say you're in Bandra or you're in Bandra. That's why you got these instances. You know it's different. It's very lucky you're fortunate that you got in touch with both the strata. But that doesn't mean it's not. Today in retrospect it does, it must have been complex. It is very complicated. We know where all the personalities come from. Simma, how do you play this at home? It's worse than others. So it's like you wake up in the morning, go to school and you're hanging with all the affluent kids. But you come back and then you're playing cricket and football with your mates who are completely different. So I know that feeling. Where I am as a socially, the kids who I used to go to school with were way above right. So I've been in that position to be able to know that feeling. What did you say? No, I was saying that's what I was saying. The strata of people in school are very different from the strata of people in the area. Even in school there are different levels. It happens in every school. Especially in the larger schools. That's the same thing actually. In my family, you have people who stay in villages in Punjab. They go to London and Canada. And that's why the very versatile upbringing has brought this experience which you put on second law. When did you come to Mumbai? I came from Delhi to Mumbai in my fifth standard. So I dealt with some massive racism in school. Racism was a problem. Because I came to Delhi and I was talking to them. They used to talk like that. They couldn't understand what was going on. I didn't know what a Marathi. So I had a lot of issues. I didn't have a friend in school till I was in the 8th standard. And then this boy called Heather came in the 8th standard like a savior. And he was this big guy. He was like 5, 11. And he protected me from 30 kids. Because they used to traumatize me in the 8th standard. And I finally became friends. And Heather saved my life for 3 years. So there's bullying on this. I get all that. I used to be bullied by 30 kids. Together. The old man called me now. Then I'm an actor. And I'm like, really? I don't remember. Sorry. Yeah. I hate my kids in school. To each of you, what genre of film or what kind of film are you dying to do? But for some reason they won't offer it to you. I think all of us sitting here must be dying to do a genre. The other one is done at some point. Sure. And seeing it. I want to get it. I love that. Why don't they get that? I would love to do a film about... Playing a gangster in Delhi. Coming up from Dharavi. That's such an amazing space. Yeah. I think he wants to be a gangster. I would love to do what is done in most of his films. You know? Actors functioning. But do you want a gangster? Actors functioning. I would be happy. I know I called you and said something to you. And you said you wouldn't do a film. But would you? Why not? Why not? Maybe he is the one who had the guts to be the first one. But now that he is done. It makes me feel like why didn't I do it? So great. We have to learn from each other. It's true. It's true. Mickey don't know the first time he did it. And I love that film. I will stop doing it. Great film. The tough part about these subjects is you need to be sure that the filmmakers making it for the right reasons and his heart is in the right place. Sometimes it's done with all the wrong reasons. And somehow the films that he's done, he's been able to find the heart in those films. When you come into what's something that's a little titillating and then you get into the fact that it's just about people and about a real issue and eventually there's heart in that film. You know? So I think he's done that and that's great. I mean great. It's a good word for you. Against a film. Against a film. Against a film. I haven't done an action for a great action film for a long time. That's true action film. But I've not done an action film for a long time. I love the fact that when he's doing his performances he's actually rapping that shit. Like he's actually doing that shit. Because I hate the fact that somebody else's song and I'm, I feel like a faker. You know whenever I do live stage shows and you know we all enter like rock stars and songs stars and music. But I'm faking it and it's running with my voice. So I like try and dance my ass off to prove that there is some minute for me being here and for you going like come on. I was with them and I was like a big performance. Yeah. I was with them in America. Whether it be Tha or they were like if they were watching music videos they were like oh my god is that your voice? Yeah. I always wondered that. But is that your voice? That's not the thing here. Right. It's always your voice. It's always your voice. Oh now. Which one? The DG's character. The DG's character. Suddenly you play a colleague and you don't do anything. I see. I see. Oh. Is there a kind of film that you, that you don't get offered for some reason? No. I get offered everyday. No bro. That's much better. He gets offered everything. I'm asking myself. I'm asking myself what do I really want to do. I wanted to say boss out comedy, you know. But then you remembered cinema. Yeah. Which is like in some scenes. In some scenes there is boss out comedy. If you're successful people will offer you everything. And pretty much anything you want to say. Is that a leading lover? No. But you have to pull it off. I mean I already said it. Because you offer something. Yeah. In fact that's the one thing. You know what I've not done. And I will also have to be offered. But let me tell you in this genre a good script is hard to come by. Slick actionals. Right. Yeah. Now you have a script. What is a slick action to define? Yeah. Is it a slick action? No. So don't pick it. Wait a second. No. Tell us the slick action of the film. We always think of the slick action of the English film. Shiva. Shiva. Shiva. Shiva. No. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva. Shiva has disappeared. Shiva has not disappeared. Shiva didn't. Shiva didn't back down. Shiva wasn't the pilot alone anymore. Yeah, they're all talking over each other, so he's like... Also, he's an introvert, yeah. So I didn't even think after just an introvert and with a bunch of extroverts. I'm really keen to see it. I think all these guys are extroverts. A sneak-action. A sneak-action. You know, very James Bond-esque. Also, I think they're all friends as well. Yeah, on these four. The one who's the closest man to an older example. But what happens, yeah. The new renditions. Even back then, that was just like action, yeah. So... Mr. Bachchan is going to do it. Correct. So here's... Let Kalyanji and Anji back out. Where everything would happen is that, you know, the action pieces are great. You know, they design the action pieces. Yeah, they think action will happen here. Oh, you know, you're envisioning it. Like, wow, man, that's pretty spectacular. It's a great... It's a great... Shea. Shea. That seven-minute scene... Producer. Yeah, that seven-minute scene between Danilo and Bachchan. I want to see shit like that. That's what Irishman last night. Django. Why don't people do those films? Why is it like the role that he picked? Reservoir Dogs. It's an ensemble cast. Usual suspects. It's an ensemble cast. That's the genre. Pulp Fiction. It's an ensemble cast. It makes those films. Fight Club. I would love to do this with you guys. Did you hear them? They sent the frustrations about the end of the movie. Yeah. Yeah, yeah. It goes right exactly, guys. What's the last thing that you do before you step out of the van to give your shot? It's a very private question. I refuse to answer it. I haven't said it before, so... I haven't said anything. I pray. You pray? Have you spoken the truth? I actually pray before everything. Yeah. I take a leak. That's actually what I do. Because I don't want it to come in the way. If I'm in the moment and I don't want like half way through when I'm taking two moments. That's a very smart thing to do. You always keep forcing. You don't know when you're going back. Exactly. I pray moments. Sorry. And then the makeup people get mad at you. My understanding is that there must be some higher power. So just a prayer of gratitude to that higher power. Before I go out and engage with people. Before I go out and do this thing that has come to me like in Galshi Pahadar line, the Tofa, you know, it's a gift. You know, this blessing. I get to do what I really love to do. Before I step out from the van into the world to engage with that. Every time before I go out to perform. I say thank you. A prayer of gratitude. Thank you for these good people that I'm working with. Thank you for this opportunity. Thank you for putting me in this position. Thank you for helping me along the way. And just thank you for this thing that I'm about to go and do. My favorite thing about Rambi. And that's it. From the outside he can look, he can taste the cold. No, I also pray. And how about he's like very genuine and very thankful for the opportunity he's been given. Just an outspoken guy. inducing. That's why you're a superstar. So proud of you. I just pray the perfume that I used for that film. Oh that character. He does this too. What? The perfume. You change the perfume. You just pray the perfume might be. Of the character. So the smell of the perfume. He has perfumes for each character. That's interesting. You wear the perfume. That's actually not interesting because you can smell it. Or for the show. You're getting into character. But I haven't done that without permission for the other actors. Oh yeah. It's because everybody was allergic. But we could actually help the other actors. Every time they come on, you're like, I would ask. Community's fun. This is what Ishaan is doing. That's still unsuitable. I prefer you didn't ask. And you have to help. If I randomly smell something. You take the two music. You have a spouse who wears a perfume that I hate. That wouldn't help. I did it somewhere. It was a beautiful way to put it. I read music is what feelings sound like. So I feel like every kind of music has embedded in it. Some kind of feeling. That you can always draw from. Right. You know. So I feel. Music is very helpful. Music transcends emotion. It's a movement. It's a vibe. Every thing was a different playlist for me. Now in my new movie. Yeah. Every thing was different. Every scene. Every beat of every scene. That's that. A bit excessive. But like now. What is that? I don't know. I don't know. I don't know. What happened last night? I was sitting with the kids. I was sleeping. I don't know. So yeah, like now on this film. I request my new director. I was like, this is a Saiyan shot. You know, there's no dialogue. Six sound film but there's no dialogue. Can I play this music and perform with this in the background? He's all for it. And it's working beautifully. It works beautifully for me. I mean those are some of my favorite instances. Where I'm allowed to perform on music. Like it's a big. That's interesting. It's a thing Peter Weier used to do a lot. You know, especially on the Truman Show. Mr. Bansani likes to do it sometimes. You know, depends scene to scene. But yeah, I'm really connected with this. I can, if you get the rights on for the scene now. Boom, works done. Actually do you have a process? No, not really. I don't have a process. I don't have a process. If I do, I don't have to talk about it. Wow, great stage. If I do, I don't have to talk about it. I can't talk about it. He's the first one. And he knows how to do what he does. He's trained. He does not express. He just doesn't. Half-minute intellectualization. Why it's so interesting to see that in the age gap and also the experience gap between these. In its own way. These are all at the same stage. Yeah. But it's great to have these guys. Especially what we said about being, you know, saying thank you every time before you leave the van. Yeah. It's an incredible thing. But you've got to. You've got to. Yeah, absolutely. I mean, how many people wish to be where you are? Yeah. I was, I was, I was, I was done over like 200 auditions. And I know what it's like. I'm sure you've done yours. Have you done any auditions? Of course. Plenty? Auditions? None? Auditions? No. Did you say no auditions? And when you stood among so many and when you've seen that, all these people are buying for the same opportunity that you have. And then when you're fortunate enough to, you know, have done enough work and to be sitting here with such wonderful auditions. Auditions suck. Thanks. You know, it's the least you can do. To have an active career and having an audition. I want to do your best with every opportunity that you have. Because otherwise, you don't deserve to be where you are. So I can really agree with him and him and, yeah. You know, to all of you, Amitabh Bachchan just completed 50 years of acting, 50 years. And he's tireless. He continues to make two, three films a year. He's got a very busy television show. He does ads. He's constantly on his toes. Do you sometimes think about how long you'd like to be doing this job? How long you'd like to be working? It's going to work very hard. It is a very consume job. You don't need to be doing this. As long as I'm breathing. You can't do it anymore. Do you have other interests and other passions that you hope to make time for which perhaps doesn't, you're not able to do now because the acting gig is going so well? You're talking about Amitabh Bachchan, sir. Yeah. I'm working with him. And he just helps you with everything. Like I normally mark my lines with a fluorescent marker. And I don't mark my co-actors' lines. He was like, how selfish are you? Sir, he told me not to also mark your co-actors' lines. And he was like, why do you do this? So, I don't know, but I do that. But I think it comes from within. Like his energy level. They mark their co-actors' lines. His unbelievable age. And apart from that, talking about myself, I remember when Hawaii's are the bomb. Next day, I started making calls to all the musicians in the city and formed my band and started gigging. I started performing on weddings, college concerts. It's not so bad. I thought, I don't know, we're going now because the hoiza thing was like, trade was like, it's packed up. So, thankfully after a month, Dumlega Kesh was released. But next day, I formed my band. Like, now I'll gig. I'll sing, I'll travel with the band. I'll get over damn fast. Yeah, we fell down for a month. Yeah. That was fortunate. Yeah, well, there was windfall. But who was it? I'm fortunate that I have a paddle vector of singing and gigging. But not so much as a plan B, as things that you just want to turn to. Which you started with plan B, C and B, like radio, television. Then it was like a tour towards my final section. So, you started with C and B. Yeah, exactly. That's it. I honestly couldn't find any other interest or passion that I thought I could continue doing as a professional or means to earn money. Which is the only one I like and I'm kind of capable of. But I don't know. I'm capable, sir. I feel like this is it. Yeah, after a certain age, I might want to just like go away in the mountains and chill for a bit. Right. But I like what I'm doing as of now and I don't plan to quit. And I mean, Mr. Bachchan is one of the inspirations. I work with him on Pink and I know how to behave on set, off set, how to be a professional actor, how to be a great actor, all that. I was taking my class, I was taking several mentors and the days were like sitting in a master class waiting for the best. We had the most amount of dialogues in Pink. If you remember. And he never gave a second take because of him. Never. We shot the second half of Pink which is the longer half of the film in nine days. Wow, there were seven cameras shooting us for media. Nice. And every take was as long as the chipmunk. Nice. What about that? Every take was 13 minutes. Nice. Dars. And he would never. But he would spend two hours before walking around the space. It was like theater. Oh, that's beautiful. That would be interesting to watch. We do lines. And he do his lines. He's understood his performance. He knows where to turn. He doesn't want to mix even one IPC with something. He doesn't want to miss anybody's name. He doesn't want to lose the court procedure. Decorate him. He doesn't want to show the back to the judge. He wants to maintain everything. It's incredible. He chose how much that meant for him. I'm inspired to be even like a fraction of what he is. My question to myself is usually the other way around. It's usually like how long would people still want to see me? Right. I think that's the larger question that always bothers me. Because the ball is actually in that court. Yeah. The more you work, the more you understand. You can act if no one wants you. That's been my career. Oh, God. Hi. A couple of really big eyes. The larger question always is how long will people offer me work? And more importantly, how long will people offer me work that actually excites me? Right. Which actually gets me going deep within. Which stirs my soul. Because that's essentially what keeps me going. And that's why I do this job. As opposed to another less demanding, much more secure, more family friendly, normal kind of job. I do it because something in my soul just burns. It keeps that fire going. And not every opportunity is going to provide you that platform. Till they want to see me, I'm lucky to be here. Honestly. I don't know, sir. I'm really relishing every opportunity at the moment. I'm really loving the work. I'm going to think of that. I'm just deeply in love with the work. The more I do, the more I love it even more. I'm loving it. And what's important for me is that I keep getting to do different things. Every time there is one installment in the body of work, the next one ought to be really, really different in order to keep me engaged, that level of investment. To bring it out of myself. It's got to be that sort of thing. I like writing. I want to be a director someday. I want to be a DJ. I want to have kids. I want to spend quality time with them. I want to spend lots of time on a beach somewhere. But I could not say that far into the future. That said, I mean Mr. Bachchan is an icon. 50 years. I just saw him in Badla. He's just an icon. There's no other way to put it. He's possibly the most revered star, actor in our cinema of all time. So, I was in Yashash. Mr. Anil Kapoor. We were discussing 77. 50 years. I mean, look at him. Look at the level of enthusiasm he has, even till date. I'm telling you man, I interact with all kinds of actors. Like you come across a guy like Anil Kapoor who feels like his energy is like as if he's into his first film. This is the first time he's doing it. And the last time he's doing it. So, that people feel like that. It actually comes from within. But I think that's what happens. I think the more you do this, the more it bones that fire and you actually get better. I think the guys are they just go from strength to strength. The guy at the end is Micah. Because the more you give it to Moritz, it takes over your life. I mean, I've been doing this since 2003. So, 16 years and up to 80% of those 16 years has been on set. You know? I mean, that's the truth. I've given more time to this job than I've given to any relationship in my life that exists today. Including my parents, including my children, my wife. So, you know? You don't want that to ever go. So, you do what it takes to hold on to it. And you must. Maybe I should get fake glasses. But what I said is not important. The audience has to keep wanting to watch you. That has to last more important than the body. So, whichever lasts longer. You know, in your case, it's also interesting because you work sporadically. You don't necessarily work round the clock. Is that also what keeps the interest in it? The fact that it's not all the truth. No, I actually prefer to work like how Ayush was working right now. You know, a lot of stuff. My preference is that much more than working sporadically. Yeah, it actually makes you I get very nervous when I get on a set after some time. Like, even if it's for an interview, if I step out, if I haven't done anything for like 3-4 weeks or something and then I get back you know, even when I sit on that chair to get my hair done and this, that and I just start feeling nervous. I feel like I've lost touch and actually, that's probably why he's getting it right so much. 17 years down. No, no, no. No, no. You all get nervous. I get nervous. Everybody gets nervous. We all get nervous. First day is always little but yeah, that's good. You don't have to be nervous. You've just begun to get nervous. It's still difficult. Chris has already had the first day but you have to be here in the outside. You have to be in it at that moment. He's been with me for a few days. Some quicker than others. Some days, we are like, okay, Simba. He loves that movie. We need to watch it like this. It's day one, Hyderabad and give the first shot, they called Cut and I was like, I don't know if they called Cut and just given the first, they called Cut and I'm home. So it's like some days, it's different for different parts. 3-4 days sometimes, 6-7 days. But typically, within the first schedule, you should find something that's okay. Actile films where I've been looking even on the last day of shooting. Yeah, I did my thing. But while you go off now to start Jersey, your next film, is there a nervous energy? I'm shitting my pants. And some very very relevant people in my life told me the toughest time for an actor actually is right after he gives his most successful film. And especially if he doesn't have another film that's already rolling and so everything just becomes too thinking too much about everything. And I have unfortunately not wanting to be in that situation, fallen into that situation where I actually didn't know what I wanted to do after convincing. Damn You know, you want to keep it simple. It gets you through that phase because you don't want to get into this path of overthinking. I guess to be true to your gut. But you've taken 3 months off now. After after this. I don't know what you're doing after this. That's interesting. I just read this question. I don't buy it. I don't buy it. In the last 2 films, the first half of the year was over. So how long did you go without stopping working? I think last year was the busiest. With like 5-4 films back to back. But I want to ask you. You worked that hard last year. And therefore you deserve this break. You need this break. It's fair to you, it's fair to the family. But does it make you nervous, insecure? I need to recharge my batteries. Write my songs. Write more poetry. And then go back with like Yeah, you get depleted. You can scow myself again. And what do I do next? Has to be different from what I've done till now. It would be action, it would be thriller. It would be something crazy. But you've, Moeen in Gallipur has yielded opportunities. You're shooting with Meera and Iyer for So suitable boy. You've completed ghost stories. You're working with Zoya. And you're going back to the schedule of Baghi 3. Baghi 3. Oh, a guy? But I'm trying to So Baghi 3, it's another kind of a challenge. Because the character that has been offered to me is supposed to make people laugh. And So, I'm trying to do what Moeen says. How has he not been in the gangster film? Look at him. Different day. It's fun. It's just fun. It's fun. If you could take one performance that for you represents the best acting that you've seen. I know this is a tough one and I know this is a tough one. Joker, I'm just Bollywood. I think it's been a while since I've been hit so hard by a performance. Just like a sucker punch to the face. Like, That's how you really truly live apart. Last time I was hit so hard by a performance that Daniel Lee Lewis and There Will Be Blood. That was like, I don't know. But way back. Anything. I can watch it over and over and over again. It just keeps giving so much to admire Joaquin Phoenix since Gladiator has been one of my favourite actors. Walk the line but this is just it's it just it blew my brains. It really blew my brains. They all want to work as people. You can tell. Even if you don't want them to. They want to recognize the artistry. I want to see them in films with Joaquin and Leo. I don't know why they can't mesh. It's quite annoying. And as a father or as an inspiration behind Joker that performance was a lot more heartbreaking for me. A lot more lonely for me and a lot more comedy. For one actor I really admire across all his performances I think it's one of the most invisible performance ever existed. I've seen films where he's not even facing the camera but you know what's going on. He's been exceptional in minor roles in bigger roles he's the constant supporting character and walking in master. I have that film also Paul Thomas Now Joaquin didn't get the Oscar but I was rooting for Joaquin He really gave it up. Because it was Lincoln. I didn't connect with Lincoln that strong because I connected with the master. Jim Carrey in Eternal Sunshine thing is opposite to a score comic slapstick zone that shows the versatility of an actor and you aspire it's okay against it's different from ours and go in there every day with the one film you can act, you can dance you can mimic, you can do emotional scenes, comedy anybody's film next four or seven Swark Kamalasan sir in Chachi Charso we used to Sadma unbelievable yeah thousands of performances they had to just choose one and insult to the other very difficult a few tell you the one I felt very strongly about now I was watching a crown recently Oledya Beogudu you prefer therefore it's amazing just the soul it really does she's absolutely incredible I ended up probably choosing one of my rans because I've just grown up watching him do stuff which was Makul is what most people know about a doctor came out I don't know how many people have seen that or you know, Nui Kaboche was unbelievable he actually did a serial no, he did another serial for Lucknow that baby where he was playing a hauntedly and I remember I was a five-year-old kid and every time he came into the frame I actually just started crying it was so much positive to the team's personality so yeah it's unfair to choose Meryl Streep why should we always choose men I think Meryl Streep can teach most of us a lot you know so you know that always happens you know boys men tend to choose men and women tend to choose women it's a great performance but Meryl Streep is really nice as well I can't find one I used to record for teachers I used to work for them I used to record for teachers episodes I'm one of the episodes where Pankaj Kapoor sir is jamming with a Kabbalah player it is hilarious he was laughing and doing... it was called Haas Raab that's what we learned about that one he laughed in 20 different ways early 90s he used to do that for me as a kid when I was at home whenever I was like okay dad do something funny and he would start doing this Haas Raab you know like how people laugh in different ways and some 30 versions of laughter those are all incredible performances but this year of course we are celebrating your performances thank you each of you was really extraordinary in your films thank you for this incredible and that one piece of film was touched but just all negative in there for a couple of hours so you know it's all thank you so much thank you Rohan you did a fantastic job one subbing the parts you needed to sub but also filling us in on the points we would have not known even at points he was like I don't know what to talk about that was my favorite I have no idea what renders are talking about which is great I love all of them for many different reasons like I was saying like he's on the outside if somebody just saw renveer and the outfits he wears and the way he carries himself he's so egotistical he's full of himself but then when you actually talk to him he's really actually very humble that's just who he is as a person he's very confident but he's also very thankful of the opportunities he's given he's also got the sense he's a very giving person and artist everything he needs to give you I don't know about you but when I watch actor forums especially when that long for at least 75% of that I've got this ache inside to talk or just to also act with them to be acting this just physical sensation of to be acting and hoping and they do come across this way that they recognize the extraordinary gift they have been given I remember talking to somebody you'll know who I'm referencing I know somebody who's on a show right now and actually on two shows right now so they're a series regular on two shows and I remember this was a year or so ago hit shows and they've been a working actor for the better part of 25 years and have been on other hit shows and we were gonna go do something and he got a call from production that said they needed to do some reshoots and he was really pissed off that his dinner plans were changed and I texted him back and said please do you realize you just had production on your hit TV show ask you to come do reshoots you know how many actors wish they had this problem go do your reshoots and be thankful you're on a series that you get to go do reshoots on you miss those when your show's successful like these guys are the guy we're talking about when your show's successful it becomes a job sometimes but like when I was on a show Lisa Weppin we did there was two times they called back for reshoots not because of something I did because I was perfect but because of something and I was so excited and I got to go back on set and act more it was so exciting and so it's just something you hope you never get to lose the fact that you I mean because obviously I understand these people are on especially I use my corona who's acting for the better part of the entire year it becomes a job obviously you know you enjoy it but it becomes a job and so these little nuance things happen and you know that it's like oh that's annoying yeah and I get that saying that familiarity reads contempt but I just hope you never you never lose that like child like I get to act for a living yeah I think maybe it helps where if you've gone along season it's all I knew as a kid from the age of four until I was 16 and then theater from the age of 16 until I was close to 30 the when you're on set day in day out year after year I never got tired of it and then when that's gone you get like that's one of the reasons I like doing background work is because I just love being on set I can just sit in a chair and watch everybody doing what they're doing and feel like the ocean who's where they're supposed to be because I'm just getting to be a part of the creative process and be on set see craft services set up over there see the grips taking the stuff over there for that setup and just there's there is the specialness of it and it was also nice to hear them talking about the craft like she had and Riviera obviously was probably the most outspoken yeah it's just funny because they seem like really good friends and it's funny because there's I see on the internet sometimes people saying like they are unhappy with each other sometimes I'm like it doesn't seem like that to me I don't know their whole thing but it seemed like they were really enjoying being around each other and talking about acting which is one of the fun things but also I really enjoyed the guy on the end who's in article 375 because I'm actually very similar in that aspect in terms of talking about acting I don't really know how to tell you how I do what I do right it's not something I'm good at articulating a gear teacher you know how to articulate what you're saying it's not something I'm very good at in terms of telling you how I can do what I do correct or even wanting to like Daniel Davis is that way it's why he doesn't do a lot of interviews he loves the art form but he doesn't feel like he has anything to contribute that would help anyone do it it's just his process I could never teach a class I could be a character and I know how to do that it's just something that comes natural but I can't express to you I've always been able to do impressions but I can't tell you how I can do an impression it's the exact same thing I've been doing Jack Sparrow famously on the internet for a long time I was like do a tutorial I couldn't tell you how I do that I couldn't teach you how to do that can you do that? I don't know it's like teach me how to be a redhead show me how to be a redhead it's so talented he was my theater teacher in high school so he knows how to articulate what you're supposed to do and obviously that helped me and formed me but I'm very similar to him unless we're talking about different actors I agree with you there are things I can and love to articulate about acting in regard to some of the technicalities of substitution and emotional recall and even the practicalities of memorization or improv but there are some things like why does it come so easily for me to do Mrs. Doubtfire but ask me to try and do Tom Hanks' voice I instantly get robbed there's some voices like remember when we did the Joker review and I just did the laugh and I went wow that seems like that one's going to be one of those that's just the registers real quick why? I don't know it's one of those things there are some things that are just cannot articulate I think it's DeRam I think he's a very introverted guy and he's a thesbian and so he's been around a long time and so he just knows his process but he's also as an actor most actors I feel at least the good ones I would love to be like him unless they were talking about the Hollywood actors or actors they like because then I enjoy talking about that kind of stuff but when the people are just talking about the process or stuff I love to just sit back and I'm like that's a really good point absolutely and you're just soaking it in I would find myself irrespective of experience if I was in a round table situation let's say it's 25 years from now and you're sitting around a round table and at that round table there is Joaquin Phoenix and he's just done Joker and then next to him is Leonardo DiCaprio and he's just done Once Upon a Time in Hollywood and then next to him is Meryl Streak and you go around I would be in a position of what do I have to offer right now let's just listen to them talk it's like what we say a lot of times I would just love to sit and watch it's the same with directors too I would love to just sit and watch Vashal or Sanjay Lee Bansali just work that's another one of my favorite things about background acting is I love to just sit and watch like if you work on a show like CSI you just get to watch this particular director and the writers and everybody doing what they do how everything is an experience a lot of the background actors do their thing and then they go sit down and too many of them while they're sitting or talking about and he was and what I'm doing is I'm off to the side and I'm watching the director of photography talking to the lighting designer and he's telling one of the grips to go and put that light up there I'm hearing the terminology because I just want I'm a sponge I want to learn everything that's going on I want to watch that actor sitting in their chair on break they're processing their work that way interesting that's what they do to their script and then over there is that person and the people on set take note of that and they recognize who are the professionals and who are not which is actually an interesting thing that he said about what Big B Big B I don't know what maybe I'm misunderstanding what he's saying marking his I'm misunderstanding what he's saying I'm like I don't do that I look at what I'm doing because I don't actually want to know exactly I want to be listening yeah I'll know what I'm supposed to say once you say because it makes sense because I know what I'm saying it's a twofold thing for me though also I think I might be misunderstanding what he's saying that he does I think what he was saying was what he does is what most actors do you highlight your lines because you're memorizing your lines and when you reference the script because you're not going to be like this the whole time you're doing your scene you want to be here and reference it and the highlighting of a line with a highlighter helps you get back to where you are and what Big B was saying to him was why are you so self centered and just focusing on your lines I see both sides of that equation because for example my goal I would prefer if I had the time to memorize everybody's lines in the scene really it helps me as a listener because for example in theatre you get so acclimated to a show you know everybody's lines when you do it you know everybody's lines you know the entirety of the show what's great with listening is if an actor does something different with the line it triggers something different in you and if they drop a line you can save the scene and the scene doesn't end and that's what's great especially TV actors TV actors don't often they can barely have the time to memorize their own lines so with a TV actor or a film on a tight budget that's shooting quick making quick changes especially a 13 minute shot where you're just shooting 10 pages of dialogue which is incredible I see both sides I think the bigger point Big B is making is I hope that as you're highlighting your lines you're not thinking about this as just your scene because that's what I say I want to know what Big B is talking about when he's done because if it's also like I have the highlighter so I can I have too much ADD in my head to figure out which colors there are some actors who are only acting when they speak and when you're talking to them they're giving you nothing so if Big B I'm sure he's saying I really hope you're not that actor who's thinking about just that you're acting only when you're talking but also what an amazing experience that is to learn from somebody like that I'll just be like a little kid tell me how have you seen in addition to the Irishman being on Netflix they have an accompanying half hour round table that's just a conversation about the making of the Irishman with Scorsese, De Niro Pesci and Pacino sitting in a restaurant booth having drinks and talking that's amazing so after the Irishman watch that it's just to watch these legends talk about the craft and talk about each other is just and then we enjoy that which is why I really enjoyed this I really enjoyed them talking cause it was funny immediately when they said what performance and they went broad they went all the way to Hollywood especially Shahid Shahid and Ranveer were like obviously they just saw Joker which is an amazing performance but then they talk about obviously they appreciate the stuff that goes on in Hollywood but it frustrates us even more because I want there to be such a seamless integration between the amazing actors that come out of India and the actors that come out of Hollywood it shouldn't be like Bollywood and Hollywood obviously I know there's thousands of other making Indian film into one terminology but Indian film it should be as seamless as really good feeling call the wasps call the wasps if they need somebody over here who's a really good call Paul Bettany to come over and do this white British role that he would be amazing for in a thousand films in India and that's why we wish it was such a much more seamless this is our industry we've talked about sacred games we should hear people talking about sacred games here the way they're talking about every other series because you know there's people in Indian industry and people in Hollywood that really admire each other and so there should be a very seamless way for Ranveer to act with if he was acting Daniel Day Lewis or whoever in this Shahid to act with walking themes and you're not just putting them into Indian role you know we're talking about seamless integration that should be happening because these are the two global leaders in cinematic artistry nobody else is people are doing great things artistically we know that from international films but as far as the amount of people being impacted by cinema India is the biggest so why we haven't seen a greater integration is really frustrating because that's what I really want I just want to see good acting on the screen and I want to see people realize almost everybody in this I think is a supremely talented actor and you feel the same way I feel that people in America are being as robbed of the richness of a performance by not knowing about Amitabh Bachchan for example as I would hearing anybody who would say to me I've never seen Robert De Niro in a film I feel the same way someone would say to me I've never seen Amitabh Bachchan I would be like you don't realize what you're missing in the gravitas and the believability of someone in a role that is a heavyweight film actor it's just I would have loved to have seen Nawaz in this little round table though I really would love to hear you know what else I would love a round table like this with directors I like to see Zoya and Michelle Bardwage do they? they also did a female one I don't think it was Priyanka writers, cinematographers I think the one he's the same guy did a female one I think it was Alia, Deepika the Tapsi and a few others I don't know if that one's subbed as well but yeah if there's like Vishal Sanjeevan Salli Anurakashyap Zoya it would be incredible we're fans of just acting and cinema that's what we enjoy obviously I hope you know that by now I hope you are too if you're around right now thank you for sticking around you are hardcore stupid baby that was great I really enjoyed that