 Welcome back to our distributor, XGDX, I'm Corbin. I'm so glad that didn't come out my nose. And you can follow us on Instagram and Twitter. You can take a better source on Patreon and follow on our official Twitter account. And today, we're reacting to a behind the scenes-ish thing. I thought you were gonna say we're reacting to a behind. Like somebody's behind. You were just gonna like show me behinds and we were gonna have to guess who it was. That's actually not behind me. It's from the film Piku. This is a behind the scenes of Piku? He's talking about, I believe, the car scene on the side of the road. Sweet. Then you know it's- Wait a minute. The one you really liked a lot? Yeah. Yeah. So it's- The director. Yeah. Say his name. Shujutsu-kar. I believe he's talking about the development of that scene with the three of them on the side of the road. Yeah. Unless it's a different scene, but I believe it's that scene because we really enjoyed that scene and you talked about, you think it was all improved. Yes, yes, yes. How much of it I was wondering was improved and how much I would love to know what was going on there and how much I saw to Piku. I mean, if you're working with Big B and Irfan, your work's gonna be great. So let's go. Cool. Hi, I am Shujutsu-kar. I'm gonna do just talk about the scene from Piku, the famous knife scene. This scene came on the second draft of the story. The initial draft, I think this scene was not that, it came on the second draft. When I was discussing with Juhi, I told her, we should have a moment where hell breaks. It's a full stop. Now nothing can go forward. So I think this man has irritated everyone so much that let's have a full stop on everything. So this scene was almost like that. I think he was probably driving it. He was driving it in highway, so it came for safety. Let him be. No, no, no. I don't know what you were doing with your car. This scene was not constructed like this. This scene was more like he will give the knife, he'll come, they'll have a little debate, he will put the luggage in the owner's car, she will hand over the knife to Irfan and Irfan will chuck it and they'll sit. But when we were doing the scene, something was not happening, coming out. I mean, the way it was scripted, we were perfectly scripted, not, it was not happening. We were doing the scene, it's not coming. But it was like looking like a very stale and boring scene, you know, why this another scene coming up. So after many rehearsals and many takes also, I went to Irfan, I said, Irfan, I miss the person, sir, this scene is not happening. So I was like, what do you want? I said, this should be the end of the film. Suppose this is the end of the climax, all relationships are over. This should be like an end of the film. I am not your uncle, I am not your uncle. Mr. Bachchan is a more, he rehearses well. He's more of a scripted person. I mean, he'll remember the comma, the question mark, the dot, the full stop, everything. And Irfan is a, he can go anywhere. I mean, you know, if you really give him a free hand, like a spontaneous, he can go anywhere. And Deepika also, at some point, between these two actors standing there, she also didn't know where to go, what to talk. So I said, okay, fine. Here the script ends. And after these years, guys, our audience is on. Heck yeah. This I just told Irfan in his years, you push, you start. And see where it goes. Let's start improvising. And Irfan is a master in improvisation. It shows. I want to work with him. It's so nice. And I mean that, you know, if Irfan starts improvising, and Mr. Bachchan starts improvising, they can go on. Right. And then Deepika in the middle, holding the knife, I don't know what she's going to do. I went and whispered in Deepika, that listen, at some point, if you feel, you are not able to understand what the hell, you chuck the knife. You actually chuck the knife. And this I didn't tell the other two actors. And I never thought Mr. Bachchan was also a great improviser, you know. I always thought he was very scripted. But in that scene, I told him, sir, this is going to go a little chaotic. I don't want where this is going. I have no idea, but please take it to a level where, you know, hell breaks. And Mr. Irfan and Mr. Bachchan started. I will not, I will not, he takes the luggage and it's chaotic, my camera is saying, I'm not getting this. I said, let it go, I just don't stop. Let this go, if you're getting, there are a lot of jerks in the camera. Very difficult to edit that scene. You'll find a lot of jerks coming in there. Language was wrong, words were wrong. Some portions we dub a little later also. And they were just fighting. And Deepika, actually if you see some point, she didn't know what to do. If you see, she didn't know what to do. She just, she chuts the knife like that. Okay, chucky better. Now, it's a boy, yeah, yeah. Right, otherwise I'm not going. I'm not worried. I don't know what happened to Irfan at that moment. Actually, in that scene, he walks away. He switches on the phone, the scene is not there. And he calls his friend, that friend, which is paired by Jishu, Pihu's partner. I'm taking the bus back, I can't take this family. You come, whatever. So is that kind of, that phone call was, I cut that out. And after the phone call, he goes and sits there. So Mr. Bachchan goes and sits there. And Deepika also didn't know what to do. But really clever of Deepika. She also thought what to do. She went and got into the car. I gave an instruction from behind the camera. Deepika, you also, you do something. So she heard, she went, she opened the door and she just went and sat there. And they didn't know what to do next. I said, keep holding. And I got a very nice moment there. I said, keep holding, don't move, everybody be there. Let's just stay with this moment for some time. And this scene was actually, this came out with that improvisation there. Three different islands happening there. There were all three people, three different modes, three different zones. And that's how this scene was captured. And I went back, I took the white shot. And then he's sitting there, he chucks the knife, shoulder, then he takes his bags. He's sitting there, he's like sitting there, like a grumpy old man. I didn't know this scene, that this could be the integral point. I thought after this they'll move on. So I shot this sequence. And I don't know what happened. It was like a, you know, Jesus coming on to you on that moment. I said, okay, I asked my camera, okay, let's take a white shot of this. So we go across the road. And anyway, it was quite late in the afternoon because this scene took a lot of time because we're all confused if this scene is working or not working. Since then, we started the scene morning, seven o'clock. We finished lunchtime one o'clock. Normally I shoot very fast. But this scene took a lot of time. If you see the scene, there's a lot of sun. It's even bright sun coming out. Actually, the scene was supposed to be really pretty, morning sun, light coming out. I just went out. I said, okay, I'll take a white shot, we'll take it again. So I took that shot. I said, I'll use or not use, I'll see and then I'll come back. And then he throws the knife and then goes away. So my editor one day called me, sir, I got an interval point. Look at how you look. Shekhar Prajapati is edited all my films. And he said, he held on to this shot. And he said, how about this is an interval point. And immediately I said, you know, no, this is the perfect interval point, absolutely. Or this is the perfect interval point. So that's how that interval point came in. Hi, I am Shijit Sarkar. And if you like this video clip, please subscribe to Film Companion. Tell you what, I wanna work with you. Yeah, it was a genius move by him to let that happen. Yes. And sometimes certain directors can, and deservingly like Martin Scorsese, I feel like is this way. He's a genius and he knows what he's doing. He does. He likes all what he likes. And that's why his films are three hours long. And three and a half hours long because he doesn't like to cut anything out. Because everything's genius. Exactly. And he clearly knows. I mean, I've never seen him work on a set. I've never had the honor of being anywhere on a set that he's been working on. But what you get in the performances from his actors and why the greatest of all time have repeatedly worked with Scorsese is because he's clearly an actor's director who allows these kinds of moments. One of my favorite ever moments, which is comparable to this, that I know about, if you've never seen the movie The Color Purple by Steven Spielberg, it is in my top five favorite Steven Spielberg films of all time. And it's one of the first films he ever made that was stretching himself beyond the realm of the blockbuster hits that he had where he was diving into something that the source material was a really popular book and it was dramatic. I absolutely love The Color Purple. And there's a scene where Danny Gleber's character and the two sisters, one of them, the sisters are best friends, but Danny Gleber is abusive to both of the girls. And at one point he's trying to come on to the one sister who's not allowing him to take the advances. And what's gonna happen is he's gonna kick her off the property. And what Spielberg did is, I saw this one behind the scenes, is he went to all three actors and spoke to them separately before they shot the scene. And the scene is not scripted with any kind of dialogue. It's just scripted with action. And what basically happens is this, the two sisters are going about their day, Danny Gleber is gonna go up to the one sister to do some advances. She will reject those advances and he's gonna finally want some for all kick her off, which will mean the sisters are separated. So he went up to the three different actors and he said to Danny Gleber separately, he said, you have to get her off your property or you're gonna die. It has to be that big of a deal for you as a character. Your goal is she must get off the property, you die. Went to the sister who's getting kicked off. You can't let him kick you off or you die. Went to the other sister, you can't let him take your sister away from you or you'll die. And he told them that all separately. And then he rolled the cameras and when you watch that, everything you see in that scene is pure improvisation and it's just, it's so beautiful and painful to watch. I mean, everything from, they're holding onto this pole and Danny Gleber is hitting her pants with his fist to get her hands to let go of the pole. And when he finally pushes her off the property once and for all, the actress playing the sister in that moment just looks at Danny Gleber and goes, why, why? And it's this heartbreaking moment of the two sisters being separated that wasn't scripted. It was just this, and the reason that that moment was able to come to pass is because he had a director like this who just let the actors be and let it roll and let them just do whatever they felt like they were gonna do. And you get, you get gold when you do that. That's, that is, that's why they did this behind the scenes. That's one of my favorite scenes in this film. Yeah, that was a, it was a great scene and brilliant directing. You know, it was also interesting to see the, and it's, I think it's something we've figured. I'm gonna talk to Bakseon. I've heard that he's a very, to the script. And there's a lot of actors like that. And then there's nothing wrong with that. It's obvious they're approach. He's one of the greatest actors. It's their approach. And that's how you do it. I think Danny DeLuce is similar to that, I believe. I don't know how much he is that way. I know he's this way is that he won't ever break character. Yeah. Ever for the entirety of the shoot. Yeah. So don't ask him. Yeah, but so you, you have that. But then Irfan, who we just figured was a big improvise. Well, and I think the difference is that my understanding is Big B doesn't have a theater background. He is a strictly film actor, which would make sense. You don't, you're, I mean, you know how I feel about improv for those of you who don't know. To me, improv is the foundation goal of acting. If you don't have the capacity for improv because life is improv, you never know what's gonna happen one minute to the next. But I, what I love is how seemingly unrigid Big B is. And that he prefers not to improv, but he will. You know, he did amazing. Did an amazing job of that. And, and at- Minds me how much I love Irfan, though. I know me too. And how much I love Irfan is arguably the most natural actor. If someone were to say to me right up top of your head, some of the most natural actors you've ever seen in your life, he is at the top of my list. He's the most comfortable. He makes it look so effortless. So effortless. He makes acting. I would say, if someone were to press me, what actor makes acting look effortless to you? Like at the top of the list, it's Irfan. I can't imagine anyone else making it look more simple and effortless as him. Always. Yeah, I would love to work with all of them. Oh, I would be- It was interesting. Freaking out. And that was the whole part of the movie. These three different generations of actors. Yeah. In a film like the season pro, the, I mean, he's not new and upcoming, but you know, that type in Irfan. Yeah. Well, compared to Big B. Yeah. Big B is his look up to. And then the new, new. Yeah. And Deepika, who's relatively very new. Yeah. And not as experienced as these two. No, but he did- He probably did an amazing job. Yeah. This was the film as much as I enjoyed her in Padma Vaat. This was the film where I watched her opposite these two legends and thought, dang girl, you're an actor, man. You're doing, it wasn't as revelatory for me as when we saw Priyanka in Barfi. That is still for me the singularly most revelatory performance by any actor out of India is to watch her portray Jilmil in Barfi. But the peak at Deep Lee, this is the movie that I saw. Wow, this girl is a legit actor. I got that word before you. I know you do. I know you do. It was great. But yeah, this was great. If there's more stuff like this, but then they go- Please, this is- This is like, we see a couple of behind the scenes stuff. Some great, some not so great. This is what we want. The director specifically talking. Like, I would love to see Vishal talking about some of his films. Oh, you specifically like this. Sanjay Leela Bansali as well. This kind of stuff. Not just like we did a Ram Leela one, which was more of a promo piece where you saw what was going on. We don't want to see what's going on. We want to hear what's the creative process. This was great.