 Tublay's... ....means tublah. Name that movie. Follow back to our YouTube direction,꾸 can actually getätzee'd some journalist. I'm Rick, and if you can't, i'm Disappointed in you. Follow us on Instagram and Fantasia! Wow! peque do routes up some detection lines 가�ouses under a game squad. You've had a sad life. That movie is one of the greatest movies of all time. Of all time. Hilarious. Anyways, I'd be interested to see if people that aren't from like Western cinema. You know what I'd be interested to see? If they get it. I'd be interested to see an Indian attempt at a remake of The Princess Bride. Come on. That'd be fun. You know. I don't want to see anybody do that. If Nawazad and Siddiqui. That, no, that movie shouldn't have worked in the first place. I know, but it would be fun to see. But it did. Come on. No, it wouldn't work. Whether it worked or not, it would still be fun to see. I wouldn't want to see it. Yeah, I would. But today we are reacting to, I think it's one of those, I think we've seen them break down. Remember, we saw the director break down the... The cargo boxes. It was really boring. The scene from Tamasha? The bar show. Yes. Right. This is the director, I believe the director of Barfi. It's breaking down a scene from Barfi. Ah, Priyanka? Yes. That one's Barfi. So it's Anyarag Basu on Barfi. So I believe he's going to be breaking down a scene. You know what I hope it is? I hope it's the scene where he's with Barfi's with her and he's coaxing her and trying to make her laugh and make her happy when they're in the little house together. That's my hope. Here we go. Hi, I'm Anurka's chef, Ana. I'm here to talk about my favorite scene in my film, Barfi. If you ask me which is your favorite scene in Barfi, it's very tough to decide. So I've decided for this scene, which was the first scene I shot for the film. And it's very important what scene you select as your first scene because it sets the mood for the film. Somehow, there was this real-life incident of a girl called Razia and who is... Who was there in Sankarnam, which is Goryakon, near my place, and a deaf and mute guy, Murtaza. And so there was this incident in the scene which I'd come later, which I saw and which gave birth to Barfi. So the first scene I shot was when PC comes home, Rundi's home. So I remember PC and RK didn't, they didn't want her to start with this scene and they wanted something easy, something montage, and so that, you know, they can build it up. But I thought, I'm gonna go like, let's start with this scene. Or if it doesn't work, I'll reshoot again, but let's start with this scene. So catch the bull by the horn and then we started with this scene. I remember PC was in the van and she was not coming out. I said, Tadabh, this week, I'm looking like Sachin Tendulkar, I don't know. So, but finally we all decided, no, this is the scene we want to shoot. And the first shot is, of the film I took was when PC slowly enters. Yes. And then we have kept a lot of property, you know, in the house. Like, you know, it was not pre-decided. You'll see this one ring from the van and there was this hamster wheel in the corner. There were a lot of stuff. I've told my director and my assistants, just think about many things. You know, it was all over the room actually. And then we thought which one she should see. And of course the hamster and the wheel was standing out and the hamster was not moving. And PC came once and he was quite and he was not moving. And I think it took me at least one hour. And PC walked the hamster again and again and he was not moving. He was just standing still. It was very funny. So finally PC walks. And so there were small things, you know, which will make the character, which you will be in love with the place and she will decide to stay back. You have to have small, small things which will, otherwise, you know, she will panic and she will go try to go back home. Then she says, Susu, which one we doesn't hear. And then he doesn't know what she's saying. And she tries to hold hand and then, if she's not holding hand, how she will go out. They were all improvising, were discussing, were thinking. And then he just takes out the pocket and then she goes, the pocket goes outside. I think then Ranbir opens the nara. It was really cute. You know, it was like, you know, I'm doing to my daughter, young daughter that time. It was just, I could see my daughter and Jinmy because she is, she will see small, small. So she will just pick up the skirt and we will open the nara. She went inside. The last thing we shot was of that day is when they both are lying down. And Jinmy slowly goes there and holds this pinky finger. And that was the moment I saw our picture. That was the last shot I took. I was like, okay, okay, okay. We are safe. Otherwise, you know, it is making a film like this, like entering a dark tunnel without any torch. Everything is dark and suddenly that shot gave me light and the end of the tunnel. I thought, I'll pick up nothing. So that was it. And the next day was a tough scene. We shot, that's the second part of the scene, where Ranbir comes running and he sees the next year shot I took later. So he sees all his neighbors and everybody's looking up, some chaos happening inside, some sound he goes inside. And Jinmy is going crazy. When we thought of doing it, and I remember PC said, you know, to, we said, let's do it, you know, we'll just do it. And PC, small, small characterization of PC, I'll just mention in the film. And also Ranbir, which we actually, which was decided in this scene and then we guide in the whole film. So this first shot was very important. So PC comes in and she's going buzzer, she's going door, door, door, door, I mean the door and he's going crazy trying to hold. And finally she bites him. So this is the shot I saw of Razia and Murtaza. Razia was out of control and all the teachers of Samskar Dham were calling some Murtaza. Murtaza, Murtaza, Murtaza, Murtaza. We didn't know who this Murtaza guy was. And then Murtaza comes in and Murtaza was a deaf and mute peon of that Samskar Dham institution. And he comes in and controls that door and that's the magic and the chemistry I saw between both of them, which gave birth to Barfi. And so there was no prep. There was no preparation. The only preparation we did, we introduced Chilbil to Razia and we did this first schedule. First schedule was workshop for us, prep for us, everything for us. That mirror thing was again improvised there. So we stopped till there, we didn't know what to do after this. We knew the sound will come in, but how it will begin. So all the things which Razia liked in real life when you try to put it in this way, see. So there was a small mirror in the reflection, dancing of the reflection. She also comes out with a small mirror. That's how the chemistry starts between both of them, which was a base for the whole film between both of them. So it was tough. I know there are many more favorite scenes of people like, but I love this more because this made the film what film it is. And small, small characterization when Chilbil picked the patch which was first take, second take, third take. So first we were twitching of the nose like this and going like this. All this, you know, it just added. And we said, the walk. We asked PC to walk on her toes, not to touch her heel on the floor. So it became an awkward walk. And then we, face was not looking, face was, now PC was not looking, she was still looking Priyanka. But then we added some cotton birds inside, like, you know, put up. And so I think all these things were decided during this scene. If you like the video, please subscribe to Film Companion. I love listening to directors talk. Yep. Yeah, I thought, I said, yeah. I love, you said I love listening to directors talk. I was like, yep. Yeah, I love listening. I also love that most of, he's saying a lot of the plus improvised. Yeah. So it sounds like he didn't do a lot of prep in terms of rehearsal with these two characters, so that their interactions would be like meeting each other for the first time, which is good, especially for an actor. Yeah, well, it's good meant. Obviously rehearsal is good at points. Yeah, but then also for certain roles where you're actually meeting somebody for the first time to have that spontaneous reaction. Yeah, it's great. But I did love that there was a lot of, like the whole pocket thing was improvised by Rembeer. The, did you say the bite was improvised by? Yeah, she naturally did that because that's what she felt like doing at that time. And obviously all of the physicality things she did, obviously none of that can be scripted. That's just coming out of the nature of her being the character, as well as I love the fact it says a lot about him as a director that he was willing to take an hour to get the hamster shot. That's why most people hate working with animals. That's true, because they control everything and they upstage the actors. And also here in Hollywood, they have a union, a union to protect the animals. Yeah, so they can't work, not as bad as children. Children have the most strict rules here, especially infants here in Hollywood about their stuff. But animals have pretty strict regulations. Personally would love to work with a director who's like, we're getting the shot with the hamster because we know that's gonna work. And so you just have to keep coming in and we need to wait for the hamster to walk. And so we're just gonna do it till we get the hamster walk. And it's good. Yeah, it says a lot about the director to one, that he also does that and then also lets the actors improvise and do their own thing. Yeah, I like that. I do too. There's good and bad to everything. There's good and bad to how different directors work. Yeah. Certain directors are, you will say what's on the script, like give you a frickin' line reading. Yeah, you will do that, you will not improvise. Like there are some things, I remember DiCaprio said this at a Q&A about Tarantino, that there are some times where Quentin wants a line done the way he wants it written. It's like, I wrote it this way and I want you to deliver the line this way. And so you're going to deliver the line literally the way he wants it to be. It's their film. Yep. The director is king. Yeah, director is king. Or queen. But yeah, there's good and bad to both because obviously if they produce good content, then it doesn't matter. But what other films has this director done that we should know about? Because he did Barfi, Life in a Metro. Life in a Metro, Detective Jaga. He hasn't done a ton. No, but I remember... Shamatog. Oh, he did... I remember being really deeply impressed with his cinematographer. And we mentioned the cinematographer's work on another film as well. Just beautiful, beautiful lighting in cinematography and Barfi. And it's really important. He said something that's very revealing, which is true in most films, is that even though you've got a really clear script and the director has a really clear vision, Scorsese talks about this, how it's really going in a tunnel without light sometimes. And when they finally get a shot, they are beginning to get an idea of what the film's gonna feel like. And that's important to remember. If you're on set, no matter what you're doing, if you're on set, the director calls the shots and you also have to give the director breathing room and recognize that the director sometimes is just making decisions on the fly and is pretty frickin' scared. Directors are usually flying blind. And they're scared. So, and they may look like they know what they're doing sometimes and don't. So just give them all the support they want and do what they're asking you to do. And a director like this, obviously, is clearly, he knows what he's doing because Barfi's end result is pretty darn great. Yeah, yeah. That was great. Let us know more behind the scenes with different directors from different stuff that we've seen and we enjoy stuff like this. Technical stuff. So, let us know down below.