 Did you know that most neat freaks could not watch the World Cup final? Why? It was too messy. Ha ha ha ha! It was too messy! Get it? No, explain it to me. Hey, we'll go back to our stupid directions in accordance. I'm Jewish. I mean, really? Yeah. That always confuses people. I can't wait for people to be confused by that statement. You can fall asleep. It's going to happen to me now! I want you to stay calm. Don't think you should pay too much attention. I'm trying to make a button. Did you watch the World Cup final? No. I saw the highlights. That sucks for you, man. I heard it was one of, if not the greatest, World Cup final ever, went down to the penalty kicks and I saw all of the highlights and I saw the announcer crying, but yeah, I only watch Yankee's Baseball. That's the only sport I really follow anymore, because he's sad. No, that's not true. And I also like to watch UFC fighting, but even like Dallas Cowboys and the NFL, I don't care anymore. Well, that's super interesting. Sorry, I'm hungry. Why are you sorry you're hungry? You're a human being. No. No, not really. I'm not. It's true. Did you watch the final? Mm-hmm. Wow. I watched a lot of the World Cup this year. Yeah. Anyway, but I love football or soccer or who, you know. Yeah. It's the same thing. Anyways, today we got a Renvier Singh answers fans' questions. So this is from a film companion. We were acted to her interview with him near Jaistai or whatever that film was called. Yes. Apparently, he also did a segment where he asked, the audience asked him questions. Yes, I have a question. Why don't you come talk to us? Yeah, not much of a hawk. Yeah. Love you Renvier. Anyways, but yeah, so that's what this is. So, here we are. It's an actor and chameleon. Your bhabhi is in Bangalore anyways. I have nowhere to go. I'm not shooting a film right now. So honestly, there is no place I'd rather be. I'll ask you a question. Okay, G. Hello, sir. Hello, ma'am. It's an honor speaking to you. My question to you is this. A few years back, I watched your movie, Bajra Mastani. And just five minutes into the movie, I was like, whoa. Best decision of my life. Have you experienced such a moment watching any movie recently? Which scene was it? Like the whole movie. I felt like you are the Maratha warrior. Like the blood of the Maratha warrior flows into you. Sometimes, you know, I must tell you, when you're playing these characters, who you know are historical characters and have such reverence in their community. Because the onus comes on you. You have to really, you know, do justice to it. You will try. Yeah, because it means a lot to a lot of people. So five minutes in. That was probably Bhai's entry. Yes, ma'am. Chita Kichaab, Baaz Ke Nazar Aur Baaz Ji. Tell you funny stuff from that day. The question, though. So this is the early years of Bajra Mastani. I didn't even have a scubble on my takla. So Sanjay Banzali looked at the monitor. The first thing in the morning, he's like, your face is looking like an egg. I think we'll take your back shot first. Atau camera. Anda. And then that dialogue with now that I look at the film back, I feel like I could have chopped that pause. You know, I feel like I watch it. I'm like, it could have been a little less. So it was a proper dialogue dialogue. It was like there on paper and you can see it. It's popping out to you. It's like, yeah, what dialogue. Right. Yeah. Chita Kichaab, Baaz Ke Nazar Aur Baaz Ji. Tell you funny stuff from that day. That must be another line. I think you forgot the question. No, it was the rest of it. I had a warm moment, sir. I watched R.R.R. on stage. There we go. And I had dozens of warm moments. It was like three hours of this. Whoa. Yeah. That's Mr. Raja Moli Cinema for you. Just like it gets you out of your seat and barely even sit. I absolutely loved it. When I got out of my seat, the first time in R.R.R. was that sequence where they're trying to save the boy. And Jabhi Toh Hiro Ka Haat Eise Haathana. Yeah. So, yes, R.R.R. War movie. And if you haven't seen it, you're missing out. Yeah. Agreed. On an Oscar film. Aisha Panchal. Hey, hello everyone. Hi. Hi. Your question is that if you have given any chance to recreate any iconic role of your favorite from world cinema, which role it can be? Hmm. Wow. I have a couple that come to mind immediately, but I'd first like to invite suggestions from the audience. Stop it. He just feeds off of audience. He loves people, yeah. When you asked the question, Aisha, the first thing that popped in my head was Scarface. He'll be very good. Thank you. You know, we actually made Scarface in Hindi cinema a couple of times actually, you know. Agnepath. Agnepath is pretty much Scarface. And Vastav is pretty much Scarface. And I love all three. So, yeah, Scarface comes to mind immediately. I think there's something just so... Oh my God. It's just something so attractive about Tony Montana. You know? Yeah, Kartharajas. I think you'd also be amazing as John Travolta in Saturday. Okay. Yeah. That would work. I'm on. I'm on. I'd cast Karan Johar to direct it. Yes. Yes. The one that comes to mind is the Wolf of Wall Street. Oh, shit. So, these are a couple I'd like to do. Joker. Joker, Gladiator. And to be super honest, the Joker, I really like... I definitely, in the process of creating Khilji, watched The Dark Knight a few times. In the process of creating Bajira, I watched it Gladiator a few times. So, there's definitely something there, which those wonderful artists have put out there that is so infectious that you can learn from, draw from. But I would love to do my own version of Scarface. And I would love to do my own version of The Wolf of Wall Street. Nice. Okay, last question. Thank you. Last three questions. Yash Dhabalia. Hi, ma'am. Thank you, sir, ma'am. So, there have been many moments in your movies that have been very special. But what is that one scene in the past ten years for you that after the director said cut, you just went back to your vanity and you just felt good about that moment that you have reached a point? You know, huh? You know. There are often times where cut is called and you can't immediately switch off from what was just happening. If you're really present and in the moment and then cut is called and it kind of disturbs you in a way. It kind of throws you off. You're like, oh, okay. And you're not still ready to let go of that feeling that you're carrying. So, sometimes it spills over. And sometimes not comfortable feelings. As a performer, you have to cultivate this habit of being comfortable in that discomfort. So, even after cut is called, if you're performing a sort of emotionally testing or difficult scene, it will still continue. And you have to live that, you know. But put in another context, Ram Neela, like the lady mentioned, sometimes you just get lost, you know. Like, I remember this one instance where Ram and Leela are... They are lost in each other in a very passionate liplock. And I didn't want it to stop. And literally, because everything on Mr. Banzali's film happens for real, very, very, you know. It's almost like that. Very little visual effects, you know. It's like everything is shot. So, we were on the bed in this liplock and literally in the scene, that liplock is disturbed by a brick coming through the window. A whole brick, now literally on set where Deepika and I are performing and literally there is a brick thrown through a window. It shatters the glass and everything. But in the first take, Deepika and I were so locked and we were so lost that... We didn't even notice the brick. We didn't care. These two are still at it. Makes sense. That's when Mr. Banzali knew he was like, And at that point, they were married. You get lost. Oftentimes, I walk back to the van and my closest aide, my lifeline, my backbone, Koshal, who is witness to all the chaos and madness that happens behind the scenes, he's my closest man and he gets to see it because he'll be with me by my side. I go back to my space and I'm still reeling from what's happened. It used to happen here in Padma, but a lot. I have no control over it. I'm so immersed in it in the moment that coming out of it becomes a task. Oftentimes, I go back to the van and it's still continuing and then you do something else to distract yourself to come out of it or something. But yeah, oftentimes, I don't look back and I'm like, It's not like the shortcut is called and I'm like, It's not like that. But oftentimes, I'm so lost that it takes some time to get out of the shot. It happens on Jayesh Bhai as well. And there are some times when the cut is called and then I find myself, it happens once during Dilharat with Hohai, I can't remember when else, but Bhaji Rao, the cut is called and you're holding so much emotion. The cut is called and then it just comes pouring out. I go to the side and I'm bawling like literally like soar, soar, say crying. That's not what was happening. You're just holding that emotion for the context of the scene, you're holding it, you're holding it, you're holding it. Then when cut is called, it just comes out. So have there been instances where Sohya is taking me to a corner and she's holding me while I'm like It's like crying like a baby, like bawling. So yeah, I love it. This is what being a performing artist means. I actually love and I cherish those moments when I've been so present and really lived some moment of truth between action and cut. Those are signs of a performance going well. And that's why you're such a good actor. Alright. Who do we have? The second last one, correct, correct. And Saad. What if your last name was Faramoosh, what would you do? I don't get that joke. Explain it to me. It sounds like a possible Parsi surname, you know, Faramoosh. I get to know that a lot but it's actually Asan. It's an Arabic word which means best. That's how they call it. Best? Yeah, best. Your parents didn't even have a gunjai. Great name, bro. Asan. My question to you is you said in interviews that Simba's character was quite challenging for you. I wanted to know which scene was more challenging for you and why? Something about how challenging that role was. From start to finish, Simba was just challenging to pitch because that's proper mainstream. The volume turned up on everything. It's like front footed balls out. It's just like the kind of cinema we were discussing earlier. Now to pitch that correctly is a great big challenge because it's such a fine line. It can fall at any time. It can become too much any time and there was one such scene. I've never said this before but there was one such scene in the initial part of the shooting of Simba which he was like this broad, this I thought was just too loud. We can temper it a bit temper, no pun intended. There was one such scene which by the way didn't make the cut. Also partly due to it wasn't really required in the narrative it was like fat, we were chopping out the fat but those are especially challenging because like I said it's a fine line to make that genre to make a performance within that genre to make that kind of performance still authentic is a challenge because it is a very fine line that you're walking in terms of pitching and pitching is more than 70-80% of just about achieving the journey into any world of any film as once you get like our filmmakers call it the Sur how was the pitch once you achieve that it's more than half the work done but achieving that in Simba was very challenging because when I watched those types of films I've always felt that this can be better that this can be more effective this can be more authentic it's not like sadness it's not like that you can still put in a performance within that genre which when Simba came out I was very happy and very grateful that that was recognized it was one masala film that was actually got great reviews and like three and a half stars on an average like that was amazing for a film like Simba is proper as mainstream it's a Rohit Shetty and team production you know it's like it's a Rohit Shetty film but still within that to get to put in a performance to make that film effective because it's Simba's first frame to last frame they're throughout it's in and out Simba so you know when to be that goofy yet that serious you're still dealing with the subject matter which is no joking matter but in the initial half of the film you're still this larger than life colorful goofball but then to have that switch over and then to become that guy who stands up and you know to pitch those dramatic scenes there were many many aspects to Simba there were the comic scenes the same guy is doing all this he's almost slapstick comedy yet doing that internal scene yet going into the courtroom in the third half and having that doing those scenes so to pitch to construct that performance the goofiness, the change over the seriousness to bring it all together to still make it a cohesive and effective performance was a big challenge so therefore I if I have to rate my own work Simba for me is the highest rated because that was that pitching that is actually the biggest challenge and it doesn't get talk about real talk about performance you'll talk about oftentimes instinctively people will say maybe perhaps he'll g gully boy or you know what stuff like that Bajira these are the ones that come up but the real marks go to a performance for me go to a performance like Simba that's the tough stuff and if you can do it high marks that's why we are calling you chameleon thank you okay guys and last pitch this is the last chit chat chit chat chit chat shruti vergis hi my question is if you only had one opportunity to tell only one story either behind the camera or in front of the camera what would it be a great question I actually write a couple of scripts so I have stories to tell way to write not ready yet to be honest I think it takes a lot of courage to be a filmmaker to be a writer it's like being an actor's super convenient right it's not it's not buying I'm just the tool just the tool but it takes a lot of courage to have that degree of responsibility when you're creating material so yeah I did write a couple of scripts in fact there was one I wrote as the final project in script writing class in university and the entire six months process led up to this one thing that your proper 130 page brown script and I remember the guy the professor he called me into his office on the final day and he said I've been teaching this class for 30 years this is the best script I've ever read wow that's amazing and he said to me I will be surprised if you can't go out there and get this made immediately he gave me an A++ where is that script that script is buried I'll never make it only because I think that that story has been told you know it's very difficult to write scripts it's almost like every story is every narrative literally that's work telling has been told and you're just making versions of it and that's it's not far from the truth so I made that in like hour run you know what that was like 2007 or something and then I wrote another one and I actually narrated often times to filmmakers to get their feedback to see what do they think do they really think this has any because it was a wild idea I wonder if we lit but it is it's got a lot of black humor and one day I'll make it one day I will but I have to muster up the courage to reach there if I could tell if I could direct one movie though I would love to make and tell the Mahabharat that is one story that must be realized on celluloid you know on I really feel like somebody has to make it you know we had the TV series cult TV series of course but the Mahabharat has got to be made it's just waiting to be made into a movie into like a trilogy or even like a seven part six part seven part mega cinema experience that will that will blow the lid off any cinema lover watcher maker in the world you know Mahabharat is just waiting to be made into a film and there are so many prominent and eminent film personalities that have dabbled in actually realizing this great dream and I think it's around the corner and I hope it happens I hope I can be some part of it and they have their time if they don't make it in the next 20 years I'll make it I hope somebody makes it and you play Karna my favorite character right you heard it your first the good guy on the wrong side good guy on the wrong side I like it Layers baby give it to me I have to end by telling you that first interview you did with me you talked about being a director and you said I definitely am going to direct one day it's my it's the ultimate dream and you said the thing is you probably won't like what I made I'll change that I will change it too I think you'll love it I think you'll love it I think it will definitely have that big screen spectacle value but the emotion will be all there I'm also growing as a man of cinema so slowly my courage is building up to write and to direct and it'll be it'll be a while I'm really enjoying the acting stuff how it's keeping me super busy and I'm extremely grateful for all these wonderful opportunities but I'm pretty sure that it's not going to cut and when the it will get too much then I'll definitely scratch it after 13-15 years after 13-15 years after that you'll look like this Sean I will get even hotter yes a little white white all the better now to direct with yeah yeah and I'll get those director wise big big dirty sullen eyes you know I'll play the part you will just let people all day break spirits until then we will enjoy what you do on screen ladies gentlemen I have to stop they must have a hard out yeah they must have a hard out or else why wouldn't they let Ranveer just keep going as long as he wants they probably had that the venue probably has a hard out time that they need this I find it so interesting obviously I loved it love watching Ranveer listen to Ranveer talk about his process about cinema about acting all that kind of stuff but I love the fact that most people when you think of Ranveer thinks he has no shame no kind of boundaries at all but he said I'm not brave enough to direct or write which like you never think Ranveer wouldn't be confident enough to basically write whatever he wants the man has the most confidence most people have ever seen but it's a different beast writing he's absolutely correct it is nerve racking I mean the only things are probably more nerve racking than that would probably like stand up comedy or something like you're writing that as well you're still a writer when you're doing stand up writer director it's yours yeah and I would agree I would say it's probably writing a screenplay because there's so many yeah writing a play is a much easier task at least for me I've attempted and maybe it would be different if I was attempting to write something from scratch because like I've tried to turn barbarian into a screenplay and anytime I've tried to do it it just doesn't come out and I've always thought that's because whoever would direct it might contribute to the flow of the screenplay or I don't know I just know there's so many things with the way screenplay is written versus stage play it's it's when you watch shows for like friends for example you have no place to judge it have you watched it I've watched it in his sandwich you haven't watched it so it's like it's like saying that food sucks you haven't tasted it I have the writing on that show season after season as well as everybody loves Raymond talking situational comedy shows how difficult it is to write good comedy for a show where you're only writing for 23 minutes of television week after week after week after week after week is unbelievable and yes not so much for the writing because writers also get the benefit of the doubt in ways that actors do per se and that they get to kind of step back and go not mine it all falls on the director the director gets all the credit and all the blame it's a director's medium film is a director's medium writers like actors get to go yeah I may have sucked but the whole thing isn't my fault directors are probably I don't want to say the most important because every job is important in film but it's their medium followed by the writers followed by actors and everybody else offshoots of that the director is the king but it's super interesting to hear him talk about that and it kind of goes into the fact that he thinks his most challenging role was Simba which is a comedy role we've often said that comedy is harder than drama the comedy aspect of it but also for him which is completely unique to Indian acting and Indian film is his desire for truth and being in the moment in that kind of film is commendable and difficult oh yeah to find real justification for those moments that's something I'd love to have a conversation with him about in terms of how to accomplish such a thing because there have been scripts I've read and realized never gonna happen there's no way I'm gonna be able to embody this character and enjoy the process or make the character believable because it's so just beyond the realm absolutely it's always lovely to I mean he talked about Sanjay Lube inside and they were just like breaking out through the window and they're just not stopping Brick comes in, he's bricked up we're all bricked up it's so obvious that's one of the most wonderful things about Ramly Liz you see the love story of those two happening right before your eyes it's really wonderful it's something we always talk about when you're in his performances he wants so badly to do well and be a true artist and is, he really is but and again, we've said this before I think you guys especially those of you who don't appreciate him have yet to see I think as he ages and has accomplishments and experiences he's gonna dive into certain roles and characters both as an actor and I really think he'll direct and God willing 30 years from now I think his best work is as far as elevative artistry that is really contributory to world cinema, he hasn't even scratched the surface yet, hasn't even scratched it I agree and it's quite exciting to see what he's gonna do next obviously Circus is next and then I think it's Karen Gillar showing with Alia I think that comes out maybe February or March and Boyle Boyle, that's one of the things I don't know how transparent they could be about that by choice or by whatever I don't know how he and Deepika manage their life together because their life is even more full than even Priyanka and Nick I can't fathom how difficult it is for them to ensure that their relationship is intact and good and strong because they're so in demand of both of them she was just at the World Cup anyways, fantastic interview please let us know what the other Renvier videos and interviews we'd love to interview him no surprise there I wish I just had a little black book like everybody thinks I do I'm like difficult is usually you don't get to talk to the actor directly until after the interview they might give you their number but before it is an incredibly difficult process of talking to their managers to production houses there's been interviews where we've been in contact with people for years but the interview didn't happen until years later I'm still in contact with people there's still people that if we told you who are in contact you'd be very very excited but why should we tell you that because we don't know what's going to happen we may never get to interview them who knows but we try just know, we try and I think the next Renvier one at least I think it would be his first one which is him and Anushka it's his first film but that might be good for like Romance Month because I believe it's a kind of a rom-comy thing but you guys can let us know down below