 I was reading the news, and it's a bad decision. There was a headline that said, scientists have discovered the extinction date for all life on earth. Oh, nice. Yeah. So I clicked on it. 250 million years from now. I was a little disappointed, but the good thing is now we know when Keith Richards is gonna die. That's true. Yeah. Just. Hey, we'll go back first to the direction of Corbin. I'm Rick. You can follow me on Instagram, Twitter for more juicy content. Thank you very much. Count the scarf, like button. Reminded me of a joke about Cinderella. What? You don't know that joke? No. What did Cinderella do when she got to the ball? Good Lord. And by the way, if you're watching this, 249 million years from now, we are so, so sorry. And hi, Keith. Today we got a behind the scenes video, or making video, not behind the scenes. A making of Corbin Miles? Is this gonna be us watching you peeping your peep doing the doodoo? Salumala, the battle of bras. No. Yeah, the making of it. No. It's not a legit making, but it's a bunch of behind the scenes footage of the fight. Of the theater fight. Frickin' A. Unfortunately, it's not what we want in terms of them going over, but we're gonna see. Even a little bit is fine. Behind the scenes stuff. If you haven't seen our review of that, go watch that film review. If you haven't seen that film, go watch the film. Go watch that film. Very much looking forward to this. Let's just get into it. No, they did not. They drowned it? I would've loved it. If they need to make it like ever, maybe they have an actual behind the scenes, because it was so much great cinematography and camera work done in this film and stunt choreography. And stunt work, yeah. Especially the theater fight scene. One of the best fight scenes I've seen in all of Indian cinema. Agreed. Agreed. It's legendary. It's one of those things that you just don't forget. And this was great. It looked like it was just taken from people on the production team who were shooting stuff with their phone and they just put it all together. Yeah, I love those steady. Sorry. Those steady rigs that they have for cameras are kind of insane. And those are just hand-held ones. Yeah. And the ones that I've seen a lot are like they're rigged up. Yeah, they're doing those more. It makes sense. Versus the stabilizer that you wear when you're harnessed in. I mean, you have so much more mobility and it's so much easier on your cinematographer to have to do it that way. Yeah. And it's one of the best things I don't... Obviously, most people have never been on a set before. That's hard to say, right? Fair to say. Unless you are in the industry. Unless you're in the industry. They're private sets. You won't get let on set. But most people have never been on a set so they don't get to see all the intricate workings. But camera work and DPs are some of my favorite people to watch. Yeah, that's why... It's such a collaborative thing, especially with the director that they have to come up with. Yeah. What shot will one... Look the best, convey what I want to convey and also be the coolest. Because they're there to do art. And so they want to push the boundaries, especially the DPs, want to push the boundaries and make the coolest shot. And a lot of times, we've said it many times, that the most contentious relationship on a set is the DP and the director. And there, it's actually usually pretty close as well, but in terms of onset disagreements, it's usually those two that will disagree on things first. Right. And then next will be the producers and the director. Yes. Yes. With the writers off to the side going, guys, guys! And then it's probably actor and actor, probably after that. But yeah. And it does, again, as always, one of my favorite things about this, especially for those who have never seen what happens on a set, is you see not just the collaborative nature of the work and the magic, but how physically demanding the work of a cinematographer is. Very. Whether you're the DOP or you're just another cinematographer on team, or you're just there being the person who's assisting the cinematographers, it's the most physical job, aside from the stunt people as cinematographers, depending upon the film. But a lot of the times, the most physically demanding job on set, grips and lighting, there's this tough too, but it's not as demanding. They get to do what they do and then stop when you film. The cinematographers are the ones who are moving and grooving and they've got equipment, they've got to navigate, they're walking backwards, they've got to lie down, they've got to be harnessed, they've got, especially on something like this, that's so chaotic. And you have so many moving parts. Organized chaos. Like you saw in this, there were assistants, whoever it was, throwing paper constantly, so there'd be stuff in the air. And so it just looks like chaos, as it should. Yeah, organized chaos. They were wanting to convey, but I love when they're up on wires, they're, you see them going through the crowd, because it's such choreographed stunt and like, choreographed stuff going on in the scene, because fight scenes are basically just dance scenes. Well, and the other thing that is just boggling to the mind in a sequence that complex is how much the director and the cinematographer are thinking about what they need to do, as far as shot capturing, to give the editor what they need for continuity. Yep. Especially if you don't storyboard it beforehand, which a lot of productions don't have the luxury to storyboard. So they go in with a concept and they're like, how do we make it work? It doesn't have any flow. Yeah. It's amazing. And then like them having drone work on certain things. I love a good camera roll. Yeah, the thing about the drone that was interesting is you expect the drone shots to replicate and, you know, no one has to do helicopter shots anymore. So they go in with a concept and then they're just designing shots either the day before or on the day. And you've really got to be thorough. Otherwise, you find yourself with stuff in the editing room going, damn it. How do we make it work? That looked like it was a drone shot using a phone. Might have been. At knee level on a street. It might have been. Yeah, it might have been. Phones take great, they really do. You can shoot a film on your phone. I think actually we haven't seen it yet. I think Vishal actually did that like earlier this year. Wouldn't surprise me. I think he had a short film that was sponsored by Apple entirely shot on a phone. I think you're right, I remember hearing about that. I think I, we never, and if I'm not mistaken, there's been a few horror films that were just shot, particularly looking like found footage that are just shot on phone. Yeah, like, obviously cameras have, I mean, phones have great cameras now, especially the iPhone and. It is such, it is such a, I mean, you know, playing in an orchestra is definitely a collaborative art form, but it's so organized. The most unorganized, but organized, collaborative art form in the world, it must be cinema. It must be cinema. Unless you include, unless you consider sports art as well. Yeah, right, which that kind of, but I would just put them in sports. Yeah, I consider that sports, but the, which is an art of all the, of all the art forms, the amount of collaboration that's required to come up with what many have called the small miracle of a good film is. Yeah, I don't think there's more collaborative art form than film, not at all. There's some that are heavily collaborative, like dance and stuff like that, and or maybe different public. And the power that each particular, but those things. Every little thing can be ruined by one of them not being good. If you don't have a good cinematographer, if you don't have a good editor, if you don't have a good score, if you don't have good lighting, if you don't have good post-production, if you don't have good writing, I mean, everybody has to be on top of the game. You can't dance, there's just dancers, choreographers, and whatever else. Right, maybe a few other people. It's a film, if it's a big one, you start with location. It's why I love sitting on a big film and watching the credits roll. I don't know how many times I showed that to the kids when we'd see a movie when they were little to just teach them on, this is one of the beauties, not just the collaborativeness of it, but I'll see all the names go up and say, look at how many people got jobs because of this one movie. Look how many people got to work. It's a city, a frickin' whole city got to work. It's amazing, it's a beautiful art form. This is great. This should have been sent to the Oscars. I actually, I don't know if this one was- It wasn't a Qualified, this was released in August of last year. August, what about the other ones, like the Associates and the- I'd have to look, I actually have a list of the ones that I would have put down as my qualifiers. Because Kala was eligible as well. There we go. I don't think they considered it though. Okay, Associates, you wanted to know the release date on Associates? Yeah. That just missed qualification. And then what about- November 11th. Jaya, jaya, jaya. Jaya, jaya, jaya, hey, just missed qualification, October 28th. And then the case one, the one we just did the watch long ago. Yes. Wait, this might be toward the top. Just missed it? August, the majority of them. So a film that qualified was LJP's film? Yeah, yeah, I would have definitely sent that. I would have sent the Dhamma one with the part one with the VJ. Yes, Viditalli part one. And then- That was absolutely, that was March of 2023. And then Kala is another one that I know would qualify that I would have sent as well. Where is it? That came out in December, so that would have definitely qualified. Oh yeah, absolutely. But yeah, I mean, it's a- Yeah, it's a strange one, but it sucks at all those films that I just mentioned. I know. Kala came out last year with RRR, which was the perfect thing to send because of the hype. Yeah, but now having seen a bunch of those films, it would have made for a far more interesting conversation comparatively to a very worthy entry, which was last picture show. I think it was. It's just the only reason that was in question was because of RRR. Exactly. Not because in terms of like- Not at all. In every other year, those films would have been much better sends than a commercial. But the fact that RRR was so good and also had the hype it did here in America, it would have been a shoe in. Yeah. It's mind-voggling to me that the LJP's film wasn't mind-voggling. Yeah, yeah, absolutely insane. But anyways, this was great. Let us know other behind the scenes videos we can react to. Let us know what the next Mollye Ollum film that we should watch should be down below.