Theatre to Films | Ft. Sheeba Chaddha, Neil Bhoopalam, and Shweta Tripathi

[00:00:02] What is the difference in the theatre and film? What is the difference that you all see in the mediums? The primary difference is the paycheck. Okay, nice. I do feel that cinema actors are bond. And vice versa is true when you put a cinema actor on stage? Absolutely. A wonderful cinema actor can be pretty shit on stage. The tools, the craft, I feel that I'm doing a lot of work. Theatre is an actor's medium and film is a director's medium.

[00:00:31] If an actor has a sense that he's being watched or she's being watched, then for me that moment is gone. When we were in season 2, when we were killed Munna, Ali and I felt that someone was confused by doing it. Sheeba ma'am, Sheeba ji, Sam, I'm a boy. Who should I call Sheeba? I just called you Your Holiness. I'm sorry, Paka!

[00:01:00] Hello, Keta enthusiasts, cinephiles and everyone in between. And welcome to season 2 of Unscripted with Akash Kurana, an Adhyam podcast produced by Eminem Talkers. Today we are diving into a topic that bridges two dynamic worlds.

[00:01:27] We are talking about the transition from stage to screen. Actors and creators often find themselves grappling with the process of shifting from one medium to the other. And in this episode, we are going to discuss the differences and study the struggles, if any. And joining me are three incredible artists who have walked this tightrope and lived to tell the tale. Whether it is on stage or on screen, our first guest brings unmatched depth to every role she inhabits.

[00:01:56] A mother, a mentor and a maverick. We're talking about Shiva Chani. And next up, we have a man who has been equally at home performing in front of the camera or on stage. A disarmingly talented fellow and just a lovely, lovely man, Neil Pupalo. And finally, someone I knew long before everyone knew her as Golu Gupta, one among many iconic characters that she has played. And she's also apparently found the cure for aging.

[00:02:25] Yes, we're talking about the beautiful and brilliant Shweta Tripathi. Thank you. Shiva Shweta Neel, thank you so much for being on this episode. Thank you. We are talking about because all three of you have actually done a significant amount of work on stage as well as screen. And we'll come to the fact that some of you all don't seem to come back to stage very often. So we'll come to that as well. That's how this would come up. Yeah, I want to bring that up certainly.

[00:02:52] But I want to actually get out the most boring question out of the way first, which I am constantly asked when I'm interviewed and I'm going to ask it to you so that it's not just me suffering. Is what is the difference that you'll see in the mediums when you're acting for screen and when you're acting on stage, whether it's about process, experience, craft, whatever, as actors. And this is a question a lot of people do ask that, you know, what is the difference in theatre and film when you're performing.

[00:03:20] I get asked it as a director a lot. And it's taken years of bad answers to kind of come and filter down to one answer that I like. So I usually say that. But as actors, how is the process and the experience and the craft different for them? For me, primarily, it feels the way it's in the watching. It's in who's watching. What are you committing to as an actor whilst being watched?

[00:03:48] Like for me, for theatre, I feel that when an actor comes on stage, there is a tacit understanding between the audience and the actor. That whatever you do, your prep, your homework, your work, it's understood that there has a work has gone into it, right? Because we all know you arrive at a performance after the series of rehearsals. And the process of rehearsal in that sense.

[00:04:14] And one, there is an understanding between the audience and the actor that this is done. And I'm not hiding that thing. It's a reveal. At the same time, when as an actor, I come on stage, there's also an understanding that I am being watched by you right now in present time. I am performing for you, for me as well, but I'm performing for you.

[00:04:40] So I feel just this one thing is very dramatically different from cinema for me, where it is that everything for me that makes sense to me in cinema acting is about how I can hide that. In the sense, to reveal a bigger truth, which is the truth of the moment. But I have to hide the fact that I'm being watched.

[00:05:07] You know, if an actor has a sense that he's being watched or she's being watched, and that the camera will catch, then for me, that moment is gone. You've, you've, you've, it's, it's false already. Because it's almost like found craft. Like you, you're, you're being found in that moment.

[00:05:31] You're, you're, you're, you're, the performer finds herself in the moment of rage, anger, that moment, that truth of that moment. When you're acting for camera. For camera. Because the idea for me in front of camera is to convey or, or be so much in there, where the, the fact that I'm being watched. Nobody must feel that. Right.

[00:05:58] And then it becomes real and it becomes alive. Other than that, it's a performance. So it's, there are two performances in which one I feel is a tacit understanding that I am performing. It's, however real, however present, however immediate, but that I'm performing. It's an understanding in theater, you know. But I feel the minute you're, it's for cinema, that's the very thing that you have to completely, you are performing.

[00:06:24] But it's, it's the biggest conceal for a reveal. For me. Yeah, no, I get, I get the thing that like, perhaps the process is meant to be invisible. And whereas in the theater, I think people are very aware of the fact that there is a process that has kind of led to this point. So, so I, but, but this mental switch, obviously, that you have to do or this prep that you have to do. Is it easy? Has it got easier over time?

[00:06:51] I have a feeling that cinema actors can't be made. Can't be? You can't, you can't learn cinema acting is my feeling or my understanding. You either are cinema actor or you're not, is my, that's why very often we feel that, we find that many theater actors who are just brilliant on stage are, does not translate in, in cinema.

[00:07:17] So if actor is a common thing in both, if you're fantastic on stage, then cinema, something is strongly amiss or something is strongly, it's not landing. So what is it? So I feel it's a craft that you, you can, you can, you can chisel some technicalities.

[00:07:40] I feel, you know, some in cinema acting, I'm saying can, can be chiseled with experience. I think that will come or if you do, I don't know if you can even learn that in a class because it's really a practicing art. Yeah. And there's some instinct involved in that. Instinct is different. Instinct, I feel, is different. But I'm saying the learned part of it is, I feel an experiential learning which can hold an actor in good stead.

[00:08:08] I'm not so sure even a learned learning for cinema acting will, will do anything because technically you will learn a little bit, but it will inform your craft. I don't think you, you can, you can take that and run with it really. So, yeah, I do feel that cinema actors are born. You can't become a cinema actor. And vice versa is true when you put a cinema actor on stage. Yeah, exactly. No, no, I would think so. No, no, absolutely.

[00:08:37] A wonderful cinema actor can be pretty shit on stage. It's possible. What do you all feel? Do you all agree with this? Or you all have a different kind of approach to both the mediums? Please, please go ahead. Okay, so… Use your sexy post-Coldplay voice. Come on! You really Chris Martin fist bump. I did fist bump him. And here I am. Never wash his hand again.

[00:09:08] Should I jump in then? Okay, so the primary difference is the paycheck. Okay. Nice. Okay. Harsh reality. Good. Let's get, you know, we're all grown-ups over here. Let's get the, you know, let's get the ka-ching out of the way. Adiam, are you listening? Yeah, Adiam, are you listening? I do believe in the poster that's right behind you, Akash, which reads,

[00:09:33] movies will make you famous, TV will make you rich, and theater will make you good. Yeah. And for me, it's really clear that there's a difference. There's a passion and there's a profession. My passion is the arts, the performing arts. And my profession to be able to let me do my passion is camera work.

[00:09:58] Not even so much just cinema because, you know, now it's cinema and it's camera, you know, series work. And what I like to do is break up my year. Yeah. So my sweet spot is every year in the monsoon, we work on a play to then open in August or something. And by that time, the mass media cycle has also gotten into green lighting films and series work.

[00:10:25] So if you can get maybe, I would like three projects a year. Now, whether that's in a combination of two series, one film, one ad, whatever combination, but sort of big ticket work, three of them and one new play a year. And I still have ample time to sit at home and twiddle my thumbs. Wow. No, so actually, 365 days. We had this conversation. I was actually really happy that you were kind of, you know,

[00:10:55] I don't know about being that mathematical, but I was very happy that you were kind of, you know, keeping that kind of running. Like by the side that you were trying to do one new production a year. And I think maybe last year you did more than one. So, yes. On the stage? Yeah. Yes. Yes. So, but, but, so I was really happy. And a lot of actors in the West do that, for example. That, I mean, not so much for the paycheck necessarily, but for, you know, like what you're saying in terms of like, you know, just to hone the art. I mean, I drive my family crazy if I'm not doing anything.

[00:11:25] They don't, they can't stand me and tell me to get out of the house. Where am I going to go? The gym, you can only go to rehearsal. You go, I'll see you in six hours. You know, I'm taking my briefcase. Because we know how much constructive time to rehearsal is and how much the faffing is, right? Yes, of course. It's a balance. But, but no, the need very clearly and the reasons, yes. But in terms of approaching the work when you're doing, like she was talking about. Yes, absolutely. Is that, is that something you kind of, does that resonate with you?

[00:11:55] Absolutely resonates with me. And also, we, most of us are first generation, you know, into the mass media or maybe one generation prior. So, you're sort of learning and getting vocabulary for yourself sitting together. I mean, we know each other, but we never get an opportunity to speak about this. Something like this, yeah. You know, so you may know friends, but then you're like, oh, oh, wow, that makes sense.

[00:12:22] You know, the way you say what you say and process is completely different. It's a slow marination for a theater work. It takes its pound of flesh from you. So, it's mentally and your heart and your soul is sort of like, that's what you pay to do that. And for camera work and stuff, it's just exhausting because you're shooting for 12 to 15 hours and you're trying to be very present.

[00:12:49] And, you know, so it takes different parts of you. And at the same time, I like to have a deluxe thali of a bit of everything. And that gives me some sanity. Is either easier? My comfort is staged because I know that.

[00:13:12] I still need to hack performing for camera a little better because I think I'm far more boombastic on stage than I am on a camera munch. So, yeah, for camera, it's when I do, it's trying to be really present. Really present because you don't know, you know your lines, but then you don't know what the dynamics, how many cups are going to be on the table, how you're going to get up and all of that.

[00:13:41] So, that improv avatar of you needs to be really high for a shoot day or even like a day like today. Right. You know, because we know we are going to be and an audience member is going to consume our conversation much later. So, you know, just try to be present over there. Shweda, what do you want to add to that? I think the fun, the challenges and the process is very different.

[00:14:12] As an audience and as an actor. So, for example, I remember when I had seen Neil the first time when I was at Prithvi had come for Hamlet. Now, the beauty is that you are the audience is the editor. When you're watching sitting, whether you're talking about dialogue or wherever you're playing on stage or wherever you're playing. Multiple things are going on. You decide who you want to see. Correct. Film, on the other hand, That choice is not. That choice is not.

[00:14:41] That editor and director, those who want to see, you can see. So, even as an experience, as an actor, Stage, you perform on stage. That is what it is. When you perform on camera, Then you later when you see the scene or when you see the film or the series, Then you're like, oh, because your co-actor's reaction also makes a difference to your performance. The music, the zoom in, the lens, the light, everything makes the performance. I think it's more helpful in that way. The end product.

[00:15:11] Because if it's a fan, then it automatically comes from a different power. Which can also come on stage. That's the theme of Mirzapurth. Oh, yeah. So, and like, Shiba Ma'am, Shiba Ji.

[00:15:27] Shiba Ma'am, Shiba Ma'am.

[00:15:57] Literally teleported somewhere else when I've been in front of the camera. I've felt different. And somehow the characters that I've done on screen, They psychologically and physically, they've had more of an impact to me than stage. Because what happens in stage? You come and rehearse. Also, it's both are very collaborative processes. But stage is very different from camera. Because there are people to help you with the director.

[00:16:26] I mean, if you have costume changes, in and out, light or not. If you have a line in front of the co-actor, you've forgotten the line. Everything is not on camera. If you have a line in front of the co-actor, it will be cut. Then you figure out if you've forgotten. Or you've got to change something. You've got to be placed on rehearsal. And sometimes, we don't get to rehearsal on screen. Because you're on somebody else's economical time clock. So, either the sun is going down, or just 12 minutes, you have to shoot it in the direction.

[00:16:54] If the production is very careful, we won't go over time. So, you just come and you don't get the time for the scene. You don't get the time for the prep. Then you get the time for the scene. Then, I think that is when instinct, craft and all, you have to be in your highest gear. That you perform and then the scene is over before you even realize it and know it at times. So, it's a different kind of a challenge. What I love about theatre is that the passion.

[00:17:24] It's not just the show, it's not just about you. And I think that's the wonderful thing that when I work with theatre actors on camera. Because all of us have that same emotion. That the scene is important. It's important for someone to eat something. And I've been very fortunate to work with some wonderful directors and actors. So, the kind of love and support that you get, that is beautiful. But as in, my question would be again coming from an actor's process.

[00:17:52] Like in the rehearsal process. And you're getting 40 days to kind of build that character. Yes. In terms of purely character work. And film is such a, you know, that you cut a little bit. Then, I mean, you shoot it in four scenes. That continuity you maintain. And someone's maintaining that continuity. That you have to be a part of it. That you have to be a part of it. So, do you feel like it's tougher to do character work on camera? Or because you said that psychologically perhaps the camera work has affected you more.

[00:18:22] In terms of the characters you have played. But isn't that tougher when you're kind of so in and out of it. And then you're like, you're like, you're going to shoot it in 15 days after Jaipur. That's the close-up. So, how are you maintaining that? Because I see, see in theatres very clear. Start to finish you have to play. So, you have to take the character on the journey. You have to take it in 15 days. But how do you combat that? Like for, you know, like I've always thought it's very difficult. I mean, and you completely then trust other people. Okay, am I doing it right?

[00:18:52] Like, is it matching what I did last month? Yeah. You know? So, does that, is that like an impediment? Or is that a fun challenge? It's a, I mean, it is a, don't forget what you're saying, please. It is, the cliche is true where theatre is an actor's medium. And film is a director's medium. You, they will be people who will make the, a film unit will not let you go until they get the right take and the right story. Right?

[00:19:22] Then they're going to keep you, a bunch of people will come and, boss, sometimes your performance is being saved on the edit table. Not even on that performance day. So you can feel whatever you want to feel. But then two months later, somebody is tweaking the thing with the amount of, I want to quickly give you one of my videos. I want to be one kisser of like when I did, no one kill Jessica. The, and I was fresh off only stage work, only stage work. Now there's a bit of a balance.

[00:19:51] I played the scene where I was the victim. I was the victim. And I committed to it completely. Right? When the film comes out, I'm getting messages from people saying, you know, I hated you so much and this thing. And of course I watch it. If there's going to be ominous background music, then who's the villain? Me. But when I played it, I swear, I played it to the utmost truth of being the victim.

[00:20:22] But the moment you put that sound and light together, boss, it's a whole different flavor, which is not in my control. You know? And it's that old, even in college, like national college, when we met and you were rehearsing, see for clowns at blue mug. And I was studying BMM over there. We had one sort of a thing where there was that man eating breakfast cereal. Have you heard of this experiment? No. They show a clip to an audience, right?

[00:20:50] And a man's eating breakfast cereal. And then they show a clip of a baby. And then they cut it. And then he's having breakfast cereal again, you know? And then they show the atom bomb explosion. And they're asking people to fill out the emotions this man was going through. And they put down about six to 12 emotions, but it was the same clip of him eating breakfast cereal. Oh. They just messed with the audio and the visuals after that. It's the same clip. And they thought, the audience thought it was different takes.

[00:21:21] So that is the magic of cinema. And that is, those puppeteers, I'm just a puppet then. I'm not bringing it. In theatre, it is your responsibility to come with those 40 days equipped. And not just those 40 days, but your entire life. To sort of like deliver that, you know? And do you prefer that or the lack of control? I don't have a preference. I love all. Okay.

[00:21:49] I can't, I can't, seriously, I can't live with just one of those. Right. I like the no control. It's somewhat less responsibility also. Sure. Oh, what is it? Then someone, you give a great take and they're like, Hey, it was a pendant inside. I'm not like, dude, come on. This is a joke. So you're just, you know, one leaf on the tree. Do you all want to highlight anything right? Please. You were going to say. Yeah.

[00:22:19] Which he asked you not to forget. You are asking because it's broken and fragmented. I was also saying that the process doesn't seem too difficult. I think once you commit to camera work, then that's a given. That's a given. It's a given. And there are multiple projects that are happening. So, it's a given. Yeah. It's a given. You know, there is this filmmaker, Tarkovsky. He would not give the script to actors.

[00:22:48] Like, if an actor is going to be very dramatic in his life at the end of the film, that actor will not be told. So that even in any frame, she or he… Is not preempting. Yeah. That colour only must not come. So just the immediacy is so, so sharp. The immediacy of just that moment. I mean, we keep saying it, you know, as actors, immediacy, be present.

[00:23:17] But my God, it's so… That's the only thing. That is really it. So even when it's fragmented, if you can play it… That moment. Yeah. That, just the immediacy, just the truth right there and then. Which is easier said than done. I think it's one of the most difficult things. Yeah. I really think so. Because… Also look, you know, you're on a set with 120 people.

[00:23:42] And in that, you have to create in that second, that bubble as if there's nobody. That's what I'm saying. In theatre, it's like… It's an understanding. It's osmotic. The audience knows they're watching us. We know we're watching the audience. Many times I'll even play to you, whilst keeping the truth of the performance. Or I'll play to you. I'll take… How it is sometimes when the energy of the audience is a certain way. Yeah, absolutely. The show is a certain way. You know, it's very osmotic.

[00:24:10] But in camera work, the energy of this entire crew, I have to block out. Because… I have to completely block it out. You know, I might be having a cathartic moment here, but somebody is over there and digging his nose, you know. Right in front of me. Yeah. Happens very often. Very often, yes. Often our sets are of course also not informed. I mean, they have no absolute… It's callousness towards actors, yeah. Truly, I mean, you know. I agree. Yeah. So, yeah.

[00:24:39] The immediacy is the thing to pick up in that. And then he's doing it. Of course, you can't do it dramatically. Like Anand Tiwari. We were shooting Bandish Bandits season 1. First day of shoot. The scene that he has kept is the utter climax of the season. Wow. That's the first scene. We all have been doing it on set. We all said, fuck off, we cannot do this. You cannot do this to us. This is like too much. Because… So, he changed it actually.

[00:25:09] We did it on something else. It will be a little bit more. Because maybe a little bit of travel too. Yeah, absolutely. See, look, I'm personally a very reluctant actor. I don't do very much. But you're fantastic. Which you don't like exactly. No, no. Also, the thing is that fortunately for me, I only get cast in things in which I'm kind of playing myself. So then you call me after three months, as long as my moustache continuity is the same, I'll be the guy. But you know, it's always… I've always felt like this.

[00:25:37] That you know, if there's a massive dramatic moment. Like suddenly I'm shooting one romantic scene and then we're shooting something which is three days after your father expired. Like you know, it's supposed to be that. So that switch. And secondly, if you're playing another character. Like you're using a voice. Or you're using a kind of body language. And then you're going and shooting something else and then coming back or going for another rehearsal and coming back. So I've always found that very disconnecting. In that sense, you know. Like I've always tried to shoot whatever I shoot in one schedule. Because it's also like,

[00:26:07] It's like it's going to happen to me that I need to go and see the characters again. So that's… So for me, that's a very scary process. Which is why I was like, I don't know how you guys master that. Because it's true. Sometimes revisiting for certain things is tougher than some. Yes, because of the kind of part. That's true. Of the kind of part. Yeah, I find that true. Yeah, recently I… Yeah, it is true. Some revisiting is a little bit difficult. Because you have to… Especially in series, I feel it's different. Yeah, because… Because you already committed.

[00:26:35] Now, like for example, Mirzapur was season one was nine years back. Yes. Now, nine years back, I was a very different human being, a person. Oh my god. Wow. Yeah. Yeah. So… Now… Looks like your daughter. Yeah. No, now I look young. Yes. Yes, yes, yes. Yeah, your intro has something about how you've cured the process of aging or something. Oh yeah, and without any external things. No, I agree completely. No, I agree completely.

[00:27:03] The body language is very different. And in series also, the thing is, it's been nine years. But it's been a year in character or a few months. So, the unlearning is so much, I feel. Yeah. Because… Again, and the thing is, in Mirzapur, you know that there are prosthetics. You know that people don't die in the real life. But somehow, I think because stage, when you rehearse scenes, you rehearse the whole play. You rehearse the whole thing.

[00:27:29] Here, because we shoot a little bit according to locations and dates availability. It's very different. So, for example, when we were in season 2, when we were killed Munna, Literally, Ali and I felt that someone was on the ground. We knew we are on set. But there was some truth in that. And we hugged and we were just crying. Because it felt… We felt lighter. So, it's a different kind of emotion. So, that is…

[00:27:58] But it's a fun challenge. Also, then I think you map it accordingly. Like you said, if you start from here and then something happens, then it's happening. No matter what you're feeling, in season 3, I think I tested negative. But I'm pretty sure I had COVID. So, you have a fever. Everything is happening. Very professional. And then… I tested negative. I was crying because I was waiting to be on set. Especially on this one.

[00:28:26] And then you just feel extremely unwell. It's not a good feeling at all. Then you do two tests. Then there is no reason. And even you don't want to have that as an excuse. That it's not good. But the energy is very different. And I think… I don't know, stage… I've lived with the character. I've not lived with the character. But for my other shows or films, I have spent more time alone just thinking and somehow…

[00:28:55] taking the soul which affects me then later. But it's a very different kind of challenge. And I love it. So, I mean we spoke a little bit about the difference. A question I wanted to ask is that… When you do both. Like… Do you take anything from one to the other? Has one ever helped the other? Are there any tools that you bring back? I mean I know… Like… They said that if you cast the actor's theater, you can learn the line.

[00:29:24] And the other guy made it on that. He made it on that. He will take the audition outside of Prithvi. Because he will learn the line. You can learn the line. You can learn the line. You know… So, that was one tool back in the day that they were using. But even vice versa… Do you feel like… Like for me personally… And just to kind of tell you what I'm talking about… Like I find… That my blocking for camera is really helped by the fact that I've blocked on stage. So, like for me I find that I can move actors easily. Yeah. Like you know I'm not stuck in that situation where I'm not so…

[00:29:53] My approach is always that I'm going to show the DP that this is how I'm doing it. Now you frame it. You know… And it's not like… You know in that sense. So, like I know that that's one tool that I've been able to kind of take. But do you feel that as actors that are there any… Because of course the difference as you mentioned is quite large in its inherent form. But anything that you'll have managed to… You've seen improvements in either… I think everything informs everything.

[00:30:24] Just the very fact that one's done you know lots and lots of theatre… I can't put my finger on what it is. But I'm sure… It is a learning of some kind. And I do not know what I zone into or hack into to bring to camera work. I have no idea. But I'm sure that there is something. Just because… That's the elixir that I'm looking for all the podcasts. That I'll say something that we'll become a good actor.

[00:30:54] I think this is… That's why I'm doing theatre. That's why I'm doing it. That's why I'm doing it. I don't know how internationally it is. But we don't do that in the camera.

[00:31:24] We want that much. That effort is to put more effort as an actor. In theatre, I feel that they all work. To get you to a particular stage. In camera, again from my personal experience… In a way or on your own. If you want to make a body, then make a body. If you want to make a body, then you can make a body. If you want to make a body, then you can make it. It's still acceptable. So that difference… The prep and the tools… The craft… I feel that I'm doing a lot of theatre.

[00:31:55] I wanna… There is a lot of… Your playing area is massive on the stage. Because of the kind of stories you get to present. With the camera work, it's all so much… Especially now, it's very neo-realism. Everything is so real. You have to pitch in. It needs to look believable. It's all acting. Okay? So I'm like… But… But the sort of like… The elbow room that you get on stage…

[00:32:23] The characters that you can play… Is fantastic. Like the… Whether it's set in a different time… If you're doing Shakespeare… It's a treat… To be able to play that… And mouth those lines… Take the trouble… Whether you understand it or not… You know… You deliver it. Complex characters… I'd seen you in Hedda Gabla… A few years ago… And I was just like… Wow… What is this?

[00:32:52] Which you don't get the opportunity to play… For any camera work. And… There are many times… I have taken… What I've learnt… Or the character… I've developed… And showcased… In front of a live audience… And it's worked… And then I'll put it… In some camera work. Like for me… The 24… Which is what really gave me… A big mass media boost… Because of his television… And everything… I was playing this young… Aditya Singhanya… This thing… And I did a play…

[00:33:23] With… Kwasar QTP… Called Project Strip… Yes… And I had like… Really short entries… Like it was just… A real fun part… You know… Ram Ganesh Kamatham… Had written this thing… And I come on… To stage… Five times… And each time… Is a different avatar… And I get shot or killed… One of those avtars… Was a avatar called… The Negotiator… Who comes on the stage… And threatens that… He's got a bomb… In his briefcase… But he doesn't have a bomb… Yeah… But he plays the part…

[00:33:52] I play the part… Like as if I have this weapon… And there is power… I took that… And Nichodo 2 seasons… 24… Because in front of me… I had very senior actors… There was one day… I was trembling man… He trying to get the dialogues right… And all of that… So I had pretty senior actors… In front of me… And I had to trump them… In the story… In the scene… Yeah… You have to trump their…

[00:34:22] Status… And at some point… You're… Like the Neil in me… Who is like… Looking up to someone… And… When you do have to… Step into that arena… Then there's a new status quo… So to convincingly hit that… I held on to… To the training of that scene… Big time… And two seasons came off of it… So that's what I do… When I borrow… And sometimes… I also… What I learn on a… Series set… Or this thing…

[00:34:52] I can put in… On stage… Now I've noticed that happening as well… Was it similar character… Showcasing power… Without being aggressive… You know… So how do you do that… Then I just pulled it out… From the library… Those who know me… They know… That I keep on… I do tangent jumping… So that will happen… What do you mean… Like just if you're… Talking about something… Oh you know… And… And it'll be something… Not related to what you were saying… At all…

[00:35:20] It'll be something totally random… Which I remember now… So that… One thing… I realized… That… For example… When you come to do a scene… You have to be on stage… Unless… There's an entry… So… Whatever we're seeing… You have done before… But what we see… Is what's happening on stage… Now the thing is… On screen… If there are… Let's say… Three of us are there… In the scene… And something… Something… Something… Something… Something…

[00:35:50] They're the scene… I know… Scene wise… Is that… The camera will only… Let's say… For a reaction… Camera… Now… What it does… I know that… Before action… I have that much… Prep time… That… If the water is boiling… Then… I can give just that shot… And… That will be enough… I think… That way… That is easier… In the theatre… It doesn't look like OS… It's a picture… That… You have to see… You have to see…

[00:36:19] The water is warm… Then… It's boiling… Then… Steam… You can see… That steam… Correct… Technology… Dictates… The source of your performance… On camera… Yeah… The cameras have gotten so compact… They can go… They can like… They're just… You know… So then… You're not gonna push it… You just let them do the… Thing… So those are the… And… As actors also… We've… From… Maybe 30 years ago…

[00:36:48] Things are so different… The pitch of how… A camera actor… Performs… Is so different now… Because technology has evolved… And it will keep changing… But there is some consistency… With theatre… At the most… You go into a more intimate black box… Yeah… No… I think the struggle that we also face… Is that a lot of times… When we are kind of… You know… Working with people… Who… Are doing perhaps more camera… It's also just about like… I don't mean… Just decibel level… It's also just volume of performance…

[00:37:18] Sometimes… Because like you're saying… Cameras here… You can get much more… With much less… Yes… But you know… Even in a stage… Like an intimate space… Like Prithvi… There is the last row… That you need to communicate it to… And they are kind of… You know… So it's just a little bit of that… Nip and tuck… That kind of needs to happen… And there is a… New generation of actors… That are very camera actors… Even in their training… They go for training… Which is… Film acting… So I mean… It's all mumble core… And you can barely hear them… So it's a lot of… What… Say that again… I don't even hear in the audition… When you shoot… Where is it?

[00:37:48] So I think that… For me… That's always been a little bit of a… Just… Understanding… When you're kind of… You know… Just to kind of… It's the volume of the tone… Of the performance… That you just got to kind of… How you pitch it… Like you said… So… But easier said than none… I would say… I mean… I'm saying… That's like a technical thing… You can do… But that need not mean… The performances… It will be good… No… That's the thing… You know what I mean… That it will… It will do it… I'm saying…

[00:38:18] That it will do it… That it will be… That it will be… That it will be… That it will be… That it will be… That it will be… That it will be… That it will be… That… So… Particularly… Shiba and Shweta… Correct me if I'm wrong… But… You all are doing less theatre… Yeah… And… It's our loss… I suppose… But… But… Why? It could be the paycheck answer… But… Definitely… A part of it…

[00:38:47] But I think more than that… It's the time commitment… Because… Obviously… As actors… We want to… Rightfully so… That time… That's what dates block… Because we respect… Everybody involved… And… The play… I think… That's what we do now… Because… After the off-season… That's what is in monsoon… I think that's monsoon season… It's stretched out a lot… Where our industry is off-season… So… We are…

[00:39:17] As actors… I think… Dependent on so many factors… And people… That… When we call… We sacrifice our clothes… Or cut-short… I think… That… I personally… That… Commit… As an actor… It's a bit difficult… Which is why… This year… Again… I'm getting back to producing… Because I know that… As an actor… If I cannot… Producing theatre… You have done that… Yes… I was gonna ask that next… Because I mean…

[00:39:47] That was one… Recently… You did produce a couple of… Yes… And in fact… We were… Three of us were sitting… And we were… This year… Again… We had to do something… Because we've got so much… Including in my case… My husband… Thanks to you… And thanks to theatre… So there is… Did you introduce that? What… Yeah… We met on a play… That Akash was directing… Oh… You owe so much to theatre… Exactly… And you don't do it… Exactly… So… You don't come back and act… At least he comes… No… That's what we have to do… 100%…

[00:40:16] So… Just figure out… Because it's not so much… I mean… She is very busy… I am not that busy… So… I want to definitely… Figure out a way… Where both are possible… But as you were saying… Primarily… Time commitment… Because you've got other commitments going on… Because I am… That fear… That one will not go… Because I have given commitment… Here… And because there are… Forget the bills that have to be paid… But also… I want to get into producing films this year… And… For a lot of time…

[00:40:45] People have done free… And some money… But they don't do it… I want to pay my writers… So… They need to sell some shampoo… Or… But… That money will not come from theatre… So… That money will come from ads… Or… And then… So… I just want to channelize… That energy… And that money… Into development… She made me question… 25 years of my theatre company… Suddenly… Wow… How much is it coming from?

[00:41:13] 25 years of underpaying people… Basically… It's a different process… But then… May I just urge you… To at least be your own… Biennale… Where you at least do one play… Every two years… No… I agree… 100%… You have your own… Your own… You have your own… One new… Every two years… I totally agree… Because the thing is… I think especially as people… We are so much… Why did this not do this… Why did this not do this… Which is why… That's the reason…

[00:41:42] I am becoming a producer… Then do it… Why are you blaming other people… What is the cost of it? Do it… See… My question with her… Usually… Because I have known her since… Before she met her husband… And he shooted me… By the way… First time I met him at Pitvi… And I said… We have to do theatre… Thanks to Q… Who had said… He said… You know… There is Thespo… And there is a theatre director… That you should meet… Akarsh Khurana… So I went to meet Akarsh Khurana… And he said… Under 25… So go to Thespo… Which was correct…

[00:42:11] Which advice was absolutely correct… But I was smiling at the beginning of the interview… Because I was like… How much of a shoot… I am fine… But… My question to her is… Because the thing is… I don't get to hang with her now… No… My life is that… I am hanging with people… That I am working with… So then I tell her that… I got a Camu and Rashmi Rocket… Can you come and do it… She will give it one day… She doesn't have to prep… So… What about you Shiba… Why are you doing less? That only… That's why Shwita is saying… It's a… It's once having committed…

[00:42:39] Then you can't go back on that commitment… If she gave her 40 days… Then she gave her… Then she gave her… Then she gave her… Then you can say… I have shot… And… So… That seems like a luxury… In a way… To do that… Because like she is saying… We don't… She is getting into creation… Which is great… Otherwise… Actors are just… We are dependent on… What work will come… And we never know…

[00:43:09] When that work will come… How it will come… We don't know that… So… Of course… One has also lived… Until now… It's been a theatre… It's been a work… But I think… In the last… Three… Four years… It's becoming more difficult… To take out that… To say… Yeah… It's just becoming a little difficult… Presently… But… Having said that… It's always… Do you miss it… I… It's interesting… I…

[00:43:37] I thought I would miss it… Like mad… Right… But I think… What has happened is… It's gotten… Like… Some trauma… It's gotten… Surprised… The thing… Because I think… I used to say… If I didn't do a song… If I didn't do a song… It will be like… A little bit of a song… Like… Like… But interestingly… It's not… When I did it… It's not… But I do know… That… What theatre will give me… Only theatre will give me… And I want… That thing… That it will give me… But right now…

[00:44:07] I… It's a luxury… But that… It will always be a part of my life… I think… Yes… 100%… So… There is a gap… But… Yeah… And also then too… I'm also a little… Just thinking… I'm a little… Crazy anal retentive about it… I would want to be in every play of Rehan Engineers… Is what I would say… Yes… And then the last one… Where he asked for just 4 days…

[00:44:36] I could not do… Just those 4 days… I did not have… At that time… You know… So… Yeah… But it's agreed to work with some people… But then… I can't say to them… If… You know… Once having… There are such precious people that… I mean… I can't commit to Rehan… And say… That's not… You know… So… Also… It is true… I don't know… Whom to work with… Right… So people who are listening and watching… Who are theatre makers… Please send your applications…

[00:45:05] To Shida… To make a reality TV show… Yeah… A wheel audition… So… You… I definitely miss it… I miss it because… The energy… You get… You get… You get… You get… You get… You get… The discussions… The… The… I think… We auditioned… Four times…

[00:45:35] And… Three years… We rejected… But… Those feedback sessions… Were so good… I learnt… A lot… When… The other people… In the jury… When they told you… Why didn't your selection… That was very important… And then… Finally… When you make it… Then… And again… Stage… Because… Lighting… And I still… I love all the music… The direction of course… She lit a couple of my shows… Wow… So… It is all over… Which… I feel…

[00:46:04] Is so good… That… How will you react… How will you react… How will you feel… How will you do… The set… What is required… And what does it not need… That… That… That… That… That… It literally makes your core… And I think… Now… I go into every department… Because of theatre… So… I feel that… Again… It's not like I… Yes… So… Theatre made you annoying… Sure… Creatively annoying… Tell us a little bit about this… Producing thing of yours… For theatre… What have you done…

[00:46:34] So… There is a… Play called… Cock… Written by Mike Bartlett… Yes… Produced and did the lights for that… Auditioned that for Thespo… And then… It was a closing play… For Prithvi Theatre Festival… As well… There was… Under the Chestnut Tree… Written by Sid Kumar… And Akash Mohimman… Great play… And in fact… I really… Because… I think both these plays… Are so relevant… Because Cock was about… A man who was in a relationship…

[00:47:03] With a man… And then he falls in love… With a woman… And he doesn't know what to do… And Vaiki… Why are you telling me that… What I am is more important… Than who I am… I think he brought… Important… Sawaal and discussion… To be had now… Under the Chestnut Tree… Is about these two painters… Who live in a world… Where colour is not allowed… And it's a take… It's a satire on censorship… Right… So… We are…

[00:47:32] And great writing… And Sid Kumar is one of… And Mohi… And somehow you cast yourself in both… No… I did not… I did not act in Cock… Under the Chestnut Tree… That I acted in… In fact… Now… I was already doing casting… In my mind… What if he changed that… What if it's not… Because I want to act in it… Because if I want her to play the… Mother… The father… Part… In it… Something might come out of this episode… Yeah…

[00:48:00] I can be your PA… Then there is a… The play… Which Vijay Tindulkar had written… That was Cyclewala Michael… Which Amol had directed… Yes… So… That is also… Yeah… And recently something… Like some new kids… Yes… So that I collaborated with… Dheer Hira… I had a lovely boy… And Jitu… So… They played… So… I was involved… But because… Again… I think I… Because I like to be more involved…

[00:48:29] In the process… Of it… And the making of it… Here… It was more of a producer… But I did not enjoy it that much… Because I feel… If you only watch some rehearsals… Then… Why do you listen to someone… Then you… You be there… And you see multiple rehearsals… And then you give feedback… So I think… For me… Working from outside… Working does not work for me… I want to be like… I want to get my hands dirty… One other thing… That I wanted… She spoke about… Those two courses… That she did… That kind of helped her a lot… As an actor…

[00:48:58] I just want to segue a little bit… Because again… This is something that people… Could be helped by… Neel and Sheeva… What do you feel about… The importance of getting… Some sort of training… Formal training… And did you all get any yourselves… No… So… I think… One thing is… One thing is… That… There is no training… Because… You know what I mean… It's true… Nothing wrong… But it's that… You feel… That… Training is also… So… Of course… No formal training… But this workshop…

[00:49:28] That is… That is… Fantastic… For… On various levels… I think… For people who have done it… It depends… When this episode is coming out… They have promoted… They have promoted… Okay… You are focused on Milzapur… That is… That is… That is… That is… That is… That is… That is also more holistic… It is… It is just lovely… That is very big… Then I have done some workshops… Here and there…

[00:49:58] Jyoti Dogra's one workshop… Wow… She did lovely one workshop… Wow… Wow… I think everything will help… But again… Having said that… I know we have enough… Actors… No training at all… And are just… Fantastic… Right… But… Everything helps… I have done some workshops… So I have just done some workshops… But I have had no formal training… Or… Like… I got money for a month… In a scholarship… In a summer course… Oh wow…

[00:50:27] It is a summer course… Yeah… It is just… It is just open you out… Everything will open you out… Just a little bit more… But how you take it in… And you bring it in… And what you will make the sauce… That is up to all of us… You know… When we… We can have the best of training… But it may not again… Do it… Yeah… I think it is also about… How you respond to it… And what you take… How receiving… How your receiving is… To the… Like you know… We… On the podcast… Had a lot of people… Who even went to NSD… And like…

[00:50:57] They loved their time over there… But not necessarily… For any other reason… But what they were being exposed to… They were like… At least we got to see theatre… From all over India… And that means… It is quite an eye opening thing… Because we are so much… In an urban… That we are not watching theatre… And like… For me also… Particularly… When I went to Meta… And stuff… I went to festivals… Is when I was watching plays… That were coming from… And say… Assam… Or they were coming from the south… And it is just… Like your world view expands… It is just really about… What you take home from that… So…

[00:51:27] That was… Neel… What about you… Training… What is your take… I… Believe that… Actors should… Once you have done… A certain amount of work… And you can showcase… Certain things… You should be able to get… A doctor's credit… What? I think you should be… Dr. Sheebach Chatt… You know… What's up doc… Dr. Sheebach… Yeah… Eventually… I still have to get there… And… Little training is important…

[00:51:57] We are professional human beings… Did you do any? Yes… Yes… I mean not… Excuse me… I am not a trained actor… So to speak… I learnt on the job… But… I do believe… Every now and then… If there is an opportunity… To just touch up… The artistry… It would be great… The last one I did was… This was during… During COVID… I took up a law course… Which I wanted to study… Wow…

[00:52:25] And I did an acting course… So the law course was 3 months… And the acting course was 3 months… Because you were expecting to be sued… Well… There is always a fear of that sir… One can never let your guard down… But… No… I just wanted to learn law… I think that was again… Shakespeare… Because… Law was a very heavy subject… And everything like… To be or not to be… To love or not to love… It was always a case… And I had done… For Aadiham… I had done… A few good men…

[00:52:57] Which was… Aaron Sorkin's… Yes… Work… And in trying to play… That character… I learnt quite a bit… Because you can never present… Your case straight away… You have to take the long path… To… You know… In the court of law… And then say… Well… If all those aspects are clear… This is why I feel this thing… So… It's a lot of… Toying with human behaviour… Which… Which… Like I said… We're professional human beings…

[00:53:25] And our job is to… Be… A human… You know… And… In that… Drama School… Mumbai… Online course… That I took… Where our teacher… It was an American teacher… Fairly senior… And… Each week… We had to do one play… Study a Neil Simon play… Study another one… And another one… Discuss it…

[00:53:54] Perform few things… On… On the camera… Like I use my iPod for it… Right… And one course… One subject was… Telephone acting… Which I thought was very interesting… Because now… You have scenes… Where you're on the phone… Right… And now… And telephone acting… Because… There's nobody there… But you're trying to make it seem… Like you're getting energy from there… And you are doing what you're doing… And I remember her saying… That you pick… You know… Three points…

[00:54:24] Yeah… And then when you're doing it… You hit… Hit those points… Just… You can keep circling back… Or play in any order… But… Just get your eyes to hit… These points… And then you hit… You use whatever combination you want… Otherwise it's too vague… To try and hack a telephone scene… And now you also have… Now what I do is… I ask… If I do have a telephone scene… I ask for those… Pods… AirPods… Right… Where someone's feeding you the… Line… Yeah… You know me well…

[00:54:54] That's my dialogue… I didn't mean it like that… No no no… But I'm… Listen… I'm full on… I'm okay with getting a prompt… I went down south to shoot some time ago… And… You get prompted… You get prompted… You don't have to learn your line… You need to know what the scene is about… And they'll be like… But you're talking another language… No… We were talking English and Hindi… Oh okay… There's three people out there… Okay… Why are you gonna learn it man… You're gonna forget it anyway… Wow… That's great… But one thing… I want to say that…

[00:55:23] When I was in NIFT… My last year… Fourth year… So I used to go to college in the morning… And Shamko… I used to do this workshop… Curated by Dr. Amal Alana… Rashid Ansari Vivek Mansukhani… The workshop was done… Then I didn't understand much… But… Kuch baihtha… So I think even later… The thing is… Now… If you thought… Let's go… I've done Adi Shakti… Now I'm done for life… No… Keep revisiting… Because you're in a different space…

[00:55:53] Exactly… Exactly… So I think that's also very important… That… It's literally like a touch up… You've done something… And after… The first acting gig that I had… Was for this show called… What must have life… Disney… Now Disney acting is… Oh… Oh my god… Oh my god… Oh my god… It's calm… My neurons are just connected… This acting was very different… I mean… Everything was different… Energy… Coats… And colors… That's the same thing…

[00:56:22] So… To learn… Literally… And I don't know… If someone else… I'm guessing… Who told me about… Theatre professionals… And told me about IDP… And I remember… Jahan asked me… Why do you want to do this workshop… And I was like… Oh my god… I have to give the correct answer… To be selected… And there… I met… Later in the workshop… Sean Williams… And everybody… Rahul Bagga… Everybody was a part of this… There… So… That's very important… That's why you do it… Don't think…

[00:56:52] What I was learning… Please keep doing that… And… And… In childhood… Again… I didn't know… Where is Prithvi Theatre… And what is there… Thankfully… Because my parents… Were very culturally inclined… So… We used to see Prithvi Theatre… Festival… Which was in the… In the auditorium… And… One beauty… About… Stage… Is that… You bind to that world… On screen… You see… That…

[00:57:20] This is railway station… Here… Here… Here… There is no stage… There is no table… There is only a table… So… That magic… Create… That is what really attracted me… To be an actor… Yes… I wanted to be on… Screen… And that… Ponds… Googly… I wanted to be a part of that… But I love the magic… The control… The actors had… Over the audience… It's quite a mission statement… Googly… Yeah…

[00:57:49] I thought it was in those ads… Yeah… It's true… What she's saying… It's really interesting… That… You're… Asking the audience… To imagine… Yeah… It's true… So… Actually… This podcast should have… The audience members… Because… One is active… And one is passive… An audience… That watches stage… Is active… Active viewing… We have an audience… Yes… Yes… Very active… So happy to be here… I mean… We're gonna chill together… In five minutes from now…

[00:58:19] And… Film audience is a passive… Because you are given everything… You're in Paris… You are in Paris… Right… You're not on Juhu Beach… Yeah… The wooden stage… You know… And at the stage… We have more forgiving the audience… It's not about forgiving… I think it's… Like… I think this is something that I learnt… We were doing… Children's theatre… Because we were doing… Ruskin Bond stories… I played Suraj… I played a Sardar boy… Yeah… People bought that… People bought her as a Sardar boy… So…

[00:58:48] I think that was the thing… When we were first with it… And we were like… Okay… I think your greatest friend… Is the audience's imagination… Because they will buy into it… If you believe it… They will believe it… So you know… There's just platforms… Turning into mountains… And pools… You know… Her turning into a Sardar boy… And I mean… It's like magic… With no CGI… With no prosthetics… Just a table tennis ball… So… Yeah… We have… What is… Supposed to be like a rapid fire session…

[00:59:17] But I am not a rapid person… Bring it on… So we call it like the slow burn… It's just like the short answer… Because I can't be fast… But… I have one last question… Before I get into that… And… Ashiba and Neil… Both of you are parents… Yes… Do your children show any inclination… To follow your footsteps… And if they do… How do you feel about that… No… Not my daughter… No… No… In fact… Sometimes I see her… Getting caught in the whole vlog… You know…

[00:59:46] She's 19… So I ask her… What should I do… She's… So… Till now… Nothing… And if she did… You'd be okay with it… Of course… She did say once… I asked her… She says… If you guys were not performers… I might have… Oh… Very good point… She said that… No one is speaking the truth… But yeah… I don't know… Until… Something happened… Of course… How's your little fellow doing… No… He doesn't like watching… Any of my stuff…

[01:00:17] Yeah… Yeah… No… Very inclined to art… Like… You know… Making… He hasn't seen you on stage… Or… He doesn't watch your stuff… No… He knows that I do stuff… Yeah… So he's aware of what he's doing… He's aware of what I think… He's also seven… Yeah… He's seven… Yeah… And you know… He'll be like… If we're at the airport… He'll be like… Papa… That person recognized you… They kept looking at you… You know… So I'm like… Yeah… But he's got no real interest in… In wanting to step up… There… But he's training for… Like…

[01:00:47] Like… Rope… Welcome Silk… Which is… Right… And he's really into that… So… So… He does performances… But… Has… So far… No… I guess I got into it… Because I was like… I really needed… Affirmation from other people… Yeah… But this kid's pretty confident… Okay… We'll go into this… What we call our slow burn section…

[01:01:16] And these are questions… That all of you will have to answer… And you don't have to be rapid about them… There are no prizes… Thank you… Thanks… But… Already feeling comfortable… Yeah… And usually we kind of restricted… To theatre… But with the all we won't… Because you all can choose from… Your screen work… Or your… Your stage work… So the first one really is that… Looking back at all the stuff you've done… What has been your most challenging role? For me… Mirza Par Gholu…

[01:01:46] Because of… Who she becomes… No… No… She's like this… And under the chestnut tree… Because… I have to play this painter… And… Who is also… An apsara… Like… The things that are in Uswe… So that was very… Further away… Than who… I am… You're not an apsara? I think I'm very… I mean Disney… You're not a painter? What is it? No…

[01:02:14] Just the character… It seemed more mature… More… You know… That thing that you do… Yeah… Yeah… Yeah… So under the chestnut tree… And… Mirza Par Gholu… Nice… Either of you? I have… Most… Most challenging… Chava… And I had to train… Chava… Very… Very… Very much… I had to train a lot… Physical training… Of like… Talwar Bazi in the morning…

[01:02:44] Come back… Have lunch… Nap… Go to the gym… I've never experienced that… But I needed to sort of build up a certain… Look… Which… Which took… A lot of hard work… And the delivery of that… As well… On the… On… The shoot date… Was… Very demanding… I don't think I've ever worked so hard… It's an actual hard work… Yeah man… Thwoda assur… Okay man…

[01:03:14] In my… In my calves that are cramping… I say… How about you… How about you… I think… Recently… Maybe… But… Yes… There is one scene in a packed room… In Badhaido… Where everyone is over there… In the climactic point… Yeah… I remember this one… Where he comes out to the family… Yes… Yes… Yes… Yes… No… But I felt that as a character… It was very… Edgy… In the sense of… It's very easy to see her…

[01:03:43] She can be somebody who's just completely loony… But she's not… For me… What she was… Was just a reluctant mother… Reluctant person… So everything is reluctant… Like somebody else… Do something else… Do something else… Do something else… So it's a very fine line of… Little bit… Not… Somebody who's not really of this world… Little bit off… But… Just reluctant… You know… So it was a fine line to play… And… It was very easily… Could have gone in the zone of… She's just a little… Yeah… But yeah…

[01:04:12] So it's fine… Sometimes when you read it… You think… But when you actually start doing it… You realize that… Oh man… You know… It's… It's something else… Yeah… And also because I saw the thumbnail of Mehendi Circus… That's the Tamil film that I did… That was really difficult… Because on set… Only my co-actor… Who was speaking English… Everybody… I was the only girl on set… And nobody spoke English or Hindi… Including my director… Which is why you were weeping… Yeah… Which is why she was a mess of a lot less…

[01:04:42] This is actually a funny scene… So yeah… Prompting is what happened… I have done a German thing… I have done a German thing… Didn't realize… Got on the set… Realized… That means… That German is also… No… Because the script had come in English… So my manager… Did not say there are some… What did you do? They had to prompt me… I could not… It's like learning gibberish… Yeah… But that did too… Dohass me… Yeah… You can't speak anything… No… That's a sense gibberish… I literally… They had to say the line…

[01:05:11] Before the take… In the take… And I had to repeat it… There was no… There was no way… He just landed up like… A lazy actor on set… What is that? Very close to Hindi… 10 autos… Oh… 10… 10… 10… 10… Our next question is actually… Usually… It's a theatre question… But I'll… I'll expand it again… Usually what… What we do ask is that… Like a play that you watch… That you wished you had been a part of… And… See for clowns…

[01:05:41] Really? Oh lovely… Okay… And then you did all its sequels… What's that brand… He was doing Hamlet… Yeah… All the other ones… So that was the one you would have… I mean it need not be play for both of you… That was a nice quick answer… Great… Yeah… Theatre… Wow… That's my state of mind… Was it? Quite young though… You're so good… So good… But yeah… Projects… I won't say plays… But projects… And it can be plays…

[01:06:11] We'll be happier… I'll say play… It's a play called… Hunkaro by… Oh yes… I'm a big fan of that play… Yes… To see… What those actors are doing… I'm like… Wow… And one of them… I'm like… I'm not a fan of that play… You know… Just… Such a holistic… Yeah… I would love to be a part of that play… And… That performance… Yeah… Next question… Actually something that you may have answered… But you can add to it… C4 clown… Of course…

[01:06:39] Is not a play that runs anymore… But it's again… Epic… Because we are hoping that people get… More and more people get encouraged to go and watch theatre… So as a recommendation… A recent play that you watched… That you really loved… You did say Hunkaro… But if you want to add something to that… So… The Nether… Well… Neil Bupalam… Hey… Neil… What play? I wish I could watch it… And I think it's… And I did tell you that day… And I really think it's Neil's… From what I have…

[01:07:09] I've not seen so much… Apart from Hamlet… You know… Baba on stage… No… And of course… One play we did together… But I think he is… Just… You're fantastic in the play… And… Because I am… I think… A Mohit Takalka fan… Normally… I thought the play was wonderful… Just… So happy to… I really like the play… And yeah… I am very fortunate to… Catch that train… Yeah… And be in that play… Yeah… Yeah… With its journey…

[01:07:38] I am just happy… I am just… Really fortunate to be able to showcase… Thanks… I have seen a guy… That's AKVarious… Yes… Oh… A guy thing… Yeah… No… Because I remember the feeling… That I had… During… And after watching the play… And everybody around me… Because everybody…

[01:08:07] I love making people emotional… But in this case… I was the one… And everybody was just crying… And it's a play that… Akash has directed… And you were enjoying it… That everyone is moved… There is sadism… To be got out of there… But a beautiful play… Actually… It's a lot of fun… That they don't know what's going to happen… So… Yeah… That's actually… Led by a very good performance… By my father…

[01:08:36] So I think that's what kind of… Does the… More than the writing… I think that's what kind of… Unleashes… Yeah… Emotions… But… Thank you… But I also want to recommend… A production I saw… In… In London… Which is… Standing at the Edge of the Sky… Okay… I hope I got the name right… It was really fantastic… This… Jillian Lynn Theatre… While we were there… Someone… Who is a… Like a… Theatre friend…

[01:09:05] I think she had seen Hamlet… When we had brought it… There… And… She knows some of the same people… We know… So… And then… I met her… And she said… If you're planning to go… Watch a play… Watch this one… So… I went with that recommendation… Very fantastic… And… The last question… Which is actually the most easy… Is… A project that you regret doing… You can't say… No… You can't say…

[01:09:34] Vaguely… What is the most easy… It's really difficult… Because there are more options. No. Because there are no good options. We don't have to go. One film where I realized for the first time gender inequality is true. Because everything was very good with love. As in terms of how you were.

[01:10:03] In terms of just like in the contacts were the same. Same, same, same. And I knew that it would be okay. It would not happen. Same as well. But it's so much that one's food is not coming to the team. And the other one's food is not coming to the team. So I was like, this is, come on. That someone's talking about it. If it's a turnaround for 12 hours. So they don't ask for the first time. And I mean, you're an order. So you're going to come soon. Don't tell me. Don't tell me. Don't tell me. Don't tell me. Don't tell me. We'll use it as a platform. So that.

[01:10:33] But that was a great wake up call. And also to realize that. Every time you take a stand. Because sometimes I feel like, let's leave it. What is it? What is it? What is it? What is it? What is it? But I think it's important. Because then you are setting a norm. And then people get used to it. If it's not said anything, then you give an example. You have to say something. You have to say something. So what is it? What is it? What is it? And I was like, oh my God. So now I think there is. There is responsibility that all of us have. Was it gender? Or was it, you know, often how it is?

[01:11:03] Gender. The hierarchy of, you know. Gender. Wow. Yeah, yeah. Gender, gender, gender. Wow. Purely gender. I actually am one of those N2 cutlets who try and look on the brighter side of things. So you regret nothing. Yeah. No, I, the only, the closest thing that would come to answering your question is where, you know, some of my college friends and they want to do a short film.

[01:11:30] And then I'm like, I don't really want to do this, you know. But then. You and I were in a short film. That's the one. Our college friends made a big deal of it. Are you talking about that? You. It was this. It was her. That's right. I was. No, I didn't make it fortunately. So I'm not taking the orders of that. But we should have a stand together. Yeah, yeah, yeah, yeah. I remember that a lot. That's the one. It's coming. No, no, no. That was way back. That was all.

[01:12:00] And everything is training. And also at the end of it. Oh, nice. It's all training. There was no training in that. Look, the four of us over here on this show. And of course, we are now going to know each other for the rest of our lives. Okay. We are married to the world boss. Right. And if that's the case and you know, we do what we do. We like what we do. It's kind of nice to just sort of stitch up time together. Go through these good, bad, ugly experiences.

[01:12:27] Because, you know, a few years later, this is what we do. And this is, you know, the more friends you can make, the better. I really like that you started off undiplomatic. Yeah. But then. Also, all we have time for. And Neil, Shweta, Sheba, thank you so much. Thank you. Thank you. This was a wonderful conversation. For me, at least. I hope. And yeah. See you all on the next episode.

[01:12:54] When mankind is destroyed and only one podcast episode will survive, it will be this one. I don't know how I feel about the fate of mankind from that point on. But okay, sure. All right. Thank you so much. Thank you. Thank you. Thank you. Thank you.