Transcript of India's Top 1% Ad Film Directors | Good Ads Matter Roundtable 2026 | Supported by Invideo
Good Ads Matter
0:05Welcome to good ads matter roundtable0:082026.0:10Two years ago, good ads matter released0:12the very first round table in the0:14history of Indian advertising. And now0:17we are back with the same passion and0:20restlessness to create something huge,0:23something monumental. Back with the top0:251% directors under one roof. Here I am0:29joined by directors whose creative0:31vision knows no bounds, who dare to tell0:34meaningful stories in their unique flare0:37and who constantly remind us that0:40advertising is not only an industry, it0:42is the pursuit of excellence. We are all0:45set to discuss, debate and explore the0:49Indian advertising landscape, the0:51science and art behind this craft and0:54where it is headed and where it's going.0:57From anecdotes, insights and advice to1:00laughter and banter, we leave nothing1:02out of the way today. This year, these1:04conversations are supported by invido1:07who are shaping how stories are made in1:09an AI enabled creative world. Now, let's1:12meet our esteemed company, shall we?1:15All right, let's start. Vijay Savant.1:18Vijay Savant is the co-founder and1:20director of Hungary films with over two1:22decades in Indian advertising1:25uh and ex Ugulvi London creative. He has1:28directed award-winning work for brands1:30like ICICI Lombard, Coca-Cola, KIA and1:33UNA Academy with multiple goals at the1:35Good Ads Matter Awards 2025 and1:37recognition at Can Lion, DNA and beyond.1:40He's he has also designed the Good Ads1:43Matter Awards trophy bringing his1:45creative legacy full circle. It's a damn1:47good trophy by the way.1:48>> Thank you.1:49>> Rahul Bharti.1:51Rahul Bharti is the managing partner and1:54director at Sun City Studios and has1:56become one of Indian advertising's go-to1:58directors for humorled storytelling. He2:01is behind iconic campaigns for brands2:03like Shark Tank, Mut, Wildstone, Dr.2:06Agarval, Firebolt and Vadilal. Featuring2:09names such as Shah Rukhan, Sachin2:11Tendulkar and MS Dhoni. Rahul also2:14served as a jury member at the good ads2:16matter awards 2025 in film craft2:19production design. Welcome Rahul. Thank2:22you.2:24>> Sukriti Thiagi. Sukriti began directing2:27commercials while studying at NID2:29earning early recognition with a more2:31film gold at Goa Fest for her film for2:33Pepsi. Known for her distinctive voice,2:36she gravitates towards humor and2:38unconventional formats. Her recent work2:41for walk talk Chinese style say went on2:45to win multiple awards including a gold2:47for direction humor at the good ads2:49matter awards. Welcome Sukriti2:53Vinel Matthew.2:59>> Vinnel Matthew is a co-founder and3:01director of breathless films widely3:03known for emotionally resonant human-led3:06storytelling. He is behind some of3:08India's most iconic campaigns from3:10Imperial Blues Men Will Be Men to Times3:13of India Aman Kiasha alongside several3:16films like Hassto Fasi and Hassin Draba.3:19Vinil also served as a jury member at3:21the Goodads Matter Awards 2025 for music3:23and sound design. Welcome Vineil.3:25>> Thank you.3:26>> We got two claps.3:29>> Akang Sha Seda. Am I saying that right?3:31>> Yes.3:31>> Okay. Akang Sha Seda is a director at3:33Good Morning Films with over a decade of3:35experience spanning advertising, digital3:37content and short films. A3:39multi-hyphenate creative. You have to3:42explain what hyphenate is.3:43>> I don't know. multiate creative known3:46for her stylized storytelling and3:48meticulous craft. She has directed3:50campaigns for brands like Meta, Google,3:53HP, Amazon, Netflix, Flipkart and has3:56served as a jury member for filmcraft,3:58animation, VFX and the AI category at4:01the good ads matter awards 2025. Welcome4:04Akanga. Thank you. Amit Sharma4:09>> needs no introduction but yes Amit4:11Sharma is the co-founder and director at4:14Chrome pictures and is regarded as one4:16of the standout filmmakers in Indian4:18advertising. Mentored by the late Praep4:20Sarcar Amit's directorial work extends4:23beyond advertising into feature films as4:25well. He has directed the national4:27award-winning Badhaiho and the4:29critically acclaimed Maidan which won4:32best Asian film at the 2024 Septimus4:35Awards. great recognition in4:37advertising. Amit has uh is a four-time4:40Can Lion winner. His work for brands4:43like Google, Dove and Cadbury has also4:45been recognized at global award shows4:47including DNA, Spikes, London4:50International Awards and the Good Ads4:52Matter. Welcome Amit.4:54>> Who are you?4:55>> Great to have you.4:58>> Asha Hussein Shik,5:01>> that's a mouthful. Asha is the founder5:03and director of not bad films. One of5:06her works for Rio titled [ __ ] played a5:09pivotal role in a landmark court case in5:11the advertising industry concerning the5:13depiction of blood in female sanitary5:15product commercials. You have to tell us5:17all about that. She is also the first5:19female director to helm action-led5:21commercials for Baj directing films5:24across their pulsar and freedom brands.5:26Over the years, Absha has collaborated5:29with brands such as ITC Savlon,5:31Coca-Cola, Bajage, Alan Sulli, and5:34Titan. With not bad films, Asha5:37continues to push boundaries, scaling5:39new heights with her distinctive visual5:41style and deeprooted love for5:43storytelling. Welcome Absha.5:44>> Thank you.5:48And the youngest and the cutest on this5:50panel,5:52>> he asked me to say it5:55is Indrashish Mukherji.5:58Indrashish is a Mumbai based director at6:00Foot Loose Films known for a distinctive6:03blend of retro charm, playful boldness6:06and musicled storytelling. Indraish has6:09directed standout films for brands like6:11Zeame, Swiggy, Clear Trip, Netflix,6:13Cadbury's and McDonald's. Welcome6:16Indrashi.6:18>> Wow, this is such an exciting panel also6:22because there's so much that we're going6:23to learn from each other. So, let's6:25really have fun with this. Uh my first6:28question for all of you is how many of6:32you have failed an exam, dropped out of6:35school, got pulled up for disciplinary6:38action, or generally [ __ ] up in life?6:41>> Generally [ __ ] up with everyone.6:44That's6:45>> so pretty. How can you be a director?6:47>> I don't think so.6:48>> You all are the goody two shoes. You've6:51never done6:51>> scared people. Scared people6:53>> scared.6:55>> Never done adventurous stuff. Front6:57bench.6:57>> Apart from film making. Apart from film6:58making. No front bench. Not at all. Not7:00at all. You've not even peed in a pool.7:02>> Not at all.7:06This is that vulnerable space. We won't7:09judge you.7:12>> I I'll think about it. I'll think about7:13it.7:15I don't think so. I think I've kind of7:17walked the straight line a little bit.7:19>> Really?7:19>> Yeah, I think so.7:20>> So, is that why all your films are7:21little tedd up?7:22>> I think so. Yeah, I think it's that7:24coming out. Yeah.7:25>> Okay. Super. Leading in from there. So,7:27what really makes a creative person7:29creative? Like, do you think that these7:31sort of off things that one does in life7:33is important to be a creative person? Do7:36you have to be a little tedar? Do you7:37have to be a little you know have7:39something out of the ordinary?7:42>> Yeah. Yeah. I think I think insistence7:43is very important. I think if I'm7:45insistent about something I think that's7:46a very important part that okay I want7:48to make ad not for brand only7:51entertainment. So what is the intention7:53behind it will make a sense and then7:56you're sticking to it and getting mad7:57and people not liking you. So that's a7:59big award that people are not liking you8:00because you just want to execute what8:03you really want to.8:04>> So insistence and persistence and8:07pushiness is a creative trait for you.8:09>> Yeah. Yeah. Rahul you8:11>> I think u I mean I failed I repeated a8:14year in school you know so uh I was8:16always that guy who uh needed an outlet8:19and I almost felt like uh making films8:23was one of those that hunger that okay8:25maybe in the real world I'm not able to8:27do what I'm supposed to but maybe some8:29of that stuff I could tell through my8:32stories.8:33>> So I thought it was just that hunger8:35sort of helps me you know hunger8:37rebellion.8:37>> Yeah. So criti for you.8:40>> Yeah, I think uh I think once I like8:43figured that this is what I wanted to8:45do, I feel like something kind of8:46shifted like I fully kind of honed in on8:49it. I think persistence is something8:50like I'm quite relentless with chasing8:53something when I really want to. So um8:56and yeah, I think I think it's8:58important.8:59>> So are you difficult9:00>> uh with people?9:02>> Yeah,9:02>> I'm very honest.9:04>> I think like I kind of set my boundaries9:06pretty early. I think I've learned over9:08the years I tell exactly what I think. I9:12don't I don't hold back.9:13>> Okay.9:14>> And I think that kind of helps9:15sometimes, sometimes it doesn't. And9:17>> yeah. Yeah. Within what makes a creative9:20person creative?9:21>> So my hand was halfway there because9:24>> because you passed all the exams.9:25>> No, I so I was a very good student but I9:27always failed.9:29>> So So it's a tragedy of my life.9:32>> So despite9:33>> we are not your parents. You can tell9:34the truth.9:35>> I'm sharing the truth now. It's so yeah9:38so I you know so I would put the effort9:39but always get like 60% 70%. So9:42>> that's not feel9:44>> yeah but you know it wasn't like the the9:46uh and that's something which I'm9:48dealing with in life right now that9:49maximum effort and you know that minimum9:52impact is the problem. So I'm trying to9:54change the ratio of that but u but9:57creativity I don't know I don't think9:58there is any set rule that you have to10:00be rebel or you have to be data or10:02whatever. I mean I feel it's like if for10:05me fundamentally if you're a good10:06observer10:08>> and you have your take on things of what10:10you observe10:11>> and then you have a knack of10:14having some kind of craft where you can10:17present it. I mean there are different10:18forms of art form but yeah so if you can10:20do that I think despite you can be a10:22serious person you can be a boring10:24person but your work can still be10:25amazing. So I don't think that10:27correlation exists between your10:28personality type and creativity. Yeah,10:30but observer is a good one to have for a10:32creative.10:32>> I think observation is very important to10:34be engaging with your environment,10:36figuring out what is there. I think10:38that's pretty much uh I mean I think10:40that's the first thing which is required10:42and then if you have an ability to kind10:44of have a point of view on it what's10:46your take on it because you can observe10:47but you can't translate that into10:48something then10:49>> correct.10:50>> So I think those are the things and I10:52feel uh the cliche is that to associate10:55creativity with certain kind of10:57rebellious outlook which needn't be the10:59case. You you could be a very straight11:01jacketed boring person but it's all11:03inside there and when it comes on paper11:04then you know11:05>> so basically a bad mash11:08>> it's inside versus outside so11:11>> okay Akanga you go11:12>> all of this plus a love for pain a11:16masochistic love for being okay with11:21hurt rejection pain suffering I think we11:25are um you have to be obsessive11:29to a certain point. Obsessive not with11:30perfection but with a with a certain11:33point with a certain vision with a11:35certain idea. Uh and obsession comes11:38with a world of pain. And I think we all11:42here11:44have come to have a relationship with11:46that deep pain which uh I think um you11:51have to be okay with to continue to want11:53to do this and you know be willing to11:55suffer for it every single day because11:58>> short 17 take five just clicked12:03>> and that's why you do what you do.12:06>> A love of pain. Sorry did that get too12:08dark too soon. We all resonate with the12:11pain.12:12>> Yeah.12:13>> Yeah.12:14>> But pain translating into12:16>> great works.12:17>> Of course. Of course. Why? You'll wake12:19up and do it over and over and over12:22again.12:23>> But anger, some part of it is anger.12:24>> Of course. Screaming into pillows,12:27meditating to no good. I think we love12:30pain.12:31>> Wow, that's profound. We've d we've gone12:33right into the hard stuff.12:36Ahmed12:37>> I think creativity is like my childhood12:40I uh I did not understand this word12:43creativity because I come from a12:45government servants uh my parents both12:49were government servants. So once that12:52idea came in my head I can be an I can12:55be an actor. I think from there I12:57started observing things in a different13:00way which is I think observation is a uh13:03is what makes us learn a lot of things13:06which like small little example like you13:09know expressions are very very important13:11for for all of us when we when we are13:13shooting so the best learning from uh is13:18actually you know traveling airports so13:20I never go and sit in our lounge or13:22anything I just go and see people what13:24they're doing and So, so you know the13:27relationship13:29understanding of relationship I think13:31that is what creativity I understood13:33very late in my life that you know I13:35learned everything from my family13:37because I lived in a joint family so you13:39learn so many things from there which is13:41politics13:43love affection13:46um and you know humor emotion13:50I think that is what is13:52>> right how interesting13:55Asha go13:57>> creativity I mean see I think um it14:02didn't come naturally I think like I was14:04born in a family where they're all14:08musicians and legends and things like14:09that and I've grown up over there14:11because my parents passed away very14:12early and it was literally that my one14:16of my uncles took me and he sent me to14:18Kunal Kapoor and like observing that's14:20what it is like with family and things14:23like that it's all these people who kind14:26of come together who are kind of showing14:29you this journey. So actually for me it14:32was not like emotions or nuances it was14:35music because you know you were like14:36constantly sitting in like classical14:39concerts and things like that and you14:41had to go for it. You know what I mean?14:43So it is that one day that you just14:45break and you start feeling and you14:48start imagining and it just starts14:51falling into place you know and you go14:53through so many emotions even from like14:56as you're young you're growing up there14:59are so many journeys and that's when15:01emotions and everything sort of like15:03kick in and I think that's what15:06creativity is all about. I think it's15:07all the people around you. Yeah. who are15:10kind of like instilling all these things15:13within you. It's not something like15:16you're born with it or like I got an15:18opportunity to go to like a film school15:21or like any of these sort of schools you15:24know. So it was on the job and in these15:28sort of manners like as such an everyday15:29journey to be able to like pick that up15:32you know but yeah so it's like small15:34little things. So it was like music it's15:36like music that eventually brings out15:38emotions for like all of us. so15:40naturally and then you start thinking15:42and you then you start feeling and yeah15:44it's15:45>> once you tap on that magic it's like a15:47reservoir doesn't it?15:48>> Yeah. Yeah. And then that becomes your15:50source for everything you know. It's15:53it's interesting how that can be that15:56one thing that can like take you back15:59also like in memory because it is16:01connected to that and that memory kind16:04of brings into your film because that's16:07what it is like in film making. It's all16:09what you're kind of going through in16:11life and in an everyday basis is what16:14you sometimes start bringing in your16:16films, your characters and how you kind16:18of see things, you know.16:19>> And you said uh imagination. You use the16:22word imagination. I think that's a very16:23big part of what we do is is create16:26worlds out of nothing.16:27>> Nothing. Yeah. Yeah.16:29>> Go for it.16:30>> You know, because uh you started with16:33Have we all gotten in trouble in school?16:35>> Yeah. Um I joined Lintas in 2011 as a16:39copywriter and before that any single16:41institution that I was a part of I've16:44been thrown out of16:45>> from class 3 and then I joined another16:48school class 8 class 10 uh class 1216:52college first year new college somehow16:54managed and I joined Lentas and I feel16:57like my creative journey also would have17:00started in Lintas. I would have written17:02a odd poem before that or a song before17:06that. But I feel like when you manage to17:09like instead of like bouncing off walls17:11doing random nonsense,17:14channel something. We all have it17:16inside. I think half the people probably17:18find it difficult to channel it or17:20things like that. But because that17:21became your job, I have somebody to17:23report to. I have to go back with17:24something. Now I'm trying not to get17:26into a fight or like get smashed or do17:28some nonsense.17:30I found17:32okay man I can do this okay wow I came17:35up with this it felt good and I have17:38over the years now that was like some 1517:40years back over the years I've been able17:42to put a word to it I feel like terav17:46>> is where it stems from I can't really17:48answer what creativity is but I do feel17:51like terav is where it stems from if you17:53manage to even today like if I have to17:56write a script sometimes I'm like I've17:58already doom scrolled for like 15 hours18:00and I'm like Lord I I was supposed to do18:02this but if I can just manage to sit18:05quietly in one spot18:07>> after a point it just comes it's not18:08even like I'm doing some m major stuff18:10it's just there18:12>> for you to take18:13>> I already like you18:16>> but that's a fun uh thing idea right the18:19nature versus nurture conversation of18:21creativity and where it comes from18:22whether you're born in a gana of18:24musicians and legends versus not passing18:28how many grades now indishies Not so18:32>> cutest and baddest on the panel.18:34>> But uh that's always fascinated me where18:37it comes. Is it in your gene? Is it18:39something you pick up along the way? Is18:41it is it just this need?18:44>> Is it a meditative terav that finally18:47brings you there? Or is it a18:48conversation at an airport that got you18:50there versus I studied in film school or18:54my parents were filmmakers or there's no18:57answer but I'm just saying18:58>> but terra probably also comes from being19:00chal you know19:01>> it it arrives at a time when you're19:03ready for it but I think you have to19:05kind of be also restless and seeking.19:07>> Yeah19:07>> that is an important thing to have19:10>> cuz I don't think we'll ever be settled19:12in in that sense you always like19:14something is churning inside you all the19:15time. You had to have feed in a pool.19:19>> So I I can add to this like fear. So19:22because I'm from like a mill worker's19:24son always that fear19:28based19:31to my dad that never like19:37so the thing is that anybody would have19:39said19:41he never said a word and that's the19:43biggest parenting he has done for me.19:45Now importantly that fear actually made19:47me that fear of19:50>> but then when you get that collect that19:52fear all that combustion okay you start19:54protecting everything19:58but no you are already ready with 1019:59things in a in your mind20:02so I think that fear actually helps and20:05we always have this fear about something20:07or the other and actually that's a very20:09good food20:10>> for to protect things20:12>> true20:12>> and you will see sometimes you shoot20:14something and people come and ask you oh20:16how did you do that so20:18you go back in that thought20:23how how it happened I don't know20:25>> right20:25>> like there's this commercial of idea20:27where20:32everybody started talking about that one20:34shot20:39I'll perform20:42and he picked it up so I think that it20:44just things sometimes happens also.20:47>> Yeah. Sometimes you think also20:49>> yeah I mean it's a great great set of20:52things that we've heard and I think the20:54viewers uh who engage with this platform20:58and you know I think it's important for20:59them to also understand that as a21:01creative person there's so much21:03exploration there's so much uh I mean21:06you're not sure of everything but you21:08are diving into a pool of who you are21:10and all of these dots connect eventually21:12somewhere but how did you meander into21:15ad film making I heard in one of Amit's21:18interviews that he didn't like I don't21:20think he did his schooling at the end.21:21He sort of walked out at some point. Is21:24that it? And then21:24>> No, no, no. I'm I'm a graduate.21:26>> Okay.21:28Wait. So then I heard wrong. But you21:30walked into Praep Sarka's uh set as an21:32actor first. Yes. Okay. So you want to21:34tell us and then the rest of you can21:36jump in.21:36>> So u I was in class 11. My father was21:39always very worried.21:42Um but one day I don't know what21:45happened. My mother called me from her21:47office and she said uh I said I'm21:49nothing like I said listen modeling21:54modeling or moment work I will I will do21:58this I think it started from there and22:02Delhi there there's no uh you know22:05infrastructure or anything like and also22:08at that time22:09>> key uh there are production houses or or22:12no I knew nobody my parents knew nobody22:15So somehow I met Dada and I reached as22:20in I was taken as as an actor and uh22:24over there I just saw his work.22:29I was I traveled from Delhi 18 hours. So22:32I just went and told him I said because22:34I was told key now you're going back. So22:36I went to I said please22:41I want to stay I want to see what what22:43this whole shoot is shooting.22:47So he looked at me he's like okay.22:50>> So I stayed in their hotel22:53>> on their expense for 2 days and I just22:56fell in love. I said I want to work with22:58you23:00class.23:01I said 11 said23:07so I was in touch with him. I was 18. My23:10result has not had not come that 12th23:13result and I joined him. It was 8th of23:17September. Um and I think from there I23:22just did not know anything. I did not I23:25did not know how to read storyboards.23:27I told somebody in his office I said23:31so this woman told me that time23:34>> okay fine so I think this is my23:37>> but you asked23:39>> most people wouldn't ask23:40>> yeah you know and they agreed23:43>> agreed and uh I think that's when I I23:47went to his office and uh cricket match23:51he made me sit in a room he said23:54and for 3 hours some meeting was going23:57on and I was I slept on the table. He24:00woke me up like this.24:03So I he asked me he said key24:07I will call you when whenever the work24:09work is there. I said when work is there24:11I'll be here. So I'll come from24:13tomorrow.24:14So I think I was very like desperate to24:19get in because I thought24:28director24:31big but great advantage.24:36>> Wow. Anyone else?24:37>> Actually same gi director. Okay. Because24:39when I was growing up um it was a moving24:43target always in life24:45when I was little. My father was in the24:47air force. Um but my our house used to24:51be the party center of that squadron24:54because dad used to record songs, make24:57mixed tapes, ABBA, Neil Diamond, George24:59Harrison, all that was going on. And25:03every week the party used to be at our25:05house. Now we grew up listening to a25:07rich sort of25:10lots of music we were listening not just25:11English but you know Hindi stuff and25:14stuff like that25:15>> but at that time I wanted to be an air25:17hostess why very glamorous and they25:19earned 90,000 rupees a month25:23hostess that number I couldn't fathom25:25when I was little as we grew older I25:28started I studied English honors uh25:31again didn't realize shifting target at25:32that time I wanted to do music because I25:34was part of the western music society at25:36Lady Shriram College. I have conducted25:39an eight-part choir thinking life25:44I have to do music school abroad but25:48English honors you're studying some of25:50the best fiction in the world right25:52you're you're you're reading stories and25:55not realizing it25:57>> um cut to stumbled into u26:02television in a department called OAP on26:04air promotions where your editor26:06producer everything all in one. Still26:09wasn't sure this is what I wanted to do.26:11Long story short, I think life was26:12preparing me26:14uh to taste that blood. Just waiting for26:17that to happen with all that, you know,26:20music and all of those stories and all26:23of those who that was cooking somewhere26:25in the background. And then one fine26:27day, I was a producer at a TV channel26:31and we had to direct a promo and I said,26:34"I'll direct it. we'll just put one26:36camera on top. Uh, no experience,26:38nothing. I bought my own props out of26:41money. I just went to a stationary,26:42bought my own props, did lighting with26:45phones and stuff like that. Uh, it was26:48terrible. It was the worst thing I've26:51ever done. But post that it was uh there26:54was just no looking back. So, it was26:56director by by there was no kid of26:59direction much like that. But uh once27:01there was also this thing that I think27:04um I'm I'm a '90s kid. I loved the27:08adbreak.27:09>> Yeah, he had right choice baby. I mean I27:12that era of ham baj I've grown up with27:16all of I used to love the adbreak. I27:18used to never go off suddenly go reheat27:20dal or take a suzu break at that point27:22of time. I used to sit and watch in27:23between overs. I used to love that27:26>> that ad break. So the germ was there. It27:30just took time to infect me.27:32>> Wow.27:32>> Can I tell a story about Akanga that she27:34probably doesn't know?27:35>> Yeah.27:36>> So when I was uh in the agency right27:38very early like first, second or third27:40year, we used to get all the nonsense27:43jobs that we had to do. No TVC's are27:45happening. So when the award season27:46comes about, you to make these AVs.27:49>> So we had a regular guy and he was27:51caught up making every single AV for27:53everybody at that point in time. So27:54somebody came to me and said that27:56there's this girl in Delhi if I remember27:58right.28:00>> She doesn't remember this. She's nodding28:01right now but28:03so said there's this girl who is in28:05Delhi and they gave me an immediate28:07thing saying that she might be a little28:09difficult to work with.28:11>> That hasn't left me yet.28:12>> Yeah. So this is all I had heard. I had28:15written a script and I had sent it28:17across to her. I spoke to her. She28:20seemed not at all difficult but the job28:22hadn't started yet as she seemed like a28:24really sweet person.28:26And then she sent across that AV. I28:29don't I don't know if the film that28:30you're talking about it was for28:32>> Tanish Tanish.28:33>> And I don't know if the film that you're28:35talking about happened later or before,28:37but when she sent it across to me, I28:39remember thinking distinct. I did want28:42to become a director at some point. I28:43was like, bro,28:48she's you really need to pull your socks28:50up. So I remember that about her. And28:52then at some point she stopped doing28:54AVs. I tried to send another one. Then28:56they said she's quit the post28:57>> because I was doing them secretly. I had28:59a day job. I used to make 80s at night29:02on my laptop.29:04>> Yeah. And then at some point a film29:05released by I'm forgetting the agency29:07name some culture29:09>> machine29:10>> machine culture and she dropped this29:12really amazing film and you know it made29:14sense to me that that girl who had made29:15this EV is the one who's dropped this29:17film right now.29:18>> So then Rashish wanted to grow up and29:19become a ganga.29:20>> A ganga. Absolutely. Absolutely.29:23>> Can I come and hug you?29:26That's a virtual hug across the campus.29:29>> Ch anyone else? What's your story?29:31Rahul, come on.29:32>> I mean, I didn't have any film29:33background or anything like that. I did29:34my MBA, got into a corporate job, did a29:37year of that, but always at the back29:39wanted to make films.29:40>> What corporate job?29:41>> I was like an operational manager. I had29:43like a desk job. I had to sit Excel29:46sheet and all of that because I did my29:47MBA and I got my placement regular29:49stuff. But29:49>> he must be so good at his budgets. Yeah,29:52>> I was horrible. My was making money. No,29:55my boss didn't talk to anybody at that29:57point. Sometimes29:57>> my boss figured this guy can't do29:59anything. So just black coffee and smoke30:01break. That's all I was allowed. And30:02then I figured this is not a bad job to30:04have. But one day it was like, you know,30:06this is not going anywhere. I want to do30:08film and this is what I want to sort of30:09eventually go forward with. So I met a30:11few friends30:12>> and you knew then you wanted30:13>> I always knew at the back you know I30:14grew up in a house where you know I mean30:16we are like we had business family and30:19all of that but film was an integral30:21part dinner table. It was always films30:23like you discuss Raj Kapoor like that30:25would think things like that was always30:27happening.30:28>> So it was there but you know I didn't30:30know how to go about it NBA happened30:32right so I was like you know eventually30:35I think it was winners's uh Cadbury30:37commercial that I saw.30:38>> Wow.30:41It was uh I think30:42>> I wish he hadn't seen it.30:46>> One less person on the table30:49and you know I knew someone who was30:51working with him at that time and uh I30:53was like oh this is beautiful. This30:55looks so real uh as opposed to so many30:58other ads that I was seeing around that30:59time. So I'm like okay maybe not films31:01right now I'll do advertising. This is31:03what it is for me. But then I also had a31:05lot of friends who like okay what's the31:06way to do this? So you join as an ad31:09intern maybe maybe and then you you know31:12climb your way up. I was like okay this31:13is not something that I would like and31:15I'd heard some horror stories from some31:1780s about how sets are31:19>> it can be really frightening and all of31:21that and I was not prepared for that. I31:22said no31:22>> forget all of that I'll start a company31:24and you know I'll go straight to the31:26client31:27>> and someone told me how agency works.31:29They go to the client pitch write a31:31script. script. I said, "I'll write the31:32script whatever I can." And we would31:34actually, me and my friend, we would go31:36to like town, look at all the tall31:38buildings and say, "Okay, this building31:40looks like it might be some big guys31:42over there. Let's just go31:43>> meet some random dude and, you know, ask31:45them for work." And we kept doing that31:48every day until one day one marketing31:50guy was like, "What is this? Who are31:51you?" I said, "You know, we're here. We31:53have a great idea." We had some random31:54pitch for some AV, I think. He said,31:56"No, no, no. I don't want to do all of31:58this, but I have a lot of Shadika31:59footage." Oh,32:00>> can you make something out of it? Yeah,32:02you made a personal project and that guy32:04just, you know, we did that for him. He32:06was very happy. He passed on something32:07else. ASVs and then I was like, okay,32:10let me write commercials and skip this32:12agency route altogether and see how that32:14works.32:14>> I was doing it at a like you know very32:17basic cost but show was something that I32:19had to build. So I think that's how it32:21started and eventually of course you you32:23know you realize that you want to do32:24bigger projects. So then agency all of32:27that you know the regular route32:28happened.32:28>> Wow. So you dived straight into the deep32:30ends.32:30>> Oh yeah.32:32>> Wow. And how old were you?32:34>> I was 24 then. Uh 25 actually. Yeah.32:36Just around that.32:37>> So you were32:38>> 27 now.32:39>> 22 years.32:40>> Just about.32:42>> How cool.32:42>> Amazing. Amazing.32:44>> Amazing. So I think I think advertising32:47actually more than a direction it's an32:49advertising and that actually brings lot32:51of uh32:52>> understanding of advertising film making32:55because here people are32:57>> doing features because it's a different32:58I think it's a different art33:00>> and yes some people can do both33:02>> so I think uh getting into advertising33:05so some my art teacher told me like so33:08of course again coming from this little33:10poor background uh so33:19that's quite a thing but so I think33:22advertising uh storytelling and uh along33:25with uh all the film festivals it was33:28very interesting journey and uh when I33:30was in London for 2 three years I I33:32wanted to try in direction and there was33:35a one nice lady she told me don't try it33:37here because uh this country has less33:40opportunities33:41>> and that's when I came back I started33:43with Ogilvi and I did my first film um33:47in Ogilvi and there were people who are33:50trusted me I don't know how come so much33:53my first film I was shooting with Milo33:55the client is okay of course budget33:57wasn't there but client was okay who is34:00my partner now he said34:03I don't know34:05and half halfway34:08I think uh this is something halfway34:10because of course he can understand the34:12end And I said oh that's that's34:14something which is happening to you of34:15course with lot of uh background you34:19have and it just when I did my first34:21film somebody said can you handle it34:23your first time doing a film in34:25advertising and you're using Milo and34:28the story is that like the Milo came34:30because there was no budget Milo came at34:315:30 in the morning34:33>> and till evening 5:30 they were setting34:34it up34:36>> and the film happened in two 2 hours34:38that's because because it was a setting34:40up34:40>> so I think uh that's That's a confidence34:43which we get like I okay this is this is34:45possible this is meant for you34:47>> right some amount of daring34:50>> yeah so criti how did you come into this34:52>> I also studied English honors in Miranda34:55house but I was I was not particularly34:57good at it I think I was really bad at34:59it and I tried really hard to be good at35:02it but I think like it didn't really35:04come easy but I think I always wanted to35:07something to come easy or to you know35:09sort of chase35:12somewhat, you know, being really good at35:14something. And I think at some point,35:16like I mean, we there were some35:19experiments we used to do in the hostel,35:21but I really got into like print ads for35:23some reason, and I thought it was really35:25clever.35:26>> Yeah. And I really started like I had a35:30lot of love for advertising also growing35:32up like I remember very you know and now35:35that I know you know I was watching a35:37lot of Rajes Krishna's stuff and then35:39when I was in college some of Ayapa's35:41stuff and all of that so those of course35:44had like a big influence on me but I35:46came I mean I grew up in Alvar I don't35:48think there was MTV there at the time so35:50none of the cool stuff like I was35:52catching up a little bit and uh somebody35:56uh mentioned NID and once I went there I35:58just knew like I knew from the very36:02first week that this is it and then I36:05kind of had blinders on and I uh there's36:08a lot of like um looking down upon36:11advertising in like design schools or36:13film schools like I had an FTI faculty36:16who was like you are good why do you36:18want to36:20but I I I don't think any of that kind36:25deterred me and I really wanted to make36:27an ad and there was like I think it it36:30was also like a good time because there36:32was some intersection of digital ads36:34were coming up but also like you know36:35the rules weren't set and nobody you36:37know there was still that difference36:38between TV ads and digital ads and all36:40of that and at the time there was this36:42international body called mofilm they36:44would put up like live briefs with36:45clients so I was in the middle of a36:48documentary workshop in Nid at the time36:50I didn't want to make documentaries I36:52just wanted to do an ad so I sort of36:55escaped that and shot something in36:58Ahmedabad in one of the vas borrowed a37:00camera all of that and then I edited it37:02showed it to my classmates it worked at37:04one got me some money and I met like u37:08you know I went to Goa Fest it was like37:09a dream come true for me like I was just37:11like these are the people I look at and37:14now I'm around them just37:16>> and then I think like then I just kind37:19of declared that I'm a director then I37:21was just like this is it and this is who37:24I M and I will just continue to direct.37:27So yeah.37:28>> Yeah. Clearly there's no one way. I mean37:30you can enter this through any37:31different. I think that's the point37:32really one is trying to make that you37:34know there's no set path and now more so37:37than ever because you know people have37:39to just take a punt. If you believe you37:41can do it, jump into it. Try it. It may37:44work. It may not. But that's the thing37:46to be fearless. Yeah.37:47>> So fun fact I have acted in one of37:51Sukritiagi's37:52content films.37:53>> Really? I made something for culture37:55machine at the time when I met a37:56culture.37:57>> So everything she's just said about37:58being a oneperson shop is bang on38:02because we came with a halfass script.38:05She took it. She just elevated it. She38:08said don't worry about lighting. We'll38:10shoot it here. We'll do this. We'll do38:11that. And at that time she was the only38:14one who had a work reel that actually38:18for the first time we're looking at38:20someone has recreated a Wes Anderson38:22world. so beautifully38:25>> and she was doing it because that was38:26her style. There was something about it38:27that was very Wes.38:29>> Okay.38:29>> But thanks Akang for that.38:31>> No, it was it was just too much fun38:33being directed by her. Yeah, she she was38:35so good. But that's and then up I I saw38:38her again after 9 years but it was it38:41was like uh just yesterday that we38:42worked with38:43>> really nice to see how you know38:47>> I also think like kudos to digital you38:49know I mean I'm a filmmaker because38:51YouTube happened. M38:52>> there's no way otherwise it would take38:53me years or I don't know I wouldn't know38:55like at that time you have a DSLR you38:58can go make a film edit it on your39:00laptop and that really changed the game39:02>> democratizes the process39:04>> yes absolutely39:04>> yeah absolutely39:05>> so she spoke about FDI so that's that's39:07what I mean 3 years in FTI was very like39:10secretive about my inclination towards39:12advertising39:13>> but what what did you go there to study39:15specifically what39:17>> so like okay so going back while growing39:19up um I used to love advertising ing39:21jingles actually and those days were39:24durashin and you know private channels39:26had come in and nobody in the family39:28remotely for39:30>> 10 relatives removed nobody was in film39:32advertising media nothing39:34>> um but I used to enjoy advertising and I39:36used to follow it as a p you know just39:38like a hobby and um I would record uh39:43jingles on tapes audio tapes and I would39:45pay play on my Walkman just to kind of39:46listen to jingles so I was just like39:48crazy in that sort of you know interest39:50towards advertising But it was like a39:52not a obvious thing. I think when I was39:54on 10th or 11th I saw Roa for the first39:57time and so and I wanted to be an39:59economist. I was studying economics. I40:01wanted to be an economist and nothing40:02again towards film or anything but I saw40:04Roa for the first time and I was just40:05blown. I loved the way it looked and uh40:09and that's the first time I was kind of40:10conscious of about cinematography how40:13things looked and stuff and that era40:15there are a lot of south Indian dups who40:16were doing really revolutionary stuff.40:18There was PC Sriam there was uh Santo40:21and there was all these. So I for me40:22there were gods and I started reading up40:24on them and I was like this is such40:27exciting stuff and um I wanted to be a40:29cinematographer. Um and kind of started40:33seeded in my head that this this is40:35something which I want to do but still40:37never took it seriously. Um so and like40:40Amit said I grew up in Delhi nothing40:42there no opportunities to you know try40:44out or whatever. So uh while I was in40:46college I first year when I had a break40:49somehow I managed to come to Bombay I40:52stayed at the YMCA uh host Dom with 1240:56other people and I got to work with40:59Barat Bala41:00>> who at that time was a very you know I41:02mean he was like a great filmmaker to41:04learn under41:05>> and um the whole idea was because Barat41:08Bala used to work with Santo I said41:10maybe on something I might interact with41:12Santo and I will assist him And I was41:15just crazy about photography and41:17cinematography and all that the visual41:18aspect of film making and stuff41:21and um so I worked in Bombay for 241:23months. Um I had a great time. My41:25parents were hoping that I would suffer41:27and you know leave it. But and then I41:29came back to Delhi and I was where I was41:31studying I was also doing then Bala said41:33okay if you're in Delhi and if you're41:34shooting why don't you help us with41:35production and casting. So I used to41:37>> old style of production where you know41:39>> street casting and stuff and odd jobs41:41and stuff. It was good pocket money. it41:42was paying you know whatever stuff on41:45the side and then uh when I told my41:48parents like uh that I might not be I41:50mean I might I'll try and do economics41:52but I might want to pursue something in41:53film they said okay if only way we41:55letting you do it is if you do it41:57properly go to a film school and you41:59study it we don't want you just floating42:00around like a assistant42:02>> and uh so then I went and checked on FDI42:06and I asked some friends who were42:07seniors and stuff and then I figured out42:09for simography you need physics and42:11maths in your 11th the 12th which I42:12didn't have42:13>> physics and chemistry I had maths but42:15>> so I said but I need to get into film42:17school so what is the next available uh42:20course so they said why don't you try42:22editing but editing needs a lot of42:24patience and I'm very impatient so I42:25said there's no way I'm going to do it42:27so the third choice was direction and I42:29just gave my entrance as a l because I42:31was straight coming out of college it42:33was too young those days FDI42:35>> were much older when they were taken in42:37like especially direction course were42:38all like 30 and 35 and people have seen42:41life and42:42Um I was just a kid who just came into42:44FTI. So and then of course the whole42:47world opened and I went into direction42:49grudgingly. I was like okay I I'll do my42:51direction but I'll sit in this camera42:52class and learn how an HMI works and so42:55on and so forth. But any I got sucked in42:57and I did my direction course. I went I43:00got I was became an exchange student uh43:02to HF Munich which is another film43:04school in good film school in Germany43:07and I was there for a year. I made my43:08short film and luckily I got a break43:11with highlight um with um with I was43:15looking for a first lady and I said I43:16can't be a first lady but I'll43:18>> want because the whole idea was to43:20develop a pool of first ladies who would43:22be first a ladies for rest of the life43:24>> I said no I don't want to do that I want43:26to direct but I I'll come in as an43:29assistant or whatever but let me please43:30I begged and pleaded and said okay you43:33join as a intern or a flunky or whatever43:35and those days started in the casting43:37department and whatever whatever so I43:39wanted to assist Mahesh because he was43:41one of my heroes like Mahesh uh and I43:43didn't know so much about Prasoon at43:45that point of time so Sria said Mahesh43:48is not directing so I'll put you under43:49Prasoon and I was no I want Mahesh only43:52but Mah is not directing so go with43:54Prasoon43:54>> so then um I went on a job and I was43:58just like amazed at the way he was44:00working and everything I learned in film44:02school I said that's all [ __ ] this44:03is how44:04>> stuff happens on set44:06>> and Um I think I was there for 3 years44:09with Prasum.44:10>> Yeah.44:10>> And um then the time came where I was44:12feeling the H2. So I think Amit and I44:15were around the same gender because I've44:16seen him in USF studios standing with a44:18tape at late at night him and we all44:20were standing in line and those days no44:21mobile phones pages production. So that44:25whole generation was you know one year44:26before after I think Bob also around the44:28same time. So we were all trying I mean44:29I was trying to they started crew much44:31earlier I was trying trying to direct.44:33So the first job I was getting um um as44:37a director my producer told me at that44:39time I don't want to take his name. He44:40said the problem is that you don't look44:41like a director.44:43>> You had hair back then.44:45>> No I had let go of that.44:47>> So I he said the problem is you don't44:49look like a director and those days were44:51stalwarts. You know you had directors44:53coming with cowboy hats and confidence44:56you know.44:57>> I didn't have confidence. Till this date44:58I don't I'm not confident. And he said45:01the biggest problem is when you're45:02saying action you know the set should45:03feel the action you know and when you45:05say cut everybody should stop and you're45:07saying you you got a squeaky cut you45:08know saying cut.45:10So he said let's fix this problem. Um in45:13the PPM I'll talk so you keep quiet and45:18on the set uh we just get a good first45:19lady who can say cut properly you know.45:22So that's how first few jobs started45:24where I was cut cut you know 10 customer45:28>> you know this this this reminds me that45:30uh so we I've worked with dada for 645:33years and then um Alia my partner she uh45:38she was also working with dada hmon my45:40partner he's my childhood friend since45:42class 2 so he was working with sujit45:45after 6 years we decided okay fine we45:47want to start chrome uh and we went to45:50one production house they said okay fine45:51we we have too many in-house directors.45:53So, we'll make one production house for45:55you. We'll open a production house for45:56you. So, I said45:59>> we were 24 years old at that time.46:01>> We were 24 when we started Chrome.46:04>> And that time, no like you know what46:07Vinnel said with cowboy hats and you46:09know all these names46:11>> and your English had to be really good.46:12Exactly.46:13>> I I was actually told that I I said I46:15can write good English and I can speak46:16also but I might not have but you had to46:18have that you know really accent. Yeah,46:21>> you have to be uh thankfully back in PPM46:25when all they used to feel like to talk46:26in English.46:27>> So I think P changed a lot and it was a46:29good time where lot of rooted India it46:32worked to our advantage because we came46:33from a completely lived in whatever46:37approach to I mean like you know we've46:38seen life and we put that into our work46:40but English was a prerequisite a certain46:42accent and46:43>> in our case it was from the south it was46:44like you have to know Hindi. Oh my god,46:48>> we were thrown out of a PPM.46:50>> Like we went to do the PPM and that was46:52happening in Chennai. Two 65 68 year old46:56South Indian uncles they enter the the46:58boardroom and PPM is like you your sur47:01has been shown and you got the film and47:03the PPM is happening and these uncles47:05came and they saw they saw us so who's47:08who's going to be directing? They saw47:09her face and they said uh um they went47:13out then agency head went out then47:16creator went out then only three people47:19are sitting over there and then suddenly47:22agency head comes and he says uh guys47:24there's a problem uh he's saying you47:26guys look like a college uh students so47:29how will you make this film this is a47:30brand film happening47:36so and then yeah47:43So yeah,47:48but it's it's exactly the same thing47:49like so many PPMs even till date because47:52people don't know how I look. So they've47:54probably seen the real agency sold me to47:55the client and then they you know swas47:59fought for a budget and when the client48:01come and sees me on the PPM like I paid48:03money to this guy48:05suddenly they're feeling very48:06underconfident and so many times I'm48:08sitting with the client and they're all48:09waiting. So I then I ask who are you48:11waiting for? He's waiting for director.48:12So48:14>> cool these things happen. Yeah.48:16>> Should we any any any more stories? I48:19mean I have but everybody's story sounds48:21so passionate like when you thought48:22about FTI and all that. I I joined48:25because uh dad said get out of the48:27house. He was like I've taken care of48:30you long enough. He asked what's your48:31plan? I said I'm trying to just travel48:34for 6 months and find myself. He said48:36out48:36>> who's funding the travel48:38>> get.48:38>> Yeah. Yeah.48:39>> So I joined um and I mean for me also48:41it's the agency first.48:42>> Yeah.48:43>> I joined and I joined under Rams. I must48:45give a call out because he mentored the48:48first 10 12 years like 8 years but48:51really really like he just fixed it like48:54whatever was the sprain in the brain he48:56just fixed it at that point I think.48:57>> Oh cool.48:58>> Yeah. And I had joined and I had no like49:00like some of us were saying that no49:03special love for advertising. I mean why49:05>> it was just there49:07>> it was a blind spot. I joined the place49:09and u I found that in the evenings49:11there's a man who comes and he takes49:14everybody's order and then in half an49:16hour he comes back with snacks and49:18whatever booze you have ordered and he49:19puts it on the table and goes off and I49:21was like [ __ ] this is a great place to49:22work man I was like just put whatever49:25order and so I started doing that but49:28what used to be a great culture I mean I49:30can say it now but Ramsam used to be at49:32the thick of it ordering the most49:34alcohol as well but it was only49:36advertising discussion and only like49:39print ads and oh who did this and wow49:42that is a lovely touch and then I'm like49:44man what like so much is going into an49:47ad and then I'm like first of all I'm49:49not able to come up with this like at49:51some point in time okay ad h but like49:53now you're like wow there's a huge level49:56to this I remember seeing a print ad at49:58that point in time which was a Zippo49:59print ad which I mean we're writing I'm50:02writing trying to write a headline that50:03comes in eight words because it has to50:05go on the holding and I'm unable to50:07write a eightword sentence that50:09communicates everything. There was a50:11picture of a Zippo and it was open with50:14the flame out and it said November rain50:188 minutes 43 seconds Zippo windproof50:21lighters because you know you used to50:23hold the light50:24>> and I was like bro50:27>> I need to learn how to be able to do50:29this50:30>> and um some love for that the entire50:33craft started around at that point.50:35>> Yeah.50:36>> So cool. But like I'll tell you50:38something like for me as a journey when50:40I got into advertising started with50:42Kodal Kapoor and with him it was like50:45you had to learn everything like50:47post-prouction editing everything so50:50doesn't matter girl boy whatever it is50:52you have to go to the studios like50:54whether it is like USL and all these50:56studios sit over there work till 3:00 my50:59grandmother started hating him you know51:02like she used to like you know like when51:03I used to get back at51:07What is this job?51:13Like what is this that you're creating?51:15I feel like advertising just generally51:18as an industry was very difficult for51:20people to kind of understand because it51:22was not movies51:23>> you know. So for them it was like why51:26are you putting in so much you know it51:28that was something so difficult for I51:31think still today also for a lot of51:32people that why is why what are you51:35putting in so much it's just an ad but51:37nobody understands the passion behind it51:40you know somebody asked me51:54Once I was with some doctor and I was51:57just getting out and one lady she got to51:59know52:00not even director52:03a south Indian lady very very minimal52:06words she said52:11that is a really good piece actually52:13which actually we try to works toward52:15>> correct52:16>> yeah that brings me to my next question52:18which is in this storytelling race has52:22advertising been left behind because52:24other forms long form you know has52:27claimed that space in narrative52:28storytelling do you think somewhere now52:31where we are does it feel like we've52:35lost it I'm not saying entirely but to52:38some extent have we or is it are you52:40reclaiming it because now from the work52:41that you see that all of your work that52:44we've seen clearly it doesn't feel like52:46it but I think the general sense is that52:48storytelling in advertising now feels52:51less or weaker and other formats like52:55long form features have gone miles52:57ahead. Does it feel like that to anyone?53:00>> I think so. I think like I feel um like53:04because like for for me it's I love53:07advertising. It's not like I feel like53:09advertising is a stepping stone for me53:11to make a feature film. No, I I am here.53:14I love this. I want to live here. I want53:16to evolve here. It's a simple thing in53:19that manner. So I've started in a place53:23where like you know like during those53:25times when for a brand you would just53:27make that one film but right now like53:29for that one brand in a year 50 or 6053:32commercials are sort of being made53:34during that time there was no duration53:36or like you know like those sort of53:38things was not there. I feel like at53:41this point it's not just for like for53:43the director. I think like right from53:45the top it kind of needs to begin like53:47with just the scripts and things that53:50like like a lot of hard work needs to53:52kind of go over there. That's when it53:54kind of trickles down to us as well. No.53:56>> So53:57>> like out of the maybe say you get 1053:59scripts in a month let's assume or five54:01whatever.54:03>> Are you really excited to do all 10?54:06>> No. No.54:07>> So do you do you guys believe that a54:10good director can elev can elevate an54:12ordinary script?54:13>> Absolutely. Yeah. And how many times do54:15you have to do it now?54:16>> So I think I think it's not about54:18elevating. It's it's a it's very54:20important because the kind of work I do54:22there is no written dialogue.54:24>> It's it's kind of a experience, right?54:26>> So it's very important that uh how the54:30creative person uh is he is he know you54:33well is he trusting you? Because some54:35process you can't even see the end of it54:37like54:38>> so I think it's a teamwork. It's a great54:40teamwork. So if like some of our work54:42like a lot of MP work though even the54:44client is involved54:46>> if you can't see the end product54:48>> and they can't see just trust but I54:50think your question yes today is a bit54:53of a funny time54:55>> maybe because the new technology coming54:56people think54:58so there are people who on a real54:59they're making ads like for everything55:01like55:02>> but I think the training which maybe55:04with P we got like how to catch a beat55:07in advertising it's a it's a big deal.55:11So you can't say55:12>> advertising is easy because it's 3055:15seconds and feature is difficult. Both55:18are difficult in its own way.55:20>> But yes, the the scripts which will55:22come, you might have to put more in55:25>> to get into uh some place.55:27>> When was the last time you got a script55:29that uh that you were nervous about and55:32didn't know you could deliver?55:33>> Each and every one of them.55:35>> Yeah. No, I'm saying from the script55:36perspective. You look at a script, you55:38say, "Oh my god, I hope I don't [ __ ] it55:39up." Like that.55:40>> Like it's so good.55:41>> It's so good.55:42>> Yeah. So55:43>> also all the time as well.55:45>> All the time.55:45>> Yeah. Yeah.55:46>> Okay. That's good. Then55:47>> uh Google Reunion is one film which and55:49I I I was55:52>> uh I got the script from Sukkesh and uh55:55I read the script. I said this is55:56beautiful. This is amazing.55:59>> Countries will be let down if you don't56:01do it.56:01>> And I56:03and I said no for that film.56:04>> You did. I said I said I cannot make56:06this film.56:07>> So Sukkesh asked me what's wrong with56:10you? I said and I was working with56:11Sukkesh for the first time.56:13>> I said the delivery date what you have56:16no I'll not be able to match and if I56:19really make a shitty film out of this56:22you know56:24so I think rather say no56:27>> or get me more time.56:29>> So we got more time and we made that56:32film. That film was supposed to release56:33on the 14th of uh August at 11:59. They56:39wanted to release on Google uh this56:41thing and u I said I can do it in56:44September.56:46>> And luckily you know they they waited.56:49>> Wow that's rare.56:51>> So yeah and today I think it's56:54>> film making is a collaboration. So so we56:57>> we are collaborating with our creatives.56:59Yeah. If we are adding to that's our job57:02to add things and they're also writing57:04scripts because they want to make the57:06best out of it.57:07>> Yeah.57:07>> So,57:08>> absolutely. No, but back to your initial57:10point has some magic left the57:13storytelling in advertising.57:15>> It's an evolving landscape. It's57:17changing. So, the economics of it, the57:19pressures of not just our pressures but57:22even57:23>> agency pressures are changing. Um the57:26medium is evolving and changing so fast.57:30>> Uh the number of players are changing,57:32attention spans are changing, durations57:34are changing.57:35>> And I think in that um I don't think57:38we'll ever land at a place where we can57:42finally say, okay, at least for this57:43generation, we've cracked this format or57:46we've cracked a certain tone or we've57:48cracked an ad. uh we still we all wait57:52during IPL to watch you know what57:55advertising is coming out this year but57:56every year we say this disappointing57:58again there was nothing great or57:59whatever58:01>> um I don't think it's it's we are all a58:05part of this because I don't think it's58:07fair to just sit back and say the good58:09scripts are not coming in there's58:10pressures operating at that level as58:12well58:14>> um and I think um we have to keep58:18fighting the good fight I think what we58:19were talking about this earlier58:21>> uh what may be changing for us directors58:24is that58:25>> uh one out of 10 scripts is going to be58:29ah bullseye that's the one I'm going to58:31put everything in that58:33>> uh the rest are58:36>> yeah maybe just running your kitchen or58:38or or things that you just do because58:41you you have to do them but that58:43creative satisfaction as well58:45>> right58:46>> is not is few and far in between um and58:49I think that's just a function of the58:50time we're in and how the medium is58:52changing,58:52>> right? But how do you handle a situation58:54where a script is something that you're58:56not convinced about or you dislike and58:58and the creative director wants only you59:00to direct it? Like how what then happens59:04like how do you say no? How do you get59:05out of it? Tell us.59:06>> I mean I say dates traveling.59:10>> I mean you see sometimes you're honest59:12because you know it depends. you have59:14people that you've been working with59:15regularly so you can be pretty honest59:16about it that I may not do justice to59:18this script that whatever that you've59:20written59:21>> you try your best you know with your59:23collaborators I think you try your best59:25>> uh I have over the period learned the59:28idea some way to say no more often as59:31opposed to just try take a lot you know59:33too many projects59:35>> uh it kind of worked in my favor uh so59:38that's the learning I've had59:39>> yeah that's a very important one because59:41I think a lot of people struggling59:42struggle with saying no59:43>> and I think saying no is important as59:45well.59:45>> Yeah. I mean, you know, most of the time59:47when I couldn't find a voice,59:48>> it was because I was just taking in59:50everything59:51>> and I was kind of insecure59:53>> and the moment I let that go, I said59:54it's fine. I'm going to sit at home for59:553 months59:56>> but I might wait for it. And that's the59:58thing I would even discuss with my DAS1:00:00let's say today they want to become1:00:01directors. We often discuss that but1:00:03it's also hard1:00:04>> you know you say no but how long1:00:06>> so there is that catch 22 there but I1:00:09think uh somewhere you fight that battle1:00:11but uh eventually you get it.1:00:14>> Yeah. But I sometimes it's like I feel1:00:16like you know if somebody really wants1:00:18to work with you I think you know you1:00:20have to like sometimes like respect them1:00:22also because they are like kind of1:00:24believing in you so much good bad ugly1:00:27whatever it is then you like really put1:00:30your heart and soul in it because1:00:31somebody you know like like how we talk1:00:33about there are so many players in the1:00:35industry right now it's beautiful that1:00:38somebody's like really believing in you1:00:40and wants to invest in you so you do it1:00:43and you like work with them and you make1:00:45it happen. Even if it is like however1:00:48terrible the script is, you just like1:00:50you know you make it a beautiful1:00:51experience.1:00:53>> A little bit of a free hand though in1:00:55situations like this where it's like1:00:56okay we really want to work with you. We1:00:58listen to suddenly a little bit more1:01:01agree I agree with Aan. So the thing is1:01:03like what I felt is that it's never so1:01:05binary1:01:06>> like uh there are two things. One is1:01:07that you very rare. I mean it's like one1:01:09happens in like couple of years that you1:01:11get a perfect script and a perfect1:01:13client and agency and it goes like a hot1:01:15knife on a butter and everything goes1:01:16well. But that's like incredibly like1:01:19rare.1:01:19>> Mostly you get something you see a1:01:21potential in and you have a team which1:01:22allows you to do what you want to do1:01:23with it. Sometimes you're saving it from1:01:25the agency and saying look don't screw1:01:26it up it's great and you need to kind of1:01:28navigate that is but 80% of my time has1:01:32gone in trying to get decent scripts to1:01:36become a an above average film and1:01:38that's the most thankless and the most1:01:40frustrating and the most uh unrewarding1:01:42part of advertising because you do your1:01:44bulk of work every film is not going to1:01:46be a iconic film you and there will be1:01:49multiple reasons why you should be doing1:01:51a film I mean I have my three buckets of1:01:52why I would do a film needn't just be a1:01:54good script. It could be also like1:01:56somebody wants to work, it's a friend,1:01:58you enjoy the process or somebody's1:01:59putting faith in you. So like she said,1:02:01you don't want to like, you know,1:02:02>> so good script is one bucket, friend is1:02:03the other. What's the third bucket?1:02:04>> Money.1:02:05>> Yeah. I mean it. So if you're sitting at1:02:07like you're like I I am like to be a1:02:09practicing professional. I don't see1:02:11great heroism sitting at home and saying1:02:13okay I'll wait for my chance. I mean1:02:15then you you get onto the floor and get1:02:16what is there and you want to do1:02:18something with it. And then if1:02:19somebody's come to you then you know1:02:20okay you'll bring your expertise or1:02:22craft and try and make the best version1:02:24of what is given to you. And I think1:02:26most of our work is that it's trying to1:02:27do the best version. You can't even put1:02:29it out on your reel. You can't tell1:02:30people you can't submit it to good ads1:02:32matter but you you've done a lot of that1:02:34work1:02:35>> because the peers will judge you but the1:02:38clients want this and somewhere at the1:02:41end of the day advertising is commercial1:02:43art. You're also selling your product.1:02:46Like for me, I grapple with that1:02:47confusion a lot where I know that uh1:02:51>> if I take certain decisions with certain1:02:52script I can extremely selfish and I can1:02:54make a really cool film and I know it1:02:56works with the peers but I know the1:02:58client has not come for that. He's not1:02:59expecting that and I know it might not1:03:01even work with the audience.1:03:02>> Correct.1:03:02>> And then you just want to like take a1:03:05path where uh you say okay this is I'm1:03:08here to do a job for them also and I1:03:10need to be fair to that as well. So I I1:03:12grapple with that a lot because1:03:14increasingly what happens is that uh1:03:16scripts come in certain tropes. I mean1:03:19they're primarily three four type of1:03:21patterns of scripts which come to you.1:03:22Either it's like a a wacky film which is1:03:25going to get a cool electronic track on1:03:27it and some cool visuals and you're1:03:28going to like nail it1:03:30>> or you go to it's it's like1:03:33Scandinavian/ Thigh stand you know dead1:03:35pan humor with some twist at the end1:03:38>> or it's a you know pretentious emotional1:03:42kind of1:03:42>> eyes quivering and that kind of you know1:03:44so there are those templates and then1:03:46people are happy if you kind of deliver1:03:47on that like how to give it and you can1:03:50put it together and give it1:03:51>> true. So um then you're feeling like you1:03:53know do I just give what is required? Do1:03:55I do something different with it? What1:03:57is our own aesthetic? What are we1:03:59bringing to it?1:03:59>> So it's a it's a lot of struggle and1:04:01most of the time goes in1:04:03>> your bread and butter is going to be1:04:04those films which are going to be like1:04:05the script is at 60% and despite your1:04:08effort you put in and you kill yourself1:04:10doing it and doing everything right, it1:04:12comes to about a 75%.1:04:13>> You can't tell anybody about it. It just1:04:15happens. It pays for your bills and you1:04:16go on. But then where is where do you1:04:18align on stuff like u things that don't1:04:21align with your ideology for example I'm1:04:24just saying I know a lot of people who1:04:25would say that I'm sure some of us on1:04:27this table would have a problem with say1:04:29promoting fairness and you know or I'm1:04:31I'm just asking I don't know1:04:33>> yeah so I I have very interesting point1:04:35that with my kid we don't initial years1:04:39like till six seven years we never used1:04:40to give a biscuit and that time I got1:04:42one a good day film and it was a very1:04:45simple interesting film that now good in1:04:475 rupees and you and people are smiling.1:04:48It's a very simple clean film and we1:04:50enjoyed doing it and whole time I was1:04:52feeling1:04:55if you're doing a good film people will1:04:57buy it and then1:04:59one of my teacher she told me a very1:05:01interesting thing she said like biscuit1:05:04problem1:05:05but essential so she said a very she1:05:08narrated a very interesting incident in1:05:1126th July rain she said two ladies stuck1:05:14on a bus stop for a whole night and she1:05:16had a parli packet So she said like now1:05:19tell me why if parlay has a sugar or1:05:21something how you can say it's bad.1:05:23>> So he said it's always a consumer also1:05:25who's responsible but definitely like1:05:28pan parag I will not think of or we1:05:30never did ads for which is like directly1:05:33harm but these borderline things like a1:05:35coke or a biscuit. Yeah, it's a it's a1:05:38thing.1:05:39>> I mean, yeah. Sure.1:05:39>> So, so for so so for me the script has1:05:42potential1:05:43>> to be made in a way which you will like1:05:45what Vel said key what we are making at1:05:47least we we are making I'm I make films1:05:50for my own self.1:05:52>> I've told my clients also that I'm not1:05:53making it for you guys because I want to1:05:56show it to people1:05:57>> and if I want to show it to people that1:05:59means I've done just some justice to the1:06:01to the to the script and and expect that1:06:04from the script also. So if I'm doing a1:06:06Dove where dove is talking about uh what1:06:10women go through,1:06:11>> I love make I would1:06:13>> I'll again make that film.1:06:15>> Uh it's winning a it won a silver in uh1:06:19KH's. People are appreciating that kind1:06:21of a that so script has to excite me.1:06:25>> I don't have those kind of things.1:06:26>> So in a script if something doesn't1:06:27align with your ideology, you might say1:06:29no.1:06:30>> Yeah. Then I then I won't do it.1:06:32>> Then you won't do it.1:06:34You know, sometimes you can almost like1:06:36be working on an absolutely amazing1:06:38brand or you can be working on anything,1:06:40but sometimes, you know, like because1:06:42I've started like maybe a year back and1:06:44like the battles are like completely1:06:46different. It's like sometimes like the1:06:47kind of people that you're collaborating1:06:49with. It's maybe not the brand, it's1:06:51maybe not the script, but it's sometimes1:06:53like the people who are you are1:06:55collaborating, they can scar you,1:06:57>> you know, like just generally also that1:07:00also one can really kind of go through1:07:03to really kill your morale,1:07:06>> you know, sometimes like that like that1:07:08is also like a 1% sort of situation. So1:07:11it doesn't even matter even if you're1:07:13like the youngest of director or even if1:07:15you've worked hard enough to reach a1:07:17place there can be like some people even1:07:20on the most amazing brand come and just1:07:22like kill you you know so it's a very1:07:25tricky1:07:25>> kill yourself yeah like just because of1:07:27the because the industry has become so1:07:29tricky right now1:07:30>> because there's so much content there1:07:31and the problem is you're fighting for1:07:32attention there's an attention problem1:07:35so you have to do something just like a1:07:37clickbait on your ads so everybody's not1:07:39shouting out loud how how wacky or how1:07:42crazy can I be so that somebody clicks1:07:44and watches my piece of so because there1:07:47is not just advertising reels everything1:07:48is doing you know it's just kind of1:07:50trying to catch everybody's attention so1:07:52your wiggle room for doing something new1:07:53is much lesser second issue with1:07:56advertising I feel has been always is1:07:58that1:07:59>> there is no real test of whether an ad1:08:01has worked or not1:08:02>> right1:08:02>> it is a perception game you know1:08:04>> there are metrics on it but1:08:05>> yeah but there you really not like when1:08:08you do a film a mainstream film for1:08:10instance concept which is why I'm just1:08:11bringing it up because Indrish you1:08:12brought it up but is that it goes out1:08:14there people buy tickets and you have1:08:16numbers to say okay this is liked by1:08:18people people engaged with it they liked1:08:20it here it's a perception game here you1:08:22don't know you could have made a cool ad1:08:24but nobody even cared1:08:25>> exactly1:08:26>> like what was this ad half the1:08:28population doesn't even understand what1:08:29you made the product they don't even1:08:30remember the product now there's a job1:08:32at hand so you made a cool film and you1:08:33got your awards but has the ad done the1:08:35job we don't know1:08:36>> exactly1:08:36>> but the the ecosystem has got rewarded1:08:38for it like the band managers has got1:08:40his award. Uh this guy's got the award.1:08:42But you've not done the job which was1:08:43you know asked out of you. So I feel1:08:45that advertising also works in a bubble1:08:47where we just clapping ourselves.1:08:49There's a perception wave. There's a1:08:50flavor of the season. There is a a style1:08:53of the season and then if you do that1:08:54you just get in and then you get1:08:55forgotten and people move on. Yeah.1:08:57>> But I'll just add to that two things to1:08:59yes the bubble exists. But what has1:09:02changed in a big way is a hyperargeting1:09:05of our audience now. So if a museum of1:09:08boobs is never going to be appreciated1:09:11by a million people, it will reach the1:09:14exact number of people that will1:09:15appreciate it and who will like it.1:09:17That's something that has changed1:09:18drastically over the past 5 years. So1:09:21one ad is not being watched by a1:09:23hundred. They're being watched by a five1:09:24and by design those five are watching1:09:26it. efficacy of something now it's even1:09:30I'm guessing harder and harder to1:09:31>> but to something that Vinil said uh1:09:34which is spot on right we are not1:09:36advertising used to inform pop culture1:09:40earlier and now advertising is being1:09:42informed by pop culture like1:09:44>> sometimes you're shooting reals on a1:09:45good camera the script is the same1:09:49you're essentially just trying to make1:09:51it better and in making it better you1:09:53lose the joy of the reel also so you're1:09:55just nowhere at advertising was the1:09:58zeitgeist. Now we are chasing the1:10:00zeitgeist. A lot of that is because now1:10:03on the palm of your hand you have a1:10:06million options of content to go through1:10:08and advertising is but one of them. I1:10:11mean and I think uh like a mix of I I'm1:10:16partly agreeing with you Indrushish and1:10:18I'm definitely agreeing with Vinner but1:10:20I I do see the point of making those1:10:24hyper um individualized1:10:29>> uh1:10:29>> hyper local1:10:30>> hyper local commercials that may make1:10:32sense to a certain kind of audience1:10:34because there is an audience for it.1:10:36>> Uh we are not sitting in front of ZTV1:10:39and watching ads anymore, right? It's1:10:41it's not a captive audience. It's not1:10:43linear television anymore. Everything is1:10:44nonlinear now. So I just feel it's it's1:10:47a mix of both. And perhaps a1:10:49>> like you know there was this time when1:10:50we used to make uh there's a celebrity1:10:53in the in the film. So 8 hours.1:10:56>> You shoot one film in 8 hours.1:10:59>> Nowadays you get1:11:00>> 12 films in 8 hours.1:11:02>> Exactly like three films in 8 hours.1:11:05Yeah.1:11:05>> And in that uh even the celebrity has1:11:09they have to work. Um so you're not even1:11:13letting them go to the vanity van and1:11:15okay fine. So and in1:11:19they have to write the script according1:11:22to that should finish in 8 hours.1:11:24>> So everything gets diluted1:11:25>> everything.1:11:27But this is the attention economy now at1:11:30the end of the day. First 5 seconds wins1:11:32the race.1:11:32>> And you think celebrities do that for1:11:34brands? 100%.1:11:35>> But then they do so many brands. So how1:11:36how do you do you think a regular guy1:11:38will will remember a brand because the1:11:40celebrities and I'm just asking1:11:41>> they may not remember but they'll stop1:11:42and watch it for this for six or seven1:11:44seconds because XYZ is on it. So maybe1:11:48it deserves a1:11:49>> even if it's a really shitty script or a1:11:50shitty film.1:11:51>> You think an audience cares about a1:11:53script as much as we do?1:11:55>> I'm sorry it may sound very are they1:11:56likely not to be confused what brand it1:11:59is because1:12:00>> I definitely think that's the case. I1:12:02mean especially like some of them we1:12:03don't want to take names we don't want1:12:05to but like there's an Indian cricket1:12:06captain who's doing like 43 different1:12:09brands in a year1:12:10>> there can only be one Indian cricket1:12:11there are1:12:13you just said it1:12:14>> yeah but like 43 so I mean how do I I1:12:18myself may not know at some point in1:12:19time I might be shooting him a couple of1:12:21those commercials I don't know which one1:12:22he's done which one he's not I do feel1:12:24like a celebrity brings credibility to a1:12:26brand especially a new brand it's not1:12:29like a run-of-the-mill thing that's like1:12:30come and gone1:12:31I definitely think that can happen but1:12:33like to make it stand out or like1:12:35>> I don't know1:12:36>> they're getting paid1:12:37>> so there are very few actors who I know1:12:40>> they look for the script oh is it1:12:42they'll tell you go back write the1:12:44script again and come back because I1:12:45don't want to make I don't want to work1:12:46in a shitty script1:12:48>> so there are still those celebrities1:12:50very few of them otherwise lot of them1:12:52they don't they don't care they are1:12:54getting their paycheck1:12:55>> I have 8 hours1:12:56>> 8 hours do what you want to and move on1:12:58>> yeah what's your experience you work a1:12:59lot with I pretty much right like most1:13:02of the celebrities wouldn't care. Uh1:13:04more often they would have a lot of1:13:06point of views on script and now you're1:13:08all prepped on the day of shoot suddenly1:13:10this guy is like I don't want to do this1:13:12and you have a film in your head you1:13:13have everything that you planned and1:13:15edit and everything so it it can be hard1:13:17but then you also have like I worked1:13:19with Shah Ruk and it was one of the best1:13:20experience I've ever had.1:13:21>> That's a common story.1:13:22>> Yeah. Right. like he's someone I was1:13:24like okay I was a little afraid of s1:13:27and he's like make it bad make it worse1:13:29like you know do something with my1:13:31costume so I mean it's great but at the1:13:33same time you also have some tough ones1:13:35but I think you need to know how to work1:13:37around that it that will happen you know1:13:39but how can you spontaneously on the day1:13:41of shoot uh fix that work with the1:13:44creator work with the writer1:13:44>> so suppose they come back and say I1:13:46don't want to do it is it your job as a1:13:48director to then salvage or save the1:13:49script1:13:50>> uh it is I think it's a collective1:13:52effort1:13:53A lot of times creatives will be like oh1:13:56I can't do this you know because they1:13:59listen to the director somehow there is1:14:01this perception that if a director comes1:14:03and I think I get it why because you1:14:05know they want to look at you as the1:14:06captain of the ship and you are the one1:14:07who is going to dictate right1:14:09>> uh but it it's not necessary that it'll1:14:11happen all the time it'll work all the1:14:13time but I've I've I've figured one way1:14:15especially because I you know often I've1:14:16been working a lot with setups that1:14:18>> you need to sort of make them the hero1:14:20in some way some way you have to get1:14:22them excited1:14:23If if you can't do that, they are not1:14:25going to be in it.1:14:26>> Right.1:14:26>> Yeah.1:14:27>> But what if the script is really1:14:28terrible?1:14:30>> How do you1:14:31>> He doesn't do it.1:14:34>> I think I've said it too like staunchly.1:14:37Just say it more often.1:14:39>> No, I mean see they know it in the1:14:41beginning only like for example Ranir,1:14:43right? He really likes to get into the1:14:45script. I mean you know if you worked1:14:47with1:14:48>> he wants to he's thought about it. He's1:14:51has a certain character in his head and1:14:53no matter how bad it is in terms of the1:14:55script also there is something I really1:14:57like that he'll be excited to do that1:15:00>> right1:15:00>> you know so I feel like a lot of them1:15:02are and a lot of them don't care1:15:03>> yeah a lot of them just come bored1:15:05>> can I tell a story about a celebrity I1:15:08had a lovely experience working with was1:15:10Raj Kumar Rao and uh like how everything1:15:14is set up for him so like ch we'll1:15:16finish off the opposite axis he'll we'll1:15:18send off a print so I started shooting1:15:20the opposite opposite axis and that1:15:21actor was struggling a little bit and at1:15:23some point he's finished his sprint and1:15:24he's coming down and he's like1:15:27so we were like yeah we're just doing1:15:28the opposite axis he said no no I want1:15:30to be standing and I'll be the shoulder1:15:32so that's how that day started he came1:15:34as the shoulder that guy finished giving1:15:36his take in that the moment he was1:15:39feeding off of him that got done he I1:15:42had asked them he had to do one1:15:44voiceover line I'd asked them to keep it1:15:45ready so that he can remember it and1:15:47come they changed the line once he1:15:49reached1:15:50and uh he said just give me 2 minutes1:15:53theater and he did that in one go and1:15:57then it's raining and I had to shoot the1:15:59second film outside because shooting two1:16:00films so outside and he's waiting in the1:16:03vanity and while I'm there now he had to1:16:06be a mugger to go and mug somebody and I1:16:09had given him whatever brief and then1:16:11when I'm sitting and smoking I just1:16:13realized that you know in his movies he1:16:15stammers and stutters all the time1:16:18so I went and told Is it okay if I1:16:20change the brief a little bit? And he's1:16:21looking at me like, bro.1:16:24So I said, you know, I just found that1:16:25you stam so nicely now. Can you be a1:16:28first time mugger? And he came and he1:16:30did two takes and people clap for him1:16:32and it was done. Like I cannot think of1:16:35a day that started out with like so much1:16:38like, oh my god, where is it going to1:16:39go?1:16:40>> And ended with people leaving after a1:16:43rain break before time thanks to just1:16:45one person. So they can actually really1:16:47lift up1:16:48>> a thing if they need to and1:16:50>> yeah especially with actors I think1:16:52>> I'm sure with make my trip you have the1:16:53same uh1:16:55>> experience right1:16:56>> yeah yeah yeah like in the make my trip1:16:58film the way there was no way we could1:17:00have finished and we finished before1:17:01time so uh but I shot Alia even before1:17:05came on set1:17:06>> I had done many years back in different1:17:08environment with Vidya and uh Vidya1:17:11Balan and Adavan and they are the dream1:17:13couple to work with and we did like over1:17:15four years a series of ads where they're1:17:17playing a couple and what had happened1:17:19is with Vidya is that her she's from1:17:21Prahepsarada school where she says keep1:17:24trying and you know sometimes the 28th1:17:26or 30th take I'll warm up and I'll you1:17:28know I'll get warmed up and I I'll come1:17:30there and Maddie is like boss not more1:17:34than two takes. So the first time we1:17:35shot a film we knew it was a disaster1:17:37because she's I know she's she could do1:17:39more. Not that she was bad but I know1:17:41there's so much left in her and he's1:17:42kind of finished by the third take. So1:17:44the next day I said uh Maddie you come1:17:47in the morning 9 to 2 and Vidya you come1:17:49from 2 to 6. So we just didn't do we did1:17:51a split camera whatever but we I shot1:17:54them separately and with Vidya I can say1:17:56okay come on let's try this and Maddie1:17:57is done and they're both good. So I go1:17:59with the actors and it helped me in my1:18:01feature as well because I've had actors1:18:03who have I mean you know the typical1:18:05dining table situations where you have1:18:07uh like in Cadbury only where you know1:18:09you had a dining table situation where1:18:11there are different kinds of actors. One1:18:13is a professional actor, one is a non-1:18:14actor, one is a model, one is something1:18:16else, different age groups, different1:18:18confidence levels, and they're all1:18:19sitting. Now, you can't imagine that uh1:18:22they will all work in the same and it's1:18:25a pain shooting dining table sequences1:18:27because you're first you're shooting one1:18:28master and then going close up and1:18:29everybody else is giving lines and1:18:30they're waiting. So, the more the number1:18:32of people you're getting impatient and1:18:34you know, all that stuff comes to you.1:18:35So,1:18:36>> but then you have to go with what the1:18:37actor can give and what he's capable of1:18:39and make sure that this guy is not1:18:40getting affected by that guy's process,1:18:42you know,1:18:42>> right? So you have to optimize for that.1:18:44>> Yeah. So you have to feel the actors and1:18:45see I mean it's whether it's celebrity1:18:47or a kid or whatever you feel what is1:18:49this guy going to come out with what is1:18:50the best way to we would have we would1:18:52have script writing sessions with air1:18:54would call you two days before to his1:18:56house and go through the script and so1:18:58many actors have done that with we've1:19:00done that before but now it's impossible1:19:01I can't even think of a scenario where1:19:03>> yeah I I I'll tell you one story which1:19:05is I was shooting with air there was1:19:07this is this parlay u you know oven1:19:11baked chips1:19:13>> so we went to present the script to him1:19:15with the with the client and uh he reads1:19:21healthy product1:19:25so I'm looking at him1:19:31so everybody's looking at him so client1:19:35is also giving him input client is also1:19:38sitting on he's sitting on the release1:19:40of the the product is getting launched1:19:41in the in the market he says says, you1:19:44know, we'll shoot after 1 month. So, I'm1:19:47looking towards the client.1:19:49So, Amir gets up, he calls me in in his1:19:52washroom and says, see, double chin over1:19:55here.1:19:59Let's shoot. So, I said sir, okay, fine.1:20:03But number1:20:06that 7 kg will drop 7 kg. He said, I'm1:20:09doing this diet. They say 5 kg will go1:20:11down and 2 kg will go down because of1:20:13I'll be I'll be exercising. We shot with1:20:15him after one month. He was actually 71:20:18kgs down.1:20:19>> Wow.1:20:20>> And we shot the whole commercial1:20:22>> and it made a difference.1:20:23>> It made a difference because he there1:20:25was the double china had gone. His1:20:28cheeks had gone inside. So he said this1:20:32is the right thing to do for the product1:20:34because you're showing me diet.1:20:38>> It's called it's it's he told me that MG1:20:41diet1:20:42>> it's called MG diet. So yeah so it's1:20:45>> covering a lot of topics today.1:20:48So yeah, so it's at the same time like1:20:51run reanir you know I was shooting on1:20:54make my trip commercial only and1:20:57suddenly client comes and says he he1:21:00needs to go. I said my three shots have1:21:03left. So so he says no no no he he needs1:21:06to go because otherwise after more half1:21:10an hour I have to pay this much.1:21:12>> So then agency comes and says no no no1:21:14listen let him go. So I said the film is1:21:18not complete. So suddenly Ranir comes1:21:22and I have I don't know the backstory.1:21:24He comes he puts his shoulder on my1:21:27shoulder my sahal he said sir you have1:21:30three shots you have 10 shots you shoot1:21:33the whole thing I'm here don't worry1:21:34about it before in the background what1:21:37he has done his manager has gone and1:21:38told him that1:21:39>> you can't because otherwise I will1:21:41charge them. I said he said I know1:21:44director has three more shots1:21:47>> and how can I go without completing the1:21:49film1:21:50>> so1:21:52>> you know1:21:53>> so1:21:53>> I think actors per say more than that1:21:55it's their managers who sit behind you1:21:57know there and they're like how many1:21:59more shots how many more shots why do1:22:01you need this take1:22:02>> you know you're answering some1:22:03>> and also they they know what you're what1:22:05you're shooting if they know whether1:22:06they're enjoying or not1:22:08>> if they're enjoying they will give more1:22:10time for sure1:22:11>> you know If they know on on set in the1:22:13first shot, they know where the film is1:22:15going.1:22:15>> Correct.1:22:16>> And then they are disinterested1:22:18>> or they know the script is bad. So1:22:20they'll okay fine just do it. Finish it1:22:22off.1:22:23>> Yeah. True. So the one thing that I am1:22:25curious to find out is in this whole1:22:28process as a director, collaborators are1:22:31a big part of who we are, right? I mean,1:22:33you're never uh alone in the sense that1:22:36you always have you are as strong as1:22:38your team at the end of the day. who you1:22:40value most because sometimes it's almost1:22:42like a marriage. So, I'm going to give1:22:45you the opportunity to make your Oscar1:22:46speech here.1:22:49And who would you thank and in what1:22:50order? Governor.1:22:52>> Oh, so since it's marriage, yeah, my1:22:55wife first because1:22:56>> because you have to go back home1:22:58tonight.1:22:58>> No, no, not that. I know. No, because1:22:59she's uh she's of course she edits all1:23:02my ads, but also she's um like my1:23:05favorite bouncing board. a lot of the1:23:07stuff because she says the same1:23:10worldview as me and we uh same sense of1:23:12humor and way of looking at life and um1:23:15my approach is always to get my lived in1:23:18experience onto the film. That's how I1:23:19can create some differentiation not1:23:21reference it but take it from life. So1:23:24both of us have that shared experience1:23:25so it's easy to bounce with her. So a1:23:27lot of the stuff which films are done1:23:29well or the Cadbury and Loy actually1:23:33came from my wife.1:23:34>> Wow. M because script was like something1:23:35very different1:23:36>> and we were discussing so she's like so1:23:38when I spend the first day grappling1:23:41with the film and then I have my ideas1:23:43the next day morning is when I sit and1:23:44chew her brain and trying to get so uh1:23:47so she number one for sure my producer1:23:50father has been with me for now she was1:23:52my boss then she was my colleague and1:23:54now she's my uh producing partner for1:23:56the longest time and I think all the1:23:58agency collaborators I've who I've had1:24:01like I have a really good friends and1:24:02that's why whenever I did a film I1:24:04wanted to come back to advertising1:24:05because some of the creatives have1:24:06become really good friends you know and1:24:08uh and of course who I really enjoyed1:24:16by1:24:17>> well done1:24:20you have just stolen the show go1:24:23>> uh it's say my wife you know she's my1:24:25bouncing board1:24:25>> is she also a producer or1:24:27>> no she was in advertising but she1:24:29couldn't handle it so she quit she's an1:24:31artist right now but uh yeah I mean you1:24:33all my ideas, initial ideas, they're1:24:36often like she she's my bouncing board.1:24:38um is the writers uh you know I feel1:24:41like the creative partners are like1:24:43really really important and u yeah my1:24:46producer of course uh you know she1:24:48whatever that I think of I I love love1:24:51to sort of talk about my film with1:24:53everyone and then after that I think1:24:54it's my DAS I really like to sort of jam1:24:58a lot with my DAS and then of course you1:25:00know DPS PDs the list is long1:25:02>> right but yeah1:25:03>> right okay cho Amit Oscar speech1:25:06>> oh so uh my two partners Hmon and Alia1:25:11because we were very young when we1:25:12started and uh all three of us wanted to1:25:15become director. So Hmon took a backseat1:25:18and he became producer. Alia said okay1:25:20fine in initially we were as in we were1:25:23directing together then she then she1:25:25said okay fine now you take over. So1:25:28both of them my mom who pushed me to get1:25:31into this my father who who always1:25:34thought I'll not do anything in my life1:25:36but then I see his happy face al so I I1:25:38feel really good you know my son because1:25:41when you're out on long shoots and all1:25:43those things he is a support where he1:25:46says okay fine no problem you work1:25:49>> he's like that you work don't worry1:25:50about it and of course all my agency1:25:53creative servicing friends who uh who1:25:58let me be as in you know what I want to1:26:02shoot they they let me shoot1:26:04>> servicing1:26:04>> servicing also because creative somehow1:26:07let them servicing so uh so yeah I I1:26:11have a long list of DPS and PDS and all1:26:13of them1:26:14>> so yeah these are the people I really1:26:16praepar my my my boss my god so who I1:26:22learned everything from so yeah that's1:26:25that's my Oscar list.1:26:27>> Okay. Yeah. Uh Asha,1:26:31>> I mean I'll start with Kunal Kapoor who1:26:33kind of like got me in the industry and1:26:35like like how you know like it's he's1:26:37almost like a godfather started from1:26:40then and till today also like the1:26:42relationship is still going. But also1:26:43like the other thing I feel like postp1:26:45production like just the post producer1:26:48then just the team over there because1:26:50you know we we do shoots with like 1201:26:53people and then eventually when you're1:26:54going in uh post you're just like five1:26:57people and it's still 50% of the job1:26:59that is still need to be done1:27:01>> and that part sometimes in advertising1:27:04you go on for months and months but they1:27:06are holding the fort you know so yes of1:27:09course like you know your producers your1:27:11cinematographers and everything. But1:27:13it's great to have like a fantastic1:27:17post-p production team because you know1:27:20like that show sort of needs to be1:27:22carried forward after the shoot is done1:27:25>> you know and they are sometimes like1:27:27really ignored you know I feel like just1:27:30like generally the kind of recognition1:27:34that they sort of need is not there1:27:38>> you know like yeah so it's1:27:40>> I feel like yeah they should also would1:27:42be like yeah like give big shout out to1:27:44them as well you know1:27:45>> true1:27:47>> Vijay go first go first go first1:27:50>> I thought in life somebody asked me this1:27:51question okay next time we'll meet at1:27:53Oscar dies maybe1:27:55>> but I think uh more than a direction I1:27:58think people who made me helped me to1:28:01reach here I think major time goes in1:28:03advertising career actually who the1:28:05people who taught1:28:07>> and very important like and uh to start1:28:09with my uh wife she is is a great friend1:28:12and we watched millions of movies1:28:16together on a festival and we didn't1:28:18left any movie actually. So that's a1:28:21good beginning. Then in advertising1:28:23people like Push Pande and Abhijitasti1:28:26taught me without telling how not to get1:28:30insecured1:28:31>> because1:28:33by looking at them you don't feel like1:28:35it's such a such a learning that they1:28:37made made you confident and in great1:28:41partners Shetty and Dharam. So Dhabali1:28:44is my producer now and Monosetti. So I1:28:47think those who trusted me I just count1:28:49on them. They literally blindfolded1:28:51trusted me and now in a directional1:28:54phase that lot of time like Amit said uh1:28:58storyboard1:28:59but still people think1:29:03so I think there the technicians are1:29:06like amazing Mukurji never got a final1:29:09film to do the music he still does his1:29:12best no in fact great okay I have few1:29:14DPs also actually I can name it because1:29:16I don't work with lot of people but I uh1:29:19work with like genius Javi who is like a1:29:21he can give me 7 days before the shoot 81:29:24days before the shoot to sit and1:29:26technically do uh stuff. So uh the these1:29:30things are very uh important and my PDS1:29:32also because actually I do very less1:29:34films so I have very small crew and I1:29:36think it's a cutest every time almost1:29:38when I can afford them not that I can1:29:40afford them every time. So I think those1:29:42who can bear me I think they're the one1:29:44Thank you. I must have left lot of names1:29:46who who must have bured me. So that's it1:29:49really.1:29:50>> Yeah. Go a1:29:52>> Everybody's thanked their partners now.1:29:53If I don't, I'm going to be crucified.1:29:56Uh thank you baby. Thank you for1:29:58everything you do. Um no. Yeah. Uh1:30:01actually it starts a a big thank you to1:30:04this uh one boss I had who looked at one1:30:07um title montage of a show I made and1:30:10said, "Why are you showing me a1:30:12PowerPoint presentation?1:30:15That ego bruise um led me to1:30:22keep doing it over and over and over1:30:24again until I was happy with something1:30:26and I wasn't just showing something for1:30:28approval. Post that there were a lot of1:30:30people who took a punt on me when they1:30:32needed.1:30:34uh this is when I was just stepping into1:30:38a direction and even you know the1:30:41Sumitra S Gupta who I want to remember1:30:43right now1:30:45um Sumitra is not with us anymore but1:30:48Sumitra was the very first person who1:30:51without any body of work just said I1:30:55like you I like your style let's do1:30:57something and that bunt really lasted1:31:01for a very very long time I love her May1:31:04she rest in peace. And she I have to I I1:31:06I owe a lot of who I am today to her.1:31:10Then there's like a lot of people who u1:31:15carried you along the way. Rahul Sen1:31:17Gupta my producer now Alo Potnes my1:31:20editor Shakhar who I cannot live1:31:22without. Nathan my postp producer and my1:31:26army of DAS and ads1:31:29who um I think they make the film.1:31:33I'm just sitting in front of a monitor1:31:35saying yes, no, maybe, but they really1:31:37make the film because they protect my1:31:41space and my brain and come and you know1:31:43give all their valuable feedback and1:31:45input and a film is really made when um1:31:49we are jamming together before during1:31:51prep etc. I owe that to him and I'd like1:31:53to thank my mother and my father and my1:31:56sister. Yes. Everybody.1:31:59>> Yeah. So if you hear what you're saying,1:32:01you're saying you're thanking people who1:32:03believed in you, who gave you a chance.1:32:06How much of it are you doing for1:32:09people who collaborate with you or how1:32:11are you paying it forward? I mean, is1:32:13that something that you are conscious1:32:15about? because there's a whole bunch of1:32:18people who are really struggling1:32:20um to break in to get work to be trusted1:32:25you know who want people who will1:32:27believe in them but to build a team or1:32:30to build an organization that will carry1:32:32forward beyond you I think somewhere you1:32:35need to be able to build this army1:32:37around you and uh and hope that they1:32:40will grow it's very important that if we1:32:43believe that we have you're building an1:32:45organization as opposed to just you as1:32:47an individual running the show or am I1:32:50right?1:32:50>> Yeah, absolutely. So, so all my uh DAS1:32:54ads, this is what we did as as an1:32:58organization that we told them your time1:33:01as an AD is over, right?1:33:03>> How much more you can do? How many more1:33:05years you want to spend being an AD or1:33:08or a DA?1:33:10>> It's time to become director.1:33:12I'm really happy that you know so many1:33:15directors have come out of Chrome right1:33:17>> so many production houses have come out1:33:19of Chrome and uh it is we have never1:33:23stopped anybody if somebody wanted to go1:33:24we have never stopped anybody1:33:26>> and by doing that also it's like you're1:33:29you're1:33:29>> you're not giving them guilt that1:33:32>> oh so many years why are you going no1:33:34this is1:33:35>> because ultimately when one shoot1:33:38happens there are 500 people who are1:33:40getting you money out of it. Their1:33:42houses are running on that.1:33:44>> So you create more employment you and1:33:46that's and that's the attitude. Uh so1:33:49when we started chrome we were shooting1:33:52with Joela1:33:54>> one product shot we were shooting and he1:33:57had seen me1:33:59dada's you know chief and he said sir1:34:05because1:34:09>> so I think that is what stayed with all1:34:12three of us me him and we said okay fine1:34:15this is what it is1:34:16>> create more people so this is what you1:34:18been doing.1:34:19>> So,1:34:20>> I actually like to throw them in the1:34:25deep end and ask for an opinion at a1:34:27very hot moment.1:34:29>> Um, ask to make a decision in a very hot1:34:33moment and go with it1:34:35>> because that was me once. That was me1:34:38who was uh I mean it's not just a it's1:34:41not just a decision on an edit or it's1:34:43not just a decision of what a character1:34:46should wear. Sometimes the decisions are1:34:48as important as does that take work for1:34:51you?1:34:51>> Does this is this angle correct? What do1:34:54you think?1:34:55>> I think I I don't know if u that's1:34:58enough paying forward. There's a long1:34:59way to go. But I know that feeling of1:35:02being asked for an opinion in a very1:35:04high stake moment1:35:07>> uh by somebody that you look up to.1:35:09>> Yeah.1:35:10>> That feels very empowering. and then to1:35:13follow through with somebody's opinion1:35:14and follow through with decision if it's1:35:16wrong1:35:17>> to be explained why it is wrong. I like1:35:20um calling1:35:22uh those who want to learn more to come1:35:25into edit to come into a PPM and be a1:35:28fly on the wall or to come etc and so on1:35:31but after that even ask them do you1:35:34think these two shots are necessary it's1:35:36not a test1:35:38>> it's a genuine investing in what they1:35:41feel and what their opinion is1:35:43>> building their confidence1:35:44>> absolutely and that nothing is more1:35:47empowering than saying1:35:48>> what you feel and what your opinion in1:35:51on this subject on this matter is is1:35:53important.1:35:53>> It counts and I back you1:35:55>> absolutely.1:35:56>> Uh anyone else wants to weigh in on1:35:57that?1:35:57>> Yeah, I mean you know I've had DAS that1:36:00I've had rules that you can only do so1:36:02many projects with me1:36:04>> because how long are you just going to1:36:05DA? M1:36:06>> so uh after that I will give you like1:36:09say there's a shorty that I'm supposed1:36:10to do but you know and and I discuss1:36:12that with agencies also that a shorty I1:36:14will not do and even the ppm short of1:36:17shorty will be done by my DA1:36:19>> and most of the time they've been okay1:36:21with it because you know it's a set and1:36:22I'm anyway going to be there as a you1:36:24know supervisor.1:36:25>> So that's something I've had so many DAs1:36:27who made their reel because you know a1:36:29set like that maybe it was not possible1:36:31for them and that budget etc. Also the1:36:33other thing is that I'm extremely1:36:35involved if they are getting a project1:36:38that somehow I am collaborating in some1:36:41way of the even the PPM decks or1:36:43whatever that is not that I want to be1:36:45there and give them a direction of how1:36:47you you should be doing it1:36:48>> but just somehow finding your own voice1:36:51and not because you've been working with1:36:53me or a certain director you carry that1:36:55voice forward. So that's something I1:36:57feel like I've been very conscious of.1:36:59>> Yeah. So there's a whole school of1:37:01thought that's emerging which says you1:37:02know now especially that this work life1:37:05balance is a very important thing and1:37:07young people are choosing balance more1:37:09than burnout right they have multiple1:37:12identities so it's not just about being1:37:14a filmmaker they're also musicians there1:37:16whatever whatever right so I mean how do1:37:18you view this because there is some1:37:20truth to it we can afford to choose it1:37:22now at our point at this stage of your1:37:24life but they're choosing it earlier1:37:26>> and possibly that could be one of the1:37:28reasons why you find that they're not1:37:29able to give you that 200% that we were1:37:33willing to put in to grow. Uh you think1:37:36that's a reality?1:37:37>> That is a reality actually where people1:37:39are opting for holidays going to Goa1:37:43going wherever they want to uh two1:37:45projects and1:37:48I'm going uh and I think there's nothing1:37:51wrong there's nothing wrong in that.1:37:53>> Of course I feel there's too much1:37:54pressure also on them. No.1:37:55>> Yeah. because the kind of pressure we1:37:57have taken at that time when we were1:37:59learning. I don't remember when I went1:38:01home. I don't remember when I ate. Uh1:38:03there was this time my mother used to1:38:05tell me I love the way you eat.1:38:07>> There was this time when my mother said1:38:09that I hate the way you eat. You eat so1:38:11fast because we we would not get time to1:38:14eat. So1:38:16gulp it. So I think that is something1:38:19which this generation is not ready to1:38:22take and there's nothing wrong in that.1:38:23>> Yeah. I think they'll create a new1:38:24language is also like1:38:26>> but I think I think on this only now1:38:28there are two sides to it. One is that1:38:31you're doing two jobs and then saying I1:38:33want a break. Yeah, the break is1:38:34important. It's it's maybe today's need.1:38:37But what about those two jobs? Are you1:38:39enjoying it?1:38:40>> That has become transactional. This is1:38:41what V said that transactional is is the1:38:44issue because if you're not enjoying1:38:45these two those two weeks and you're1:38:47you're earning money to get a enjoyment1:38:50somewhere, you can well enjoy the job1:38:51also.1:38:52>> But how is it internationally? Like I1:38:53mean I don't know how is it like our1:38:55people because my experience of shooting1:38:56abroad was everyone was transactional1:38:59you know they would come on set it1:39:01wasn't like I'm here to I'm I've been1:39:03hired for work1:39:04>> but we are in we are Indians we are1:39:05emotional you know what I'm saying like1:39:07I'm just generally saying we're1:39:08emotional about everything you know so1:39:10like even our work relationship1:39:12everything you know we start crying in1:39:14front of a creative also I'm just saying1:39:16I was so upset when I was shooting like1:39:17oh my god like you know why is no one1:39:19like excited or emotionally attached to1:39:21this project but they were like hey dude1:39:22We get paid for so many hours and that's1:39:24it.1:39:25>> Transactional equal to efficiency.1:39:28>> Yes.1:39:29>> What I want to add a hot take that I1:39:32want to add to this to what Vinil you1:39:34were saying. camaraderie and an1:39:36emotional relationship with your crew1:39:38and your hod's need not be uh you know1:39:42at the cost of efficiency or exactly to1:39:46her point that when shooting abroad you1:39:50have to have 1 hour of a break in the1:39:52middle. It cannot go beyond 8 hours. You1:39:55know how we can say1:40:00uh there they are very very very very1:40:03clear it is this to the minute and1:40:05nothing beyond. Does that mean I have1:40:07not walked away with a lifetime of1:40:10relationships with that DOP or1:40:12conversations with that actor or with1:40:14that? No, absolutely not. M1:40:16>> it is a question of yes very efficiently1:40:21finishing time finishing your shoot in a1:40:23certain number of hours planning it to1:40:25the tea so that it is it finishes in a1:40:28certain time1:40:28>> there's no guessing game there1:40:29>> there's no guessing game and I'm all for1:40:32it I am all for it today if a DP is1:40:35charging you for a wrecky charging you1:40:38for tech charging you for pre-light so1:40:41be it that's my time1:40:43>> that's if they've come prepped1:40:44>> yes that's1:40:45>> and they invested Yeah,1:40:46>> that's his or her time. Value it1:40:50>> and it's nothing comes for free. Same1:40:52with DAS in Aries. I agree that they are1:40:55underpaid. It's not about suddenly the1:40:57work getting better because the money I1:41:00think the money is so lagging behind1:41:02that it's going to come and meet them1:41:04where it needs to meet them. Right now1:41:06the1:41:06>> Yeah. But then the thing is that's what1:41:07I'm saying. You you don't mind paying1:41:09someone who's really good. But how do1:41:12you assess whether this person is really1:41:13good? because they have to put in the1:41:16work to get to really good but after1:41:18that what happens when I put you in a1:41:19challenging situation are you able to1:41:21step up but you charge me like a whole1:41:24lot of money so it's very difficult I1:41:26guess those experiences also you have to1:41:28learn you have to burn your fingers and1:41:29see how it goes1:41:30>> also also the primary collaborators like1:41:33DP and PD I really wish we had a little1:41:37bit more those are the people that I1:41:39also wish that we had more time with1:41:41>> sometimes I think because It's like a1:41:44you know you're you are making it1:41:47together1:41:48>> but then a lot of times or not a lot of1:41:50times but1:41:52>> no but uh so that's again I mean1:41:54extension of what you're saying like I1:41:56shot once in Cape Town and it was very1:41:58efficient and to the time table and1:42:01schedule and everything but what1:42:03happened is that there was a meeting1:42:04where all the HOD's came together once1:42:06and they spoke amongst each other1:42:09>> here I feel that half the time I am the1:42:11go1:42:13So I'm I'm sitting with the DP and we1:42:15discuss something. Then I am running to1:42:17the costume designer saying okay this is1:42:18the palette and giving this and it the1:42:21whole stress of matching everything1:42:22comes on to me because they have not met1:42:24each other except where they meet meet1:42:25on the set and then there's one guys1:42:26going oh okay you have this color of all1:42:29oh this is the makeup this if they talk1:42:31amongst themselves and sort it out where1:42:33I am doing only my so on that South1:42:36African Cape Town shoot uh Wiki Turpin1:42:38was shooting it and then there was a lot1:42:40of other crew which is really good a1:42:42first lady who was a 50-year-old guy and1:42:44they gave me like half an hour a day and1:42:47then they said you no you go away now we1:42:49are doing our job and they were so good1:42:51that I couldn't even ask them or point1:42:53any fault at what they're doing because1:42:55they were talking amongst themselves1:42:56they were working on the color palette1:42:58they were working on the lighting design1:42:59they makeup hair what everything was1:43:01even the actors were on board so when I1:43:03came we we knocked the shoot off in 41:43:06hours and I was actually feeling jobless1:43:08because I wasn't doing 80% of what I1:43:09usually end up doing here it's just that1:43:11I'm looking at the actors and telling1:43:12them to come but that that was what was1:43:14happening I think the HOD is more than1:43:16DAS, you know.1:43:17>> That's why you're so right.1:43:19>> And also with a younger lot, it's still1:43:21easier because if somebody's hungry and1:43:22coming up, they they will give you that1:43:24time because they want to prove. But if1:43:25you go slightly up the ladder, then it1:43:27becomes impossible to get everybody on1:43:29board.1:43:30>> On feature film, it happens because then1:43:32it becomes a family because you're1:43:33sitting spend you got a two month window1:43:36where you're sitting and you're1:43:37thrashing out scene by scene, script by1:43:39script, dialogue by dialogue.1:43:40Everybody's chipping in, ideas are1:43:42coming. advertising which is what I1:43:43really miss when I said the first time1:43:45is that become transactional that1:43:46nobody's speaking to each other nobody's1:43:48discussing it and on the set we're1:43:50coming and figuring out stuff but then1:43:52by that time again the clock is ticking1:43:53and you have to move fast so you are1:43:55just like okay now let's move on you1:43:56know so that I feel firefighting1:43:58>> yeah then it feels1:43:59>> sometimes I really don't understand for1:44:01a director the most important thing1:44:03after shoot would be offline1:44:05>> right for a DP1:44:07>> it has to be the DI right1:44:09>> a lot of DPS this they oh we are1:44:12shooting1:44:13Uh next we I'm I'm going out of town for1:44:15the shoot but what about you just shot1:44:18>> this film will look bad if you won't do1:44:21di1:44:22>> but oh I'm not available how how does1:44:26that work you know so those are the1:44:27things which are actually1:44:29>> it's not just uh one department it's I1:44:32think1:44:33>> lot of departments and1:44:34>> being more invested1:44:35>> I don't think it's people problem I1:44:37think it's a system problem because1:44:38because the economics of it I mean you1:44:40can't fault anybody it's not like DAS1:44:42need to get paid or uh more or less.1:44:45It's because budgets are allowing you1:44:47this much and you're going to spread1:44:48yourself. You got to figure out who1:44:49needs to pay. I mean, nobody wants to1:44:51mistreat or underpay anybody. But the1:44:53end of the day, the system's forcing a1:44:55certain economics on everybody that it's1:44:57just become like a Uber right now. You1:44:58know, you're basically an Uber thing1:45:00booked for1:45:00>> it to budget. Now, that's my next1:45:02question. So, how many of you really get1:45:03involved in that? Do you are you aware1:45:05of what you spend on a film? Do you have1:45:07a say on it? Do you really know what to1:45:09cut back on? And as directors a lot of1:45:11the times people don't want to get1:45:13involved but do you ro?1:45:16>> Uh I was hoping it's not that's why I1:45:18asked you.1:45:19>> Uh I don't get involved. Uh that's1:45:22something I've never like you know I1:45:23used to freelance before and then you1:45:25know now we have our own production1:45:26house but I've never really gotten1:45:28involved in terms of1:45:29>> something you don't enjoy.1:45:30>> Yeah I don't enjoy at all. Like I don't1:45:32want to but of course you know uh I have1:45:34a great producer Zleka. She only will if1:45:37she's calling me and saying that we have1:45:39a problem that it must be really serious1:45:41problem. So I get in only on those times1:45:43otherwise I'm pretty much unaware of it.1:45:46>> Okay.1:45:46>> Yes.1:45:46>> I do know to a a mid level like not the1:45:50exact nitty-g gritties of it. If I look1:45:52at it sometimes I've asked for it it's a1:45:54terrible thing to look at. Hard disc and1:45:56all money has gone off and I'm like bro1:45:57what the hell? So, but uh I do know to a1:46:00degree I know okay I have to shoot1:46:02really fast or it influences some of my1:46:05decisions therefore and I go into1:46:07nitty-gritty sometimes when I want1:46:08something and I can't get it then I go1:46:10in to cut something else. So that's1:46:13>> now by default because you are1:46:15>> now I have to kind of because I feel1:46:17like just as a director or somebody I1:46:19think I I'm quite demanding also like1:46:21and just like the kind of crew and1:46:23everyone that you're kind of working1:46:24with. So, um, and then when you kind of1:46:28go on floor, you're just shooting.1:46:29You're not thinking about the shifts and1:46:31all of that. So, I feel like there's a1:46:33lot of pressure on the producers that1:46:34eventually kind of happen. So, they want1:46:36to like kind of bring you in and like1:46:38just1:46:39>> like talk about like yeah, the ballparks1:46:41that this is crazy1:46:43>> what you're spending unnecessary, you1:46:46know, like all those kind of things. So,1:46:47yeah, I think like you have to kind of1:46:49be involved.1:46:50>> You are.1:46:51>> Um, I'm spoiled by my partners. So uh1:46:55they call me Raja Babu. So I from day1:46:59one I've never I have I don't understand1:47:02and I I don't even ask my producers. I1:47:05have brilliant producers. Earlier1:47:06Abushik was there now Daniel and Hmon1:47:09you know he understands money really1:47:11well. So uh I don't because I feel if1:47:14I'm thinking of money I'm not thinking1:47:16of the film.1:47:18>> So my I don't want to get into that1:47:21thing. Yeah. So1:47:21>> yeah, I know I work with a director like1:47:23that. So yeah.1:47:25>> Yeah, you are.1:47:26>> I dislike it. Two reasons. I just don't1:47:29have a thing for numbers.1:47:31>> I'll use a calculator to do 8 + 4.1:47:34>> But secondly, also the exact same1:47:36reason. The moment I know numbers, uh1:47:39they'll start influencing my decisions.1:47:42>> Uh I don't want that. However, having1:47:44said that, there's a there's a I have1:47:46three touch points with my producer.1:47:49Obviously at the start of a project you1:47:50know what the exact number is then you1:47:53forget about it. Uh somewhere in the1:47:56middle of prep you just check in are we1:47:58okay? We okayish. Okay let's carry on.1:48:03The last touch point is actually1:48:06>> on the day of the shoot when we have1:48:07wrapped up1:48:09>> because the that day a lot of decisions1:48:12are taken that maybe the producer has1:48:15not taken into account. Um it's the end1:48:18of the shoot when we're sitting with our1:48:20rap beers is when I ask how are we doing1:48:23that's my third touch point after that I1:48:25forget about it but that's1:48:27>> okay interesting when1:48:30>> I'm totally involved1:48:31>> I get into the budget because um I don't1:48:36like wastage on set1:48:37>> and I'm an extremely like I do a lot of1:48:39homework I prep uh hard and um also1:48:44because I've I've done production and1:48:45I've been an ad for ages and my1:48:48schooling has been that you get to the1:48:50nitty-g gritties and so I know how to1:48:52effectively spend money where it1:48:54actually will show on the film. So if1:48:55this requires I want to go all out and1:48:57spend on that1:48:58>> but I don't need four options of a1:49:00costume for a shirt1:49:01>> you know so I want to minimize the1:49:03wastage as much as I can and then I'm1:49:05aware I'm not in Lidar land where I come1:49:07and say I don't know but I am completely1:49:09on it.1:49:10>> That's a very good thing for a director1:49:12to have. No, cuz my brief then becomes1:49:13very specific and we make mistakes but1:49:16at least and we will go sometimes over1:49:18shift and all those things but it's uh1:49:20it's a film school training as well1:49:21because when you're doing student films1:49:23and short films you you don't have the1:49:25luxury so you just managing with that.1:49:27>> Yeah. So either you have it or your1:49:28producer has it and is you know there's1:49:30someone who's sort of keeping1:49:31>> but I would be able to give a better1:49:33creative solution to a budget problem1:49:34than my producer can like I can tell my1:49:36producer okay I'm not I don't need a1:49:38steady cam on this1:49:39>> but uh please get me this actor because1:49:41I know he's charging but we need him for1:49:43the film he's going to push so that1:49:44decisions I can take1:49:46>> okay you1:49:46>> yeah absolutely get involved I love it1:49:48>> oh yeah1:49:49>> yeah I love it so I can spend well1:49:52>> the difference the kind of project and1:49:54the complexity where you literally don't1:49:56know like where you ending like we we1:49:58just saw uh MP tourism1:50:01was the maximum budget gone on the1:50:03traveling and shooting abroad because1:50:06that time the the the uh the arm wasn't1:50:08there in India1:50:10>> and if you hear the budget of crafting1:50:12it which is so minor and where we are1:50:15doing physically day and night it just1:50:18that the type of projects actually1:50:20demand something else so1:50:23it is such a small tiny project so when1:50:26I'm aware of it it gets easier because1:50:28otherwise I get very feeling like if a1:50:31message come from1:50:33for example on some things like so I ask1:50:37him like what do you mean by that should1:50:39I stop or should I go ahead because I'm1:50:41not going to listen any either ways1:50:42because that product required that kind1:50:44of thing so understanding of it is1:50:46important it's not about how much we1:50:47saved1:50:48>> it's how we using the money absolutely1:50:51last1:50:56because ultimately we are at our best1:50:59when we are on the set or we taking1:51:01those decision. So and I think I can do1:51:03it. I I enjoy it like so back to like in1:51:07one of the shoot camera1:51:12I got nervous. I just sat in the in the1:51:14tent and I asked him1:51:21I just said like1:51:28so it it cleaned my head1:51:34just to convince me things are things1:51:36things can be taken care I think that's1:51:39I think me1:51:41but that's but it's not that I'm feeling1:51:43lost but I think1:51:47correct The next day morning I got up1:51:49and started shooting. But of course Dam1:51:50solved it in his own way.1:51:52>> But that's that's the thing I a1:51:53different side of the same thing. Maybe1:51:54>> that's true and there's a solution to1:51:56any problem. You know you can find a way1:51:59to Yeah. You don't have to be1:52:00heartbroken and sulking.1:52:02>> Love how Ghesa gave him.1:52:04>> No but see it's simple that it's a it's1:52:07a it's a you at that point I was feeling1:52:10pressed not about the money. I just felt1:52:12like can I repay this guy1:52:14>> and absolutely1:52:17>> is very I've asked him to mount on1:52:19something1:52:21>> which we shouldn't have mounted and of1:52:22course there's some other party also who1:52:24made a bigger stunt and1:52:26>> so I think it's1:52:28for a piece on the set so I can take a1:52:31decision1:52:33>> so this is I think this exactly see I1:52:35think both way we are right but it's1:52:36completely polar opposite uh point of1:52:39view and type of film taking maybe also1:52:42>> do you have a sense of how people1:52:44perceive you the managers are the ones1:52:46who decide whether you're an easy person1:52:47to work with or not based on so many1:52:49variables I'm saying do you have a sense1:52:51of how people perceive you go1:52:54>> of course1:52:55>> how what do they think1:52:56>> I mean I feel um it's not just the1:53:00agency and client or something like that1:53:02agency um you know agencies are1:53:05eventually like people who feel that1:53:07whether you're good for the script or1:53:08the bad for the script you know so they1:53:10are eventually um taking the good [ __ ]1:53:14or the bad [ __ ] from you. I feel like1:53:15it's the collaboration comes from like1:53:17the 120 people also who you're working1:53:19over there.1:53:20>> I'm saying is she flexible or is she1:53:22like a you know hard ass she will not1:53:24agree to this.1:53:24>> Yeah. Yeah. Fully of course. Yeah. You1:53:28know it is it it is like that. It's1:53:30always like that you know.1:53:32>> Yeah. Like1:53:34don't be bad don't be bad but you just1:53:36can't help it. You know what I mean?1:53:37Like1:53:37>> these are not bad films.1:53:40What to do?1:53:42>> Yeah. Amit1:53:44>> charmer.1:53:44>> A charmer. Of course.1:53:48>> Yeah, I'm sure. I can believe that a you1:53:51>> I was told she's difficult to work with1:53:52before they told me her name.1:53:53>> Correct.1:53:54>> You know her name.1:53:57>> What is it?1:53:57>> No, but I feel like don't you think that1:53:59that is a perception that was built1:54:02earlier? I feel like see like you know1:54:04what like don't get me wrong in that.1:54:07I'm not doing the women and men sort of1:54:09a thing but just the sort of equality in1:54:13terms of directing is a very recent1:54:15phenomena1:54:16>> you know for like like not being1:54:19categorized1:54:22so like like it's a lot of hard work and1:54:25everything to reach a place where it's1:54:28not like like your film can be viewed1:54:31without any sort of gender you know what1:54:33I mean so naturally only we're very hard1:54:36on set you know that is what it kind of1:54:39comes out like that and that is when you1:54:41can be perceived good bad and ugly1:54:44>> you know because you are working 5001:54:47times more1:54:49>> right now it's a great time that's what1:54:50I'm saying right now it's a great time1:54:52in an industry you know where1:54:55>> like it's all equal you know when a1:54:57swift is coming yeah yeah yeah it1:54:59doesn't matter whether you're a girl or1:55:01a guy nothing like that whether you're1:55:03woman director nothing matters but had1:55:06to1:55:07>> you know you had to kind of really sort1:55:10of push it in a manner as opposed to1:55:12like you know for like it can be like a1:55:15lot more easier sometimes you know for1:55:17like a lot of male directors to just be1:55:19charming and it's like done1:55:20>> or even if they're difficult it's okay1:55:22>> it's okay you know even if you're like1:55:24kind of like1:55:25>> the more painful you are the better1:55:27>> you're like yeah but like you can come1:55:28back and like you know just charm and be1:55:30like fine you know what I mean so it was1:55:32it was considered like okay you know So1:55:36battlesh1:55:38but you know main thing is that what you1:55:40are asking for you're getting it1:55:43>> right1:55:43>> in terms of you don't want to you want1:55:46to change the script they are allowing1:55:48you to change the script1:55:49>> because you have a point of view1:55:52>> you are telling them that you know okay1:55:54fine this is the reason I want to change1:55:56the script this is the reason I want to1:55:57change the1:55:57>> there's logic1:55:58>> logic has to be right you know1:56:00>> so and the way you put put yourself in1:56:04front of them how you conduct yourself1:56:06that's the main thing that you know how1:56:08there are there are certain people who1:56:10say I I want to change this arrogance1:56:12>> you know1:56:14>> he's also a creative person you show1:56:16arrogance to him he'll say1:56:18>> sorry for my language yeah1:56:19>> but then yeah this is what it is so1:56:22>> it's the way we conduct ourselves1:56:24>> true I think we are all difficult um1:56:27which is why we are good1:56:31>> um I think those1:56:36Oh,1:56:36>> the difficult part or the good part?1:56:38>> The difficult part1:56:41is like I'm not difficult. We are all1:56:42different.1:56:44>> She's making a V language.1:56:46>> No short answer. What I've heard of1:56:48myself is um in fact very recently um1:56:53somebody told me that and I loved it1:56:56said that with her she u she takes a1:57:00piece and just makes it her own. Um, I1:57:03like that because it's exactly what I1:57:06do. Maybe maybe I do it to a fault.1:57:08>> But yeah, over the years as I as as we1:57:11spend longer in the industry, loving1:57:14detachment will come into play, but1:57:17maybe not not as yet. But that's what1:57:19I've heard.1:57:20>> So, Criti, how do you feel about all1:57:22this?1:57:23>> I think uh now if I speak about you know1:57:27what's happening now, I think uh I don't1:57:30know how I'm perceived. I think1:57:31producers may think that I'm a little1:57:33difficult.1:57:34>> I think agencies, I mean, I can only1:57:37gauge by what I'm reading in the calls,1:57:39right? So, they'll if they start1:57:41something, they will often say that1:57:43it's, you know, a little open. We can1:57:44work on it. I think they expect me to1:57:47work on it with them. And I I love that.1:57:49That kind of drives me further1:57:52>> about uh being a woman. I think like1:57:55Yeah. I mean a lot of things that um1:57:57Asha spoke about I think you when I've1:58:00had an evolution there1:58:03>> uh where I have also figured out my way1:58:05of navigating1:58:07uh the world and also how I am behaving1:58:10in you know some things that have like1:58:11in the beginning I used to be um I1:58:15started directing really early and I1:58:16felt like if I don't like if I'm not1:58:18really hard on set people won't listen1:58:19to me. Uh and also my process of1:58:23creating things was very isolating. It1:58:25was me in a room. So I didn't know how1:58:27to collaborate. I was really really hard1:58:29on everyone and most of all on myself1:58:32>> and uh and I I may have made some stuff1:58:35that came closer to what I wanted to but1:58:37it was not a like you know I couldn't1:58:39have let that go. When I went to soda, I1:58:42saw like the lightness with which Rajes1:58:45and Amya and these guys kind of direct1:58:47and I learned a lot about working with1:58:50people more than comedy and you know the1:58:52given. I just understood that there is a1:58:54way to kind of bring people in. Sorry,1:58:57I've been only looking at SNA throughout1:59:00but there's a way to like sort of1:59:01bringing people into the process. Then1:59:04there was you know the middle where you1:59:06feel like oh I'm going to be this1:59:08democratic director. Everyone jump in.1:59:10Great idea, great idea, let's do it. And1:59:13then that was a mess. And I think I have1:59:15over the last couple of years arrived at1:59:17a good balance where I found1:59:18collaborators1:59:19>> who I can say no to. I've also I am very1:59:22comfortable in my own skin. I'm okay1:59:23with being you know perceived as a hard1:59:26ass or whatever you want to call it.1:59:27I'll have a conver and also because I1:59:29you know I work with different people. I1:59:31work with different sets of producers.1:59:33So1:59:34>> I have to be very very yeah I have to1:59:36talk about my process from the get go.1:59:38But you are cognizant of the fact that1:59:40people perceive you a certain way.1:59:41>> Yeah. I think I just I think I've1:59:43stopped uh thinking about that.1:59:45>> Right. Yeah.1:59:46>> But you've also evolved in the process.1:59:48Yeah. As a person. I think that's the1:59:49takeoff.1:59:50>> Yeah. I think that burden I've I I mean1:59:52I'm aware of it but I've kind of taken1:59:54that burden away from me sometimes.1:59:56>> Yeah.1:59:57>> They feel it. They feel it.1:59:59>> It's necessary. I think it's necessary2:00:01to do that. Rahul, what do you think2:00:02people think of you?2:00:03>> Necessary to do I I think uh because I2:00:06do a lot of humor work uh when they meet2:00:08me they're like you're so boring and2:00:10you're so not funny and that is2:00:12something that I've felt and they2:00:14suddenly felt like will this guy like do2:00:16it. It's I think it's that and also um2:00:19I'm not very loud on set and like I'm I2:00:22would ra like you know I would speak to2:00:23my team and so they also is he sure of2:00:26what he's doing. I think those things2:00:28I've often noticed. uh I have the same2:00:30problem as you need to discuss2:00:33>> still even now2:00:35>> I I will finish all2:00:37>> yeah I think it's mostly that uh and2:00:39also I think uh you know when when you2:00:42do the creative call there is an2:00:43expectation of that you will add a lot2:00:46more than that and I tend to sort of2:00:48take out a lot and that also is somehow2:00:50I feel like is not perceived really2:00:52>> rattles it2:00:52>> yeah yeah so maybe that's yeah2:00:55>> that's tough2:00:56>> yeah you2:01:02remove. So I think people usually don't2:01:05like that. Yeah, I think I have the same2:01:07problem because I like I have a lot of2:01:09self-doubt constantly and I'm always2:01:12thinking that I missed out on something2:01:13which could have been done better or can2:01:15so I'm always you know so and there's2:01:17also that middle class tendency where2:01:18you don't talk too much or you kind of2:01:20you know underplay or uh2:01:22>> so um when the agency comes with what a2:01:26[ __ ] amazing script right and and if2:01:27I can't respond with the same energy2:01:30they feel like he's being distant but so2:01:32I'm feeling it but I can't express it2:01:34it's not coming and so I'm trying to uh2:01:36you know upping my energy but it's not2:01:38it's falling short very badly you know2:01:40and uh then they start calling you after2:01:42the film is shot you know the edit2:01:44starts and say how's it looking how is2:01:45it looking so first day of edit looks2:01:47like [ __ ] only you know what2:01:50how are you going to even tell him that2:01:51boss it's it's you know so I think uh2:01:53it's only once the film is uh out and2:01:57people say it's a good film you're2:01:58convinced because by the time you're2:01:59done with it I start hating what I've2:02:01done you know like there's no2:02:02perspective you lose all perspective2:02:04>> that is also nice because Then in the2:02:05end you surprise them and they they'd be2:02:07like2:02:07>> not always surprise doesn't happen then2:02:08I just confirm the bias2:02:13>> yeah vij sorry we haven't heard2:02:14>> so they must be having some perception I2:02:16don't think too much about it because I2:02:18know a particular way of working only2:02:20and yes some people think2:02:23so those people will not come to us but2:02:25people who like to work in that detail2:02:27yeah so I think the result what we get2:02:31to see is a result they don't come to2:02:33you or they come to you2:02:34beautiful uh thought and collaboration2:02:38and when they when you see them like so2:02:41it's nice whatever it's like you might2:02:43get less scripts but you'll get the2:02:45script you really want to execute2:02:46>> because they believe in you2:02:47>> they believe in you2:02:48>> yeah have been bubbling for some time2:02:50>> yeah please tell2:02:51>> no no no now no more no2:02:53>> but I I have no idea how people perceive2:02:55me but I do have a thing like what he2:02:58was talking about where the excitement2:03:00that you need to show for a certain2:03:02script or what he's talking I have many2:03:04a time said wow lovely so I can sit and2:03:08do my work after that it's kind of done2:03:10and then you don't need to sit and2:03:11explain anymore2:03:14and you're performing2:03:14>> and the performative male is dead and2:03:16now I can sit and just write stuff2:03:18>> that even with actors also you need that2:03:20because they feed off your energy and2:03:22they're looking for and if you're not2:03:24giving that you're like looking doubtful2:03:26then it's a downward spiral for2:03:28>> actors I have begun molly coddling2:03:31almost and there was this incident that2:03:33happened where I was sitting with my2:03:34editor. So I've gone through all the2:03:36takes and I don't like anything. So I'm2:03:38telling him, can we just go through it2:03:40again? And while I don't like anything,2:03:42behind every at the end of each take is2:03:44me saying lovely2:03:47amazing.2:03:49>> But there it is. I'm sitting at the edit2:03:51table with something I'm not too.2:03:53>> You were that ad my first my producer2:03:55was looking for.2:03:58>> Sorry.2:03:59>> No, no. I was just saying I'm really2:04:00terrible at validating actors. I think2:04:03that's something I constantly have to2:04:06remind myself.2:04:07>> What I do reverse psychology. So when2:04:09they look at, you know, like at the end2:04:10of a take and you don't like it and it's2:04:12take number seven, right? I I try this2:04:16thing where I said you want to see. So2:04:19then they come okay and then you're2:04:20looking at your face. H ta because now2:04:22they want to be done with it, right?2:04:23First of all, take number seven where2:04:25the celebrity does not exist. I don't2:04:26know what I'm talking about. But two2:04:29takes max three if you're lucky. But if2:04:31you've still not gotten what you've2:04:32gotten, I do this and try it next time.2:04:35Um, do you like it?2:04:39And then if they say, "Yeah, it's2:04:42amazing, but2:04:45you want you want one more? You don't2:04:46like it? I don't know. Do you like it?"2:04:48>> Then they they just go into this. Okay,2:04:50we'll do one more. I like it, but I can2:04:52give you one more.2:04:53>> Yeah. because I let them decide whether2:04:55I move on from this take or not.2:04:58>> So suddenly, yeah, their guards are down2:05:00>> because I don't think she likes it. But2:05:03she's waiting for me to say it's okay.2:05:05Uh, okay. We'll give one more. Try it2:05:07next time.2:05:08>> It's not the way you do your hair,2:05:09right?2:05:09>> No. No.2:05:09>> That rules out.2:05:12>> Try it next time.2:05:13>> No. But you know the beauty is that the2:05:15world accepts two different kinds of2:05:17directing styles. And you know, you look2:05:19at Amit and you feel confident. You feel2:05:20like this is going to be a great film.2:05:22And you look and we both have survived2:05:23so long. So I think it's2:05:25>> and you know this is a point of this2:05:27right that you have multiple kinds of2:05:29people2:05:30>> who are still producing great pieces of2:05:32work and it doesn't matter. You don't2:05:34have to all fit into one mold. You can2:05:36be who you are and still do some amazing2:05:37stuff2:05:39in the pool.2:05:42>> You know like you know I I I really2:05:44don't know how to make story boards. I2:05:46don't make story boards. uh they will be2:05:48a PPM PPT ready but I don't go through2:05:53that as in I in in PPM's agency and2:05:57creatives and clients they know that2:05:59he's not going to present everything2:06:01because2:06:02>> I just tell them one thing which is okay2:06:04listen to my story I'm narrating the2:06:06whole story to you2:06:08>> uh if you want to see the boxes I don't2:06:10know how to make it if you want to see2:06:12it2:06:12>> someone else2:06:13>> somebody else my ad will be making it2:06:15but that will not be the film2:06:17>> don't go by boxes and say okay fine.2:06:20So perception is that he's not going to2:06:23show you any story board. He's not going2:06:25to he's going to tell you the whole2:06:27story. And I tell them okay fine listen2:06:30listen to the story. If you have not2:06:31gotten the film I'll tell you the story2:06:33again2:06:34>> and I'll try to make a good film.2:06:36>> So that's what the2:06:39>> perception is and there is no arrogance2:06:41in that. It's just I don't I I can't2:06:44imagine film on in boxes, you know,2:06:46>> because it's all about when you reach on2:06:48set2:06:50>> the spontaneity comes.2:06:51>> Yeah.2:06:52>> Uh actor is going to get something, the2:06:54DP is going to get something2:06:56>> and when my camera my my DP my actor is2:06:59there, something just happens, you know,2:07:02you just start seeing the film.2:07:03>> Yeah. and2:07:06like my 80s they are like running Helder2:07:10and SC because a lot of times I've asked2:07:12for things which I have not even told2:07:14them that I wanted so but they have to2:07:16produce it that time2:07:17>> right2:07:17>> that's what it is2:07:19>> how many of you enjoy doing treatment2:07:22notes2:07:22>> oh2:07:24>> you do2:07:25>> yeah I also do only because I found at2:07:28some point that it really clears thing2:07:30up for me only by the time I go into the2:07:32pre or the shoot So I don't mind it2:07:35>> at the pit stage.2:07:36>> At the pit stage. So thankfully a lot of2:07:39times it works out2:07:40>> but half my job is done by the time I go2:07:42into it. So a lot of the prep days are2:07:44then spent in detailing as opposed to2:07:46you know uh starting from scratch. I2:07:48don't mind it.2:07:49>> Even if you lose a job.2:07:51>> Yeah. I mean I was not doing anything2:07:52else at home. I was just2:07:54>> He's going to ruin it for the rest of2:07:55us. Please edit this out. Please first2:07:57of all treat it for myself.2:08:01I I I I have a I have a question over2:08:03here. People who enjoy making treatment2:08:05notes,2:08:07>> but what if you have made a treatment2:08:09note and after 15 days or 20 days you're2:08:13getting a confirmation but in those 152:08:1620 days you start seeing the film in a2:08:17different way. Absolutely. Absolutely.2:08:19But you have given a treatment note2:08:21correct2:08:21>> which agency client everybody has loved2:08:23and you go and will you be able to2:08:25change that at that point of time say oh2:08:27no no no I gave that treatment but2:08:30>> it's a2:08:31we are this is what I think we are2:08:34giving treatment note is like2:08:35>> a first2:08:39like you know I feel can I can I try to2:08:43answer that question2:08:44>> it is a danger but I do feel the2:08:47opposite danger no which is a bad2:08:48marriage where somebody has taken you on2:08:50board, but now everything you're saying2:08:52is against the grain of what they want2:08:54is a grinding process. I've been through2:08:56one or two of those and it's just2:08:59exhausting for both parties. So, I do2:09:01feel like having that little bit of2:09:03okay, we might be on the same page. I I2:09:06would much rather take that gamble than2:09:08this where my mind changes.2:09:10>> I just think the intensity of the note2:09:12can be reduced. the reason why there are2:09:15people hired for it is because there's 22:09:16days and you people are delivering such2:09:21extensive notes2:09:22>> actually I tried to check because see2:09:24suppose I want to do a film but I want2:09:27it in a single shot only okay for2:09:29example so at this situation my creative2:09:32partner should be comfortable and2:09:34treatment note for us it doesn't mean a2:09:36note it it means we don't put it on the2:09:40paper and say we have a creative2:09:41discussions2:09:42>> creative discussion is a different2:09:43That's a different no then if they say2:09:45that I agree for if they say I want to2:09:47put this on a paper the note is right I2:09:50want to put this on paper I want to2:09:51share it with client we said okay we'll2:09:53talk to the client so for sake there2:09:55will be a presentation and it won't be2:09:58like a long presentation 15 uh images2:10:01not always but it just to I'm afraid2:10:04that if what the journey I am going on2:10:07because the moment the script came the2:10:08you start thinking about it and you come2:10:10to a junction it's single2:10:15Now if somebody says2:10:20no I'm not interested in the film not at2:10:22all. So yeah what you said effort2:10:24depending on the job what you have in2:10:26hand and I'm very concerned with my2:10:28treatment because the treatment which I2:10:30try to do I'm trying to see something2:10:32different. So there2:10:39just imagine how will I convey for the2:10:42fortunate part is that agency team was2:10:44sitting with me for 15 days to work that2:10:46out but they were they were like they2:10:48they said that ni because somebody2:10:50sitting next to you for like for all the2:10:52discussions that you mean like okay2:10:55>> like what is the other option like we if2:10:58you have someone because 15 days so I2:11:01think it's the what her question was for2:11:03me the treatment is how I'm going to2:11:05treat the film2:11:06>> and nothing to do with a PPT or a2:11:08presentation2:11:09like I'm going to say sir right now2:11:11you're at that place right now when like2:11:13you know like creatives or everyone who2:11:15are coming to you they want to do it2:11:18with you you know like like like a few2:11:20days back I met a director friend of2:11:22mine he said that I made 155 treatment2:11:26last year you understand where I'm2:11:28coming from because he's thinking that2:11:31maybe the creatives or the agent2:11:32agencies are sort of believing in the2:11:35person you know the person would put the2:11:38heart and soul into it but like now the2:11:42dynamics of the industry is also changed2:11:44right correct whether it's like2:11:45relationships or this or that so I feel2:11:49like one is also killing the whole heart2:11:52and soul of a director because one is2:11:54putting out so many treatments you just2:11:56honestly say now okay you are the three2:11:59people tumba now2:12:00>> you know that's all I'm thing. Yeah.2:12:03>> Okay. Let's pivot into one more since we2:12:05have three women on the panel. Um has2:12:09the needle really shifted uh for women2:12:12as directors? A um just in terms of2:12:16equality, diversity, the questions you2:12:18get asked, how much you have to push2:12:20back, you know, and also we know that2:12:22Copel started the uh she directs ads um2:12:26after her seed be experience. So really2:12:29what will that collective be doing? Is2:12:30is there anything around this that you2:12:32want to weigh in on?2:12:33>> It has the needle has moved. We talk2:12:36about it constantly. Um we feel it in2:12:39the in the language. We feel it in the2:12:41way we are spoken to. We feel it in the2:12:43way we speak as well.2:12:45>> But there is still a long long long way2:12:48to go. We we know that we're aware of2:12:50it. But for a pendulum to come back to2:12:53the center, it needs to sort of swing2:12:55all the way.2:12:56I mean the larger idea is to eventually2:12:59not need collectives like she directs2:13:02ads right2:13:03>> there shouldn't be a need to spotlight2:13:06uh talent that others are not being able2:13:08to see there should come a day where we2:13:10don't need to add the prefix2:13:13>> woman director anymore and just call her2:13:16a director we don't say male director2:13:19>> the goal is to get there but to get2:13:21there you have to spotlight2:13:25uh you know the gender bias.2:13:27>> The goal is to have ungendered film2:13:30making. We are storytellers at the end2:13:31of the day.2:13:32>> Uh and we want to just be storytellers.2:13:35>> But to answer your question in short,2:13:37it's it's shifting in a in a fantastic2:13:40way. Already we are the 37% of this2:13:43panel is female. It was a little under2:13:46this last year. So that's a good good2:13:47improvement. Yeah.2:13:49>> Secondly, I think what's also changing2:13:51is, albeit slowly,2:13:54>> um, is the kind of scripts that2:13:58women directors are getting.2:14:00>> They're not necessarily just2:14:03>> chasing a certain aesthetic.2:14:06>> So happy to see2:14:09Exactly. But the flip side too, it's2:14:12heartening to see an Indra Shishme2:14:14Museum of Boobs as well for a lingerie2:14:16brand2:14:17>> because it needs to move both ways,2:14:18right? It can't just be one way.2:14:20>> Uh and that I think that movement is2:14:22happening together. So that's a that's a2:14:24good thing.2:14:25>> Yeah.2:14:26>> How does it feel for you to be like what2:14:28was that moment when the first Baj film2:14:31came to you and how does you know in2:14:34your own head like how did all of that2:14:36work out for you? I feel um I feel like2:14:40good morning films just as a place I2:14:42feel like they are strong supporters of2:14:44women you know what I mean2:14:46>> and I like like just Bob Vikram and2:14:49these guys are also like same godfather2:14:52Kunal Kapoor they've also come over2:14:53there the language is same you know they2:14:56really believe in investing in their2:14:58directors and things like that so they2:15:00give it like everything so it was never2:15:03ever2:15:05>> t casted as such that you're a woman2:15:07director and you're going to be making a2:15:10bike film. It was like that's a bike2:15:12film, you have to make that. So the2:15:14language was like set like that, you2:15:17know. So it's only after it kind of came2:15:19out and that's when I realized oh wow,2:15:21you know, like that sort of uh u2:15:24conversation is there that oh there's a2:15:26woman who's made a bike film otherwise2:15:29just like2:15:30>> but that's that's the funny thing. You2:15:31have to celebrate this but also to2:15:33normalize it you have to not talk about2:15:35it. Yeah.2:15:36>> So that that2:15:37>> but I feel like yeah that I but that's2:15:39what I'm saying that's what you know2:15:41like that's what I've always spoken in2:15:42SDA also that you know like where you're2:15:46kind of starting off from like who are2:15:48your mentors and who are the people2:15:51you're kind of starting off like that is2:15:53such an important place you know that2:15:56that kind of a bifocation oh you're a2:15:58woman or a man it's never done you know2:16:00so you're being taught so equally you2:16:03know that eventually it kind of ended up2:16:06in work as well you know like even if2:16:08till today even if like I've parted ways2:16:11with maybe good morning but like the2:16:14kind of scripts it's the same thing you2:16:16know like I am getting still the action2:16:17films whether materializing not2:16:19materializing sports film or this and2:16:21that so nobody is still typ casting me2:16:23and being like oh just give her a2:16:25jewelry film2:16:26>> or like a woman oriented film you know2:16:28nobody's sort of doing that so2:16:31>> yeah that's what I was saying that I2:16:32think it's a great time right now for2:16:34women also in the industry2:16:36Yeah, like he can be charming because it2:16:39came very like but like we are we are2:16:42mentally you know in that place is what2:16:44I'm kind of like2:16:45>> I'm taking up Sukriti's space here but2:16:48I'll just add2:16:49>> to that as well women and humor is also2:16:53something that was gravely missing2:16:56earlier I don't know why do we not think2:16:59women are funny do we not laugh2:17:02silliness women and silliness and humor2:17:04in comic timing is something that is2:17:06>> she does it beautifully2:17:07>> and look at yeah2:17:10>> u I think that it's not just about2:17:13masculine codes and feminine codes and2:17:15products2:17:16>> it's also tone and genre that is that I2:17:19think with people like Sukriti and so2:17:20many others Rupali single for that2:17:22matter with their humor2:17:24>> are uh are proving that wrong2:17:26>> can I manplain this2:17:27>> yes oh2:17:28>> no I don't want to I just wanted to say2:17:29that sentence2:17:31>> let me tell you how it works2:17:34>> but I really I would just want to add2:17:36saying that uh like she's saying that2:17:38you know we don't want to tag saying2:17:40women director or male director the2:17:43number of amazing directors2:17:46>> who happen to be women it's just too2:17:48many right now I mean there are three of2:17:49them here but there I can name at least2:17:51seven more and if you had to do a tug of2:17:53war between male films and female films2:17:56it would be at the same2:17:57>> so good as matters should do a round2:17:58table with all women directors that's2:18:01one one way to do2:18:02>> and also film2:18:07dctor. The main thing is that what you2:18:09are saying is if you have seen a pulsar2:18:12film and you get to know this is a woman2:18:14who has directed this don't get oh my2:18:16god really2:18:17>> exactly2:18:18>> you know so this is what this is what2:18:19you're saying which is true and also2:18:27>> work is good work is coming out really2:18:30nice work which is coming out and And we2:18:33are happy that you know the one2:18:36percentage what what you said. Yes. At2:18:38the same time quality of work is really2:18:40really good2:18:40>> but it's happening only now2:18:43>> and there's so much more to accomplish.2:18:45>> Yes.2:18:46>> That's the thing. So these are small2:18:48shifts. It will take time but I think2:18:50we're on the on the road to getting2:18:51there which is very encouraging. So yeah2:18:54um the big question in the room which I2:18:56know everyone's been waiting for which2:18:58is AI.2:19:01Okay. How has it impacted your life? Of2:19:04course, it is part of our lives right2:19:05now. I don't think there's any arguing2:19:07on that. There are different schools of2:19:09thought. There's stuff around AI. It's2:19:12here to stay, but there's a belief that,2:19:14you know, it's copyright theft and2:19:16exploitation of artists and, you know,2:19:18how can you do this without consent, you2:19:21know, all of that. And at the same time,2:19:24there's so many possibilities with AI2:19:27and it's it's a great tool. I don't2:19:29think it's going away. So how do you use2:19:33it as an enabler and um that's one part2:19:37of the question. Second part of the2:19:38question is do you as production2:19:41companies would do you think you will2:19:43end up using AI within your own2:19:46companies inhouse or will you sort of2:19:48outsource it uh to professionals who2:19:52manage that? I mean how do you see this2:19:54going forward? I've been using um AI uh2:19:57I mean pretty much quite a lot also2:20:00>> to reference.2:20:01>> No, I mean as part of the films I feel2:20:04see I think it's something to kind of2:20:06embrace. It is also a technology that is2:20:09kind of evolving you know but um you2:20:12can't let it take over I think like2:20:13that's what I was talking to Rahul as2:20:14well Rahul2:20:16that uh mix the two right like we're2:20:19talking about like you're shooting but2:20:21you are using it for the right things2:20:23you're not letting it overpower your2:20:25film even if whether it's like extension2:20:28of backgrounds or like just some little2:20:31little things that can be like I'll just2:20:34give you an example like recently I did2:20:36a film for uh Himalaya baby care. There2:20:38was the whole script was all about like2:20:40a press conference that's going on and2:20:42there are kids sitting over here in the2:20:44press conference and they're all like 102:20:46months and one year old that who had to2:20:49like you have to like literally and2:20:50there are actors who are like who our2:20:52journalists who are asking them2:20:53questions how do I make them act2:20:56>> you know what I'm saying so like we shot2:20:57them as much as possible and with AI and2:21:01VFX they kind of manipulated it2:21:04beautiful and it just worked well but2:21:06it's not that the whole it's that's the2:21:08film, you know. Yeah. You're you're2:21:10you're it's it's an enabler over there.2:21:13It's not becoming the bigger thing of2:21:17letting that be the 80% of the film.2:21:20>> Uh I actually enjoy these uh especially2:21:22the animal ones where a gorilla has now2:21:24broken through the cage and it's like2:21:26and for the first half2:21:28>> it was quite believable. the second half2:21:30because of the absurdity of the thing2:21:33that is happening. I actually find it2:21:35fairly and I am amazed by how real they2:21:37made it look especially when you have to2:21:38do that phone footage while vibe they do2:21:41a really good job of making it. So I'm2:21:43kind of amazed by it2:21:44>> in the workflow. No,2:21:46>> this might be archaic way of thinking2:21:49but I have just not allowed it to enter2:21:50my workflow at all because I do feel2:21:52it's going to eat some jobs and it's2:21:54going to happen in our time. there's2:21:56inevitable I can't do anything about it2:21:57but it's just that little 11 one% front2:22:00that I do I know it's a losing battle2:22:02can't do nothing no because I know these2:22:04guys like the storyboard artist has2:22:06reduced to shots for me at some point I2:22:08have a little bit of a thing you know2:22:11>> he's like so easy to like now get the2:22:13story board made but it just2:22:15>> I don't know2:22:16>> that you have to stick yeah like you2:22:18have to hold the storyboard artist don't2:22:20let AI take over2:22:21>> no I'm not letting I'm saying the2:22:22workflow I have not let it enter it as2:22:24of now But I'm sitting at home and I'm2:22:26doing AI tracks by myself all the time.2:22:29I love it.2:22:29>> Oh my god, my musician family will2:22:31destroy me and bury me.2:22:32>> Yes, I am worried about2:22:34>> I'm worried about my music director.2:22:36Next time I'm giving him feedback, he2:22:37should not look at me like2:22:39he should not look at it. But I actually2:22:41enjoy doing it. But there is huge at2:22:44least as of now huge difference between2:22:46what my music director does and what AI2:22:48is putting. Well, just as a note of2:22:50encouragement,2:22:52um, right now what it feels like is2:22:57relevance of storytelling will always2:22:59hold.2:22:59>> Y2:23:00>> the creator economy will explode.2:23:02Narrative strategists will use tech to2:23:05tell better stories. You know, we will2:23:07spark emotion. We will find connection.2:23:10We will find entertainment. We will2:23:11build curiosity. There will be a huge2:23:14demand for good storytelling. And that2:23:18is what it feels like the future's going2:23:19to be. So the talent that you guys have2:23:21in this room is not going away soon. So2:23:24I think the way to look at technology is2:23:26to help it aid you. Don't let it2:23:29frighten you at all because what you2:23:31have is very very very very like2:23:35special, right? Uh that said, what do2:23:38you think is the forecast in advertising2:23:40for 2026? Quickly round the table.2:23:43>> Starting from there. Starting from2:23:45there. and and feel free to be negative.2:23:47I I ended on a2:23:48>> I'll start with I'll start with2:23:50>> but don't make it like this then2:23:53we go2:23:54>> we go like that2:23:55>> you turn2:23:55>> go for it. I think like the shelf life2:23:57of a good film has reduced tremendously.2:24:00I think everyone is you know we're2:24:02putting cost effectiveness and you know2:24:04the faster you do it the better uh over2:24:07everything. So, I feel like um you know,2:24:11we'll see a lot more AI films and no2:24:13matter how bad they are, people will be2:24:15okay with it and that's going to have2:24:17like a2:24:18>> ouch. Okay.2:24:20>> I feel like Okay. Like I feel like we2:24:22need to embrace the fact that the2:24:24budgets and everything they are going to2:24:27get lower or like that that that2:24:29particular situation is not going to2:24:31change. So you know like there's you're2:24:34always struggling and you're working2:24:36very hard and it just sometimes becomes2:24:39toxic and it becomes negative. I feel2:24:41like the one thing like when I started2:24:44like 2026 I was like you know it cannot2:24:47be that I have to wake up in the morning2:24:48every day and be like I have to force2:24:51myself to love what I do. You know it2:24:53has to kind of come to a place where I2:24:55am I'm enjoying what I'm doing. It has2:24:59always been like that. it cannot come to2:25:02a place that I'm forcing myself to love2:25:04that I feel like that is something that2:25:06I really feel is that2:25:08>> yeah that I would want to kind of2:25:10>> the purity of the2:25:11>> yeah like like because we love the art2:25:13no2:25:13>> yeah yeah2:25:14>> I think realistically for some time2:25:17advertising and storytelling will remain2:25:19functional2:25:20>> I think we're entering that age it's2:25:22also global economy ups and downs2:25:25uncertainty brands being a bit scared of2:25:28spending too much consumers being a bit2:25:30scared of buying too much. Uh there's a2:25:33sentiment of2:25:34>> fear and uncertainty. I think we'll that2:25:37>> continue in that2:25:38>> it will2:25:39>> which will inform uh storytelling and2:25:43our storytelling is going to be tested.2:25:46I think it's going to become a little2:25:48functional for a while. the hope of2:25:51doing seven minute long WhatsApp uh ads.2:25:55Uh I mean that once in a while that2:25:59those scripts will come our way and we2:26:00may be able to do some blue sky2:26:02direction2:26:03>> but we got to hunker down. We've got to2:26:06yes look at AI not with a tinge of panic2:26:10>> but with I mean when Photoshop came in2:26:14>> we embraced it. My god,2:26:15>> Google maps came in. You know,2:26:17>> I I actually remember there was a I I'll2:26:20tell you quickly 8 years span when I2:26:23joined there was a man on his way out.2:26:25He was a lovely art director. Used to2:26:27sketch2:26:28>> and Photoshop had just about come in a2:26:30couple of years before and he was a2:26:32ghost in that office. He had no2:26:34interest. He didn't he's not going to2:26:36learn right now. He's already 50some and2:26:39his junior was kind of taking over all2:26:42of the stuff. After a couple of years he2:26:44left and by this is the absolute2:26:47beginning of my advertising career.2:26:48Towards the end his son joined under the2:26:52same guy who was his junior and we used2:26:55to take most of our work to his son2:26:57because he just had better fonts better.2:26:59It was just lovely. I mean I did happen2:27:01to see the cycle before I left. So yeah.2:27:04>> Yeah. Anyone else? Yes. Go winner.2:27:07>> No no I'm2:27:07>> your forecast for 2026.2:27:09>> So I'm not optimistic as a person2:27:11generally speaking.2:27:13That's2:27:14>> we know by now2:27:15>> that's a default setting in me. But I2:27:18agree with you. I'm actually quite2:27:19excited with AI coming in. And I think2:27:22uh I want to embrace it more. I wish it2:27:24came up to my expectations. It's not.2:27:26It's like it's still slow for me because2:27:27I feel that u like there's a there's a2:27:30thought in my head when I make a film or2:27:32whatever. I picture something in my head2:27:33and I'm very excited about it. And by2:27:35the time the film is made, it's also of2:27:38course it's fun, it's collaborative, it2:27:39deviates here and there, but it's also2:27:41an obstacle race2:27:42>> where I so I don't know at what2:27:44percentage I land up. Sometimes it's2:27:46150%, sometimes 60%.2:27:48>> And I feel AI will just clean that path2:27:50for me. So I think it'll enable a lot of2:27:53storytellers, creative people who are2:27:56not the confident type,2:27:58>> who are not the people like people2:28:00managers. So a lot of because there is a2:28:03lot of gatekeeping happening because of2:28:05you know you need resources you need2:28:07people you need to have contacts you2:28:09need to have this that to make to make2:28:11films. So like when you say so many2:28:12directors yeah so many directors are2:28:14struggling to put a film out there it's2:28:16because not because they're not good2:28:17it's just that2:28:18>> it needs so much of skill set and good2:28:20luck to2:28:21>> be there and I think AI might just open2:28:23up the paths for the truly creative2:28:25people. So you might have a great2:28:26filmmaker sitting somewhere in Jarkand2:28:29who's going to come out and he's going2:28:30to sh like you do exceptionally good2:28:32stuff and he might be an 80-year-old boy2:28:33for all you know.2:28:35>> So so I think that2:28:36>> we're already seeing that with content2:28:38creation.2:28:38>> Yeah, it is that's what it's done. So2:28:39it's it'll so I think that's a2:28:42>> I mean that's exciting. I mean I feel2:28:43like I'm looking forward to it and2:28:44seeing like and I think it might just2:28:46take out the mediocrity out of the whole2:28:48thing. So interesting.2:28:49>> Yeah.2:28:49>> Now have you mulled over it Rahul? No, I2:28:52think I I I agree with you know uh it's2:28:55the same thoughts. So AI of course2:28:58coming in and I feel like you know in2:29:00this process a lot of mediocre work that2:29:03he talked about will definitely get like2:29:05filtered out you know because I mean2:29:06there is anyway I feel there's a certain2:29:08level of exhaustion that's happened this2:29:10year or before.2:29:12>> Uh so I feel people are going to2:29:14experiment a lot more. This is going to2:29:16be the year of doing experimental work,2:29:18experimental way of telling stories2:29:20because I think there's so much content2:29:21we've consumed. People are just bored of2:29:24watching even functional ads. I think2:29:26there will be a better way of doing the2:29:28same.2:29:29>> Yeah. Yeah. Vijay.2:29:30>> Yeah. I think it it it is like a2:29:32cinematic pause which is completely2:29:35positive. It looks like it's stopped but2:29:37it's very important with shrinking2:29:39budget AI and I heard these stories that2:29:42all these great music videos are made2:29:44with like a really less money. So it's a2:29:46time for us to think2:29:48>> embrace the new technology2:29:49>> and use it in as best possible way but I2:29:53think it's important even from the2:29:54storytelling point of view the way the2:29:56scripts are coming the quantity of the2:29:57scripts the quality of the script I2:29:59think it's a very nice year to just take2:30:01relax understand as much as we can and2:30:03assess it as best we can. Yeah,2:30:05>> sorry. I think one thing important point2:30:07I wanted to add I forgot is that one2:30:09tangible benefit of AI and chat GPT is2:30:11going to be that all the treatment note2:30:13companies might wind down because it2:30:15might be easy to put a prompt and you2:30:16get a five page with pictures.2:30:18>> It's damn intelligent.2:30:20>> Yes, we'll all have the same treatment2:30:22note.2:30:23>> Yeah,2:30:24>> depends on your prompt.2:30:25>> Depends on2:30:26>> Yeah, we we we can't run away from AI.2:30:28It's it's at the doorstep.2:30:30>> Uh but I feel that you know it's2:30:33>> uh2:30:33>> No, it's end of the room. It's exactly2:30:35exactly exactly but that I agree with2:30:39you storytelling is no not going2:30:41anywhere because that human touch is2:30:42needed you know human touch is very very2:30:45important because we are living in India2:30:50emotions you know2:30:53I think still there is time even to make2:30:57a AI emotional film you will need one2:31:00brain2:31:01>> definitely2:31:01>> to to be there as human who's putting2:31:04the prompt2:31:05>> and saying okay fine I need a tier at2:31:06this point of time you know so so2:31:09>> uh using AI in terms of in the right way2:31:12>> today also if you're if you're using2:31:14like I did one recently I've done a film2:31:16I've2:31:17>> u I couldn't take that shot because that2:31:19shot was not possible so I've created an2:31:22in yeah it's looking as real as possible2:31:24it's a wide shot like you know so so2:31:27where it is needed it'll be used2:31:29>> yeah cost efficiency also2:31:30>> the location manager screwed to some2:31:32extent Yeah, only long shots are now AI.2:31:35>> Yeah,2:31:35>> correct.2:31:36>> What where we are is um AI is still too2:31:40perfect2:31:41>> and what makes uh2:31:43>> imperfection2:31:44>> imperfection is memorable. And something2:31:47beautiful I read the other day what AI2:31:49will never get now is ordinariness2:31:52>> is stuff that that doesn't the everyday2:31:55benality of our existence things that2:31:58are not extraordinary. Maybe someday2:32:01we'll get there, but because maybe the2:32:05rules will also need us to have a2:32:07disclaimer that says this was not made2:32:09by humans, which by the way a show on2:32:12Apple TV now does this show was made by2:32:14humans very very proudly. um if we are2:32:18required to to show say that this was2:32:21made by AI say 5 years from now and it's2:32:24beautifully delicately made2:32:27um where I started by saying was would2:32:29you still buy it would you shed a tear2:32:33watching something that you knew was2:32:35made by bots2:32:37>> even though it's a it's a prompt crafted2:32:40beautiful moment2:32:41>> the question is does there have to be a2:32:43this or that or can they both coexist2:32:45Actually someone very smartly also said2:32:48that dude does the audience want AI do2:32:52they care about the do they care about2:32:55they want it we want it because it is2:32:57simplifying and automating our workflows2:32:59right but does an audience finally the2:33:01person who's watching your ad or your2:33:03film or your show or listening to your2:33:05song uh do they want it do they want it2:33:08in their art2:33:09>> yeah I mean there's also dangers of like2:33:11so there things that I mean you might2:33:13not be able to decipher which one is2:33:14real and which is not and therefore2:33:16believe anything. So I mean there are2:33:18all the problems of ethics and all those2:33:20things still exist2:33:22>> but as a tool as a filmmaker yes and no2:33:24to some extent I think you have to know2:33:26where to filter this. Yeah,2:33:28>> I actually had one thing that I think2:33:30will come true. I mean I am kind of2:33:32confident about it is just talking about2:33:35advertising. Advertising brains. No, we2:33:37are we tuned to trying to make things so2:33:42that it can break clutter in a little2:33:43way. If everybody is using the same2:33:46tools,2:33:47>> you'll still need that that brain to2:33:49tell you how to break away from it. So2:33:51the advertising brain, I don't think2:33:53disappears despite like whatever AI2:33:56might do. I'm happy if AI comes in and2:33:58takes over the celebrity shoots and2:33:59plasters somebody's face on it and I2:34:01don't have to take care of the left2:34:03profile but uh yeah2:34:04>> no but I I so I that's what I'm seeing2:34:062027 there's there's this really2:34:09beautiful dystopian scenario where uh2:34:11the marketing team will use AI to write2:34:14a script and send it to us and the AI on2:34:16our side will send a treatment note the2:34:18AI on their part will add things to make2:34:20the film better. We will do a better2:34:23treatment note and they'll keep doing2:34:24ping pong till it finally everybody's2:34:25tired and then they'll come to us just2:34:27make a film2:34:28>> in video will make a film2:34:29>> and then 2027 director's round tables2:34:32will just be eight laptops.2:34:33>> Yeah,2:34:34>> exactly.2:34:36>> AI.2:34:37>> Yeah, it's artificial to start with. So2:34:39you you're not getting replaced anytime2:34:41soon. But on that note, um what an2:34:44amazing discussion. Thank you guys. So,2:34:47thank you to each one of you for being2:34:48part of this conversation and for2:34:50sharing your thoughts with such honesty.2:34:53And uh I don't know if you feel it, but2:34:56I think we've just made friends. Eight2:34:58friends.2:34:58>> Yes.2:34:59>> Yeah. And please stay in touch. I think2:35:02let's share as much as we can and learn2:35:04from each other because it's beautiful2:35:06what we just did. So, thank you. And2:35:09this round table stands as a tribute to2:35:11the impact you continue to create in2:35:14your work and you are an inspiration to2:35:16a whole new generation. So that is2:35:19beautiful. Thank you as well to good ads2:35:21matter for pulling this off and giving2:35:24the ad world a space actually to truly2:35:28thrive and to have a meaningful and2:35:30constructive conversation and several2:35:32conversations in and around advertising2:35:34because it's a beautiful industry and we2:35:37have uh so many people to thank for us2:35:40getting to this stage of our lives. So,2:35:42it's safe to say that we can all go home2:35:43tonight2:35:45>> and and rest easy knowing that good ads2:35:49matter.2:35:51>> So good. Nailed it.2:35:55>> Brilliant. Brilliant.2:35:56>> You're amazing.2:35:58>> You're amazing.2:36:01Thank you.
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