Latest / Breakdown Besties | Bollywood Screenwriting Podcast / E14: Lootera Breakdown
Transcript
- Breakdown Besties Podcast: Hi again, Bestie. For our next episode we are breaking down the film Barfi. Yeah, so watch the movie before our breakdown, before it comes out on the next Thursday, and see you. Ananya: Hello everyone and welcome back to the Breakdown Besties podcast. I'm Ananya. I'm Akshay. And we are your Breakdown Besties. Together we have 14 years of experience writing for platforms like Netflix, Amazon Prime Video, Disney +, on shows like Mismatched, Wedding.con, Rana Naidu, Inside Edge, Shark Tank, Grahan and a bunch of others that got stuck in development hell but will hopefully see the light of day for one day. Now with the Breakdown Besties podcast, ⁓ our is to bring to you a film school experience. The kind where you go into a classroom, you examine a scene, you break down what works, what doesn't, how can you improve it and how can you emulate these techniques in your writing. We do them with iconic Bollywood films so that you can create your own Bollywood films. And today the film that we are going to be breaking down is just something I loved watching. It's something I enjoyed so, so much. Right? It just felt like... Akshay: Yeah, man. Yeah Ananya: good old days of cinema. Like cinema was actually good, it all didn't look the same. Every moment was carefully crafted, it was thoughtful. Like people cared about the script, it wasn't treated like, you know, it wasn't treated as content. Akshay: Like it was soulful! Yeah. Yeah. Ananya: like which is what we call it now which is implies this churn to it ki banta rahe banta rahe this was like we are creating this one project and we are going to make moment count and they goddamn did and obviously you all know the film we're talking about because it's in the title and you clicked ⁓ it is ⁓ written by Bhavani Iyer and Vikramaditya Motwane and dialogues by Anurag Kashyap just Akshay: Yeah. Yeah. Yeah. Yeah. Ananya: Phenomenal. Cool. So let's begin how we always begin by getting right into the log line. So what is the log line? The log line is your film's premise written in a few lines. ideally less than 40 to 50 words and it's your guiding light. It helps you to see the forest for the trees when you're so lost in writing your screenplay in your film that you kind of forget what the film is all about. What are you trying to say? What are you trying to do? What are you trying to create? And why does the logline work so well at doing this? Because it contains four important elements and they are one, you have the flaw or the block or the limitation of the wound. It is something within the character that is holding them back from achieving the second element, their goal. The goal is the prize at the end of the film. It's why our character goes on a journey and it's the reason we follow them. We want to see them on a journey to achieving their goal. And then you have the conflict. The conflict is literally your story engine. Without conflict, you have no story. And this conflict is born out of something external, challenging, what's holding the character back internally. The conflict challenges their flaw, they come into a battle with each other and that helps the character overcome their flaw and move forward towards their goal. And your last element is your stakes. Your stakes are what your character stands to lose. It's not simply achieving the goal, but it is moving one level lower than the goal should it not be achieved. right? Cool. Akshay: ⁓ This is what I have for the logline of Lootera A Zamindar's daughter wants to develop a romantic relationship with a visiting archaeologist, that he's hiding a secret that could completely upturn her life. Ananya: Yeah. Akshay: So we have the flaw, the limitation, the wound. Now, in this, I think the is that this is Zamindar's daughter. Had she not been this rich, ⁓ this problem in her life wouldn't have come what she's about to face in the movie. The goal that she wants to develop a romantic relationship. Ananya: Yeah. Akshay: With a visiting archaeologist. So that's her, that's clearly a goal. She chases him throughout the movie. She is the one who takes efforts. She is the one who makes the first move. So she's actively going to her goal. Number three, the conflict is that the visiting archaeologist, that she's unaware that the visiting archaeologist is hiding a secret. Now the stake is that is that he could completely upturn her life which also ends up happening in the movie. So this is what I have for the logline. Ananya: Yeah. Yeah. Yeah, I think it works really well. I would add ⁓ naïve, before Zamindar's daughter, because that is Sona's most defining characteristic and that is what is being challenged because ⁓ is naïve. ⁓ then ⁓ just to make it stronger, instead of upturn her life, I would say destroy her life because... Akshay: Hmm. Hmm. Yeah. Yeah. Hmm. Yeah, destroy her life, Ananya: Destroy Her Life, but that's just syntax, it's just wording. But if I were doing a draft 2 of this logline, that's what I would do to it. Because it also helps you when you're writing the scenes, Upturn versus Destroy will give you a different way lens of looking at it. Yeah, I think it really works. Nice. Akshay: Yeah. Yeah, yeah. Yeah. We yeah, yeah, for sure. What were you struggling with? Ananya: I was struggling I think with the fact that Sonakshi Sinha in my lens now that you framed it the way you have like wants to develop a romantic relationship and I also think I haven't worked in those many romances and in general I don't pedestalize romance in my life. ⁓ Akshay: Hmm. Yeah, I... Listen, that also That took me the longest time. Like, first I had written, she falls in love. But I was like, I made it, she wants to develop this thing. So... Yeah, yeah. Ananya: Is it, Hmm. Yeah, she very actively pursues it. Absolutely. Yeah. But because of my way of I think looking at the world more than anything else, I was just like, yeh kuch kar nahi rahi hai isme. Like, I don't see pursuing someone romantically as a worthy goal, I guess. Because even when we're looking at rom-coms, for example, the relationship happens Akshay: Hmm. Hello. Yeah Yeah. Yeah. Yeah. Ananya: because of another vehicle. You know, like they're either in office and they have an office goal which gets them together and stuff. But here, it's not the fact that Ranveer Singh's character is a thief that gets them together. It's not like thieving is the main line of the film. But I failed to look at it like that. So I ended up writing, which is kind of the logline of the second half of the film. Akshay: Yeah. Yeah. Yeah. Yeah. Yeah. Hmm. Ananya: Where I say, when a robber falls in with a terminally ill woman who he robbed, he must win back, she lose her life. Akshay: Yeah yeah this also works but you give away the twist of the movie in this? Ananya: What is the twist? That he robs her or that she loses her life? Akshay: Yeah, That he robs her. Ananya: But. But that you know fairly early on right? In the film that he's going to rob her. And the name of the film is Lutera. Akshay: really really ⁓ so i am i I am naive Sinha's character, I am naive. I thought Lootera is just like dil loot liya, like never ⁓ thought was a literal lootera. ⁓ Ananya: Dil looted! ⁓ Yeah, but your log line 100%. Ignore what I said. If you want a log line for the second half of the film, now you have it. Akshay: Yeah. Ananya: Cool. Let's go into the hero's journey next, right? So what is your hero's journey? Your hero's journey is the structural spine of your film. It gives you the beats that your hero must pass through and encounter every so often within the film that moves the story forward and delivers an emotional hit to your audience every so often. Because sometimes your plot might not be working the way you want it to or you might be floundering with structure. Akshay: Let's do it. Ananya: That's the time you kind of fall back on your hero's journey to see at what points do certain things need to be happening so that your audience is also coming on the same journey as your hero is going on. ⁓ So now let's see if we align on this. I think we largely should. Akshay: Hmm. I think so too. Yeah. Ananya: Right? Okay. So the ordinary world is we see Sonakshi Sinha, we see that she's got tuberculosis, she's a Zameendar's daughter, that this is just post-independence and Zameendari is going to be abolished soon. And then we have Ranveer Singh's character into the picture as an archaeologist who wants to excavate the site that is on their Zameen and wants their permission. And Sonakshi Sinha sees Ranveer, ⁓ it is infatuation at first She wants to become close him, she wants to fall in love with him. ⁓ And ⁓ then ⁓ we go to our call to action, she Ranveer painting out of her window, ⁓ in front of a canvas outside her window. Akshay: Hmm. Hmm. Ananya: So she goes to her father and says that I want to learn how to paint. Right? This is her being called or her calling herself into a new world so that she can pursue her goal. Right? And then... Akshay: home. Hmm. Hmm. I had another call to action actually. I thought it was a little before that when you know that that moment where both of them are in the field like she is with her friend and he is with his friend ⁓ they are looking at each other and the friend is like hey what are you doing are you like trying to fall like are you crushing on this person and Ananya: Okay. Hmm. Hmm. Akshay: So so I thought that was an immediate call where like it's the truth what is happening and they immediately refuse it that like no no nothing is going on you know so was ⁓ but again I was confused with this moment also what you're saying it was both yeah but I placed this earlier and I'll tell you why what the moment you're saying comes later for me Ananya: Correct. ⁓ Both. Yeah. Both. No, but it makes sense. It's a sequence of calls like we've discussed in various films like Paa and English Vinglish where the first call comes from her friend saying that, hey, you're kind of in love and then they're like, no, she refuses the call. Then she acts on the call again and she says that, okay, I want to learn how to paint. Yeah. And then her dad kind of refuses it where he's just like, just it from this person, learn it from that person. She's like, no, no, I want to learn it from Ranveer Singh's character. Right? Right. So... Akshay: Huh? Yeah. Yeah. Yeah, yeah, yeah refused, huh? Yeah. Yeah. This guy. Yeah. Yeah. Ananya: In your version then the mentor would be the friend, right? Meeting the mentor. Akshay: Yeah, Yeah I thought and that painting moment becomes the mentor because that's the something which she clocks it as a device to like cross the threshold with for in her goal. Ananya: Mm. Yeah. Yeah. Because the mentor, ⁓ because there is really no mentor in this because I've been reading this book here. It's not just a prop. ⁓ Campbell. ⁓ here's a bookmark and everything. But this, ⁓ I was reading about the role of the mentor. And the mentor is essentially if you're going to slay the dragon, the mentor is the person who hands you the sword. Akshay: Yeah. Yeah. Yeah. Hmm. Hmm. The sword, haan. Ananya: Yeah so who is giving her the sword in this moment-- it is the painting right? Akshay: Yeah, like she gets an idea that, ⁓ maybe I can use this as the reason to get close to him. Otherwise I will never be able to. So that was the moment, like I thought that could be the mentor in this story arc. Ananya: Yeah. yeah. ⁓ And then we have Crossing the Threshold, which is the scene where they have their first painting class together. This is when, Crossing the Threshold, is when your character enters the new world and they take the first decisive step from which they can't return. It's the point of no return. ⁓ they have decided to pursue their goal fully and completely. So as Sonakshi Sinha tells Ranveer Singh that you're going to teach me how to paint, he's like, cool. Akshay: Huh. Huh. Ananya: Turns out he doesn't know how to paint, she's in fact the better painter and she's teaching him how to paint and she's like, cool, that. Then we have tests, allies and enemies, which is where your main character gets a sense of the lay of the land. Who are their friends in this new world, who are their allies, who are going to, who's going to present obstacles and challenges. Those are their enemies. Akshay: Yeah. Yeah. Ananya: And this is, I think, believe a fairly long sequence, in my opinion. Very long, right? Okay. I was just sussing. I'm like, we on the same page? And so in this, we foresee them getting close. But then ⁓ she's going to kiss him, but Ranveer Singh pulls away. Then he finds out that she has tuberculosis. He helps her back to her house and he falls in love with her. Akshay: very long. Yeah. Ananya: Then he decides that, but then Vikrant Massey ⁓ is essentially his, what do you call, sidekick in this film, kind of ⁓ that, buddy, you don't have the permission to fall in love and you're gonna break her heart because you're gonna be leaving her soon. So then their relationship takes a turn for the worse when he essentially decides to not continue their painting sessions together. ⁓ Akshay: Huh. Huh. Ananya: He decides that he is going to be leaving in the next couple of days and Sonakshi Sinha loses it, she goes to his bedroom at night and tells him don't leave and they kiss and that kiss is the approach to the innermost cave. Akshay: Hmm, okay, interesting. Ananya: I am looking at it from the point of view of a relationship, right? Akshay: the first draft of the journey which I was charting out, I was exactly till here. But because the second half of the film takes a completely different turn, you know. So ⁓ in fact felt that this test allies and enemies continues till the moment where he offers to help her father that you know, ⁓ know this guy who can sell this, who can buy all of this material and Ananya: Hmm. Hmm. Akshay: the father does it and he proposes marriage and ultimately we come to know that he is an robber of sorts and the next phase after this will take you to the will initiate your approach to the inmost cave because I felt for that that starts a completely new life for Pakhi's character, Sonakhi Sinha's character. Ananya: No, I would completely disagree with you in fact. Because of your log line. Your log line is from Pakhi's point of view. She wants to develop a romantic relationship. So for her developing a romantic relationship, your approach to the innermost cave is when you are stealing the bag of gold from under the dragon. Over here, the relationship equivalent of that is the kiss and the marriage. So that has to be your approach to the innermost cave based on your log line. On the very log line you've written. Akshay: Okay, okay. Huh. Hmm. Hmm. Right. Hmm. Hmm hmm hmm hmm. Yeah fair enough. Ananya: So, Yeah, so that is your approach to the innermost cave. She, they kiss, he says that he tells her father that I want to marry your daughter but the ordeal begins where we start from, see this from Ranveer Singh's character's perspective where he is, his boss comes into the picture and says that you cannot get married because you're a thief. Akshay: Hmm. Hmm. ⁓ Ananya: and if you get married to her, I will reveal your truth that you are a thief to her and then you think would she want to marry you. So Ranveer Singh wants to quit the robbery but he cannot because even if he does, she will know his truth and that sets your ordeal into play where he starts robbing them and your ordeal in my opinion is a very long section because your ordeal is the consequences Akshay: Hmm. Hmm. Hmm. Hmm. Okay, okay. Ananya: of having robbed the gold from the dragon, having stolen it. So the consequences of falling in love and leaving her are what? That now Sonakshi Sinha's father has died because they realised that they were being scammed this whole time and all their property has been taken away. Then you have Sonakshi Sinha living by herself in their Dalhousie house. Akshay: Hmm. Hmm. Hmm. Yeah. Hmm. Hmm. Hmm. Right. taken away. Ananya: And then you have the police coming ⁓ speaking to her saying, look Ranveer Singh and his gang, they are masters at this scam that they've pulled off and you're not the only family. So if you have any information, give it to us. Then she gives them information. Then we see that Ranveer Singh's character has come to Dalhousie for their next robbery. Then you have the police chasing them, the big scuffle with the police, action sequence, all of that. Akshay: Huh. Hmm. Ananya: In the meantime, you see Sinha's character giving up on life because that is her ordeal. She can't write, she's suffering, she just wants to give up. ⁓ then Ranveer Singh in the final shootout with the police shoots his friend, shoots Vikrant Massey's character inadvertently. So then he goes to Sonakshi Sinha to confront her that ⁓ look, of you reporting me to the police, I killed my friend. Akshay: Hmm. Hmm. Hmm. Hmm. Huh. Ananya: and he sees that Sonakshi is having a coughing fit and she is not willing to take her medicine. She is not willing to inject herself. So, he takes the injection and he saves her life and saving her life is the reward. Akshay: Hmm. Hmm. Ananya: that you have the way back where Ranveer Singh is hiding from the police ⁓ in Sinha's house and he is also taking care of her. Sonakshi is damn angry with him. Even as he takes care of her, they are not talking to each other. At one point he decides to leave the house and ⁓ he back because he realises that he loves her and she needs him. So he goes, he comes back, but she tells him that whatever you're doing for me is not enough. Sometimes I just want to murder you, but I'm not murdering you because I don't have the energy to murder you. I am dying. And the moment the last leaf falls from that tree, I am going to die. And, but Ranveer Singh selflessly keeps serving her and that at one point wins her over. Akshay: Huh. ⁓ Ananya: And just as she goes out one morning into the snow to see him chopping logs of wood to keep her warm, the police comes. Because the police at this point has realized that she is giving shelter to Ranveer Singh's character. She tells the police that you don't have a warrant to search my house, so fuck off. The police says that tomorrow I'm gonna come with a warrant and then I'm gonna find him and I'm gonna kill him. And all my men will be waiting for him, so don't even try to run away. and then she... that is your resurrection where Sonakshi Sinha protects him. So resurrection is where your character is at your lowest and now they are rising from that. So from saying that I want to kill you, says she saves him from being shot at least for a day. ⁓ in this resurrection she speaks to Ranveer and he finally admits that look I love you, I've always loved you. Akshay: Thank Ananya: And the two of them finally together. And then you have the last bit of your film, which is where we know that Ranveer Singh is going to get caught. It is inevitable. So before he ⁓ and submits to his circumstances, to his fate, he climbs up a tree which has now lost the last leaf, carrying a painted leaf with him, and he ties it to the tree. And you see that not only has he tied it today, he has been tying it from the leftover string of the previous days for a very long time to keep her alive another day. And then he goes, he lets the police find him. He purposely leaves the house because he doesn't want Sonakshi, I think, to witness his death and submits to his fate. He is killed. And Sonakshi Sinha wakes up that morning, she goes out of bed and she sees the leaf and she realises it's a painting. Akshay: Hmm. Ananya: and that he had been doing all of this just for her and that is a return with the elixir. She has come into living another day into this old world but as a new person. Akshay: Good. Yeah. think ⁓ like from the resurrection till elixir I completely agree with you. I had a few smaller moments which I thought made sense to me more which is which is like I was telling you earlier that my approach to the innermost cave starts when we come to know that he is like the looter okay so now it starts with post-interval where we see Sonakshi Sinha's character coughing ⁓ Coughing has gotten worse. We see she's not doing well with her writing. She's struggling again with that. We see that a new police investigation is about to start. ⁓ Ananya: This is post them having robbed her clean, right? And her father has died. Akshay: Yeah, yeah, yeah. A new police investigation is about to start. Basis her information change the location of the Ganpati Murthy. ⁓ The guest house thing happens. Turns out ⁓ Ranveer Vikrant come as guests back. They come and see that. ⁓ And ends at the police chases them ⁓ and he's Vikrant. So for me, that was the whole approach to Innermost Cave. ⁓ Ananya: Mm-hmm. Akshay: Ordeal is when he himself is shot and he has to take care of himself ⁓ so for me the ordeal was very short like I put all of that in the prior phase and he finally once again confronts Paakhi that he you know the moment he enters the house and he's like informed the police," so i thought that was ordeal ⁓ that's the end of ordeal and reward is pretty much the same for me where Ananya: Hmm. Hmm. Yeah. Akshay: Paakhi gets the justification that why did he betray them? So that's the reward for the whole thing because so far she was just going mad in her head that why did it happen? Like whatever, she was about it like why did it happen? What did they happen? So for me that was the reward for her journey. Ananya: Hmm. Hmm. I'm sorry. That I can agree with you. Correct. Yeah, not saving her life, but yeah. Akshay: So the ⁓ one reward moment for me was important that Paakhi gets that reward, which is that she gets the justification of why it happened to her. And which he says that I had like, Ananya: Good day. Good day. Akshay: duty to fulfill to my uncle because he was the one who raised me and you wouldn't understand because you were brought up in these mansions. So, so yeah. Ananya: Fair, fair, That I agree, Paakhi's point of view, yeah. Okay, that is our hero's journey. What should we go into next? Akshay: I have a little bit on the world, shall we get that out of the way? So I think it's established much at the end of the credits of the film that this is adapted from O. Henry's short story, The Last Leaf. So just shall I summarize the story for like, I don't know quickly. So essentially the second half of the film is what the movie is inspired from, which is that Ananya: Yes. Sure. Akshay: It's set in Greenwich Village in New York back when it was like a poor artist settlement. Not right now, how it's like the best hub right now. And this woman, she was ⁓ with pneumonia and she had made the belief that the ivy on the wall outside her window, until all the leaves fall, she's gonna keep her last breath. Until the last leaf falls, she's gonna do that. ⁓ And is a painter in her building who decides that who is not a good painter actually, much like Ranveer Singh's character. But he decides one day he's gonna make the best, most realistic art. So what he ends up doing is that he paints a leaf outside the wall on her window and she thinks that that's the leaf she's looking at. And while painting that perfect leaf, he himself catches pneumonia and he ends up dying. And because she gets the time to recover, she survives. So... Ananya: Hmm. Akshay: Essentially, this is what the second half of the current movie is also like in some form or way. Now, what I like is that in the beginning of the movie, the father narrates a story to Pakhi, right? And he could have said very much the story as a part of that, right? For the audience to know that what is the story about? But the writers are very consciously chosen an Indian rooted story. Ananya: Yeah. Hmm. Akshay: which is of the Raja of Beel and the soul and the parrot. And that's, I think, a good sign of an adaptation into the Indian context. Because, you know, like it still keeps the essence of the story, which is inspired from, but it's got a new take, a new spin and a more culturally relevant context. So I thought that was very good. And it's that that another thing that story in the beginning does is that Ananya: Hmm. Yeah. Akshay: it sets up a little bit whimsical nature of the story that don't expect extreme realism in this film. This is a world which is importance is placed on stories which is intact with Sonakshi's character because she's a writer and you know how writers can get ideas stuck in their head which can be their own doom. So I thought like it's set up very nicely and again this brings this comes up later on when Ranveer is trying to put sense into her head that your life is not contained in that last leaf. It's not the parrot of your father's story. So they related it back to the actual story which got inspired by. So I thought this establishing of the world they did very nicely with this one story. Ananya: Hmm. Yeah. Yeah, very well done. Okay, let's go into theme next. So again, what is your theme? Your theme is the central question which you as an artist are posing to your audience because you want to establish your view on the world and by the final, by the result, by the goal of the film, by whether the character achieves the goal, doesn't achieve the goal or whatever happens to your character, you will decide whether that statement has a true or false answer. What does that mean? Akshay: Hmm. Ananya: So in this film, the theme is essentially, can love turn a bad man good? Because why? Ranveer Singh is a robber. He is untrustworthy. Right? So they're asking that if he falls in love, can he stop being a robber? Can he actually be good? Right? And that is the question they have kept in mind at every important turning point of the film. So for example, Akshay: Hmm. Ananya: when he falls in love and he asks for her hand in marriage, he is willing to give up robbing as a life choice. But he is put into a pickle where they say that if you give up robbery, I'll tell her that you used to be a robber. So then you still kind of lose. So he has no choice but to continue being a robber. But then here's what I really want to bring up in sense of the importance of subplots. Because we have the Vikrant Massey subplot where Vikrant Massey is his sidekick through the film, they have a great relationship, they have a solid friendship and in the shootout Ranveer Singh kills his own best friend and he realises that as long as he is bad he can't have love in his life. By killing Vikrant Massey. So that's what motivates him to go back to Sonakshi Sinha and say that... Akshay: Hmm. Huh. Hmm. Hmm. Hmm. Ananya: Like that's what makes him choose being good over bad. That's what makes him choose taking care of her because he realizes that he can either be a robber or he can have love. So yes, love can turn a bad man good and that question is answered by Ranveer Singh's actions in the film by using not just the A plot but also the B plot, the subplot tying into it. Akshay: Uh-huh. Huh. Hmm. Hmm. Yeah very nicely thought yeah. Ananya: Cool. Do you want to go into scenes next? Akshay: Yeah, let's do that now. sequence I want to talk about is that the first time their friends call them out about that, you're developing feelings for the other person, which I spoke about in the call to action and refusal to call that and what they have done is essentially the same conversation, Like ⁓ Sonakshi Sona is with her friend and Ranveer is having with his friend. It could have been boring where you show one scene and then you show another scene after that, where the information is exactly the same. So what the writers very smartly do is that they find proper cut points and intercut both of these scenes so that you understand that these two characters are on the same page. Like I have noted down the exact lines and I think this might make more sense for viewers that Sonakshi Sona's friend first tells her, paagal you're checking him out, and she says, I'm not checking him out. We cut back to Ranveer ⁓ Vikrant and Vikrant says, tum kaise dekh rahe the, mujhe bhi dikh raha hai. And he's like kaise dekh raha tha? We cut back to ⁓ Sonakshi in this She's like, she says, jaise hi dekh a jaata hai jab woh ho jaata hai. And this one Sonakshi gets angry. She's like, kya ho jaata hai? Tum bhuk ke maare tumhara dima kharab ho chuka hai. ⁓ And Vikrant, again we cut to Vikrant and he says that, yaaar tum gussa kyun ho rahe ho? Tum jo khayali pulao paka rahe ho? Mai bas usme dum bhar raha hoon. And we cut back to Sonakshi saying, that I not cooking anything. So it's essentially a scene between two characters but which four characters are having but it's been crunched into back into this one scene and you see this happening a lot in say investigation scenes up where you know you have two witnesses talking about the same incident but two different police officers are investigating them and hopefully by the end of it one of them would have fumbled and one of them would have not. ⁓ Ananya: Yeah Akshay: one of the things like happens in that kind of film. But I think like there's a cool way to like crunch information but also keep the pace going for the movie. Ananya: Yes, very cool, very cool. And on that note, even I'll talk about how they've been economic and done more than one thing with one scene. So, there's plenty of examples of that in this film. The first I want to talk about is at the very top of the film. Sonakshi and her parents had a Ram Leela performance And she gets a coughing fit. So, they have to take her back to the Haveli. So, what do they do is there's a long walk Akshay: Hmm. Yeah. Hmm. Hmm. Hmm. Hmm. Ananya: from within the Haveli itself to get her to her bedroom. And what this does is two things. One, it gives the audience information their standing, of ghar kitna bada hai. Because they're zamindars, you have to visually show us. But they don't spend an independent scene visually showing you ki itni zamin hai. No. They take Sonakshi Sinha's character through the winding big corridors of the Haveli. Akshay: Hmm. What? Hmm. Ananya: And what that also does other than giving you information is it creates tension because you're like, my God, what's going to happen? Now she is going to get sick. What's going to happen? Is she going to faint? Blah, blah, blah. So this film does this one scene moment very well of two things at once. Then you have a moment where Sonakshi Sinha, Ranveer Singh and the father are in the library and Sonakshi Sinha is reciting poetry and Ranveer Singh knows the same poem. So he Akshay: Mmm. Hmm. Yeah. Ananya: completes-- joins Sonakshi Sinha in it and completes it. Now this does two things again. ⁓ it builds connection between ⁓ Sinha and Ranveer Singh's character. But it also impresses the father and says, ki why don't you stay at our house instead of staying separately outside. So not only does this build the relationship, it takes the story forward. It's an essential plot point, right? And the third is Akshay: Yeah. Ananya: We had spoken, you had spoken about this in Kahani, where Vidya Balan was walking and over the VO information was given, but we are seeing her reaction as she is ⁓ at the platform. Over here also, in the VO, you have her dad saying that look, is going to, Ranveer Singh is going to be coming home for dinner. But Sonakshi is getting dressed. So you see that ⁓ they given us the information and shown us the character's reaction. Akshay: Huh. Huh. Yeah. Ananya: and preparation for it. We establish character and information again. So one more moment doing two things at once. Akshay: Yeah. Ananya: I wanted to talk about a couple of scenes where we talk perspective, right? So we, if you've noticed in this film, Akshay: Hmm. Hmm. Ananya: When Ranveer Singh's character is introduced, Pakhi is driving. She's driving haphazardly. She knocks a bike over. She looks over out of the window and from her perspective, it's a perspective shot where we see Ranveer Singh fallen. Then, even when he comes to the house to say that I want to excavate your land, we don't see him enter the house. We see Pakhi looking at him entering the house. Akshay: Hmm. Ananya: When he comes for dinner, again we see Paakhi looking at him from the top of the stairs. So, the reason we do this is because we want to see what Paakhi sees so that we feel what Paki feels. We want the audience to feel the same emotion that the character feels. So even if I were writing this in the script, I won't say that Ranveer Singh comes. I'd say that Sonakshi Sinha sees. Akshay: Whoa. Hmm. Hmm. Hmm. Yeah. Yeah, yeah, yeah. Ananya: this one and this is Important for generating empathy it's not about creating any emotion in your audience you have to create emotion that you want within the character that you want your audience to root for. Akshay: Yeah yeah and it's what are feeling the same feeling the audience has to feel so I think yeah, yeah that way it's smartly for sure. Ananya: to feel. Then I want to talk about contradictions and as a technique because contradictions work very well as a technique because you take your audience to a particular high and then you drop them. Your films are essentially an emotional experience, they're on an emotional journey. One emotion can't be sustained for too long because it's boring. You're going to lose your audiences. Right. So ⁓ one ⁓ I'm going to talk about is in a ⁓ scheme of things, not within just the theme. But Ranveer Singh's introduction, it is as an absolute bichara. When Paakhi turns, you see this guy is sitting in the sand, on the ground, like all of that. Now, why do they have to introduce him as a bichara? So that later when the so-called twist of him being Lootera, which is name of the film, comes in, it lands that, okay, they set him up as innocent, but he's actually... Akshay: Hmm. Hmm. Hmm Ananya: a scheming robber, right? They've also used this technique very well with Paakhi when you never see her get angry. Even when the Zamindars, when she's told that, you know, all this land is going to go away, she asks, okay, the garden too? And then she's like, yeah, she doesn't lose it. She doesn't get angry. So when Ranveer Singh says that I'm not coming back, she's like, "die bitch." That Akshay: Hmm. Huh. Huh. Huh. Ananya: anger really lands and it lands why? Because of contradiction. Because she never really gets angry even at things she can get angry about and then she gets angry here. And they do this yet another time where Ranveer Singh's character is essentially very laconic through the film. He doesn't talk too much. But at the resurrection when he finally confesses that I love you it is in fact a spiel. That's the most number of words we've heard in one point in the film. Like a monologue. Akshay: Hmm. Hmm hmm ⁓ Hmm. Hmm. Yeah, yeah. Ananya: So again, why does it work? Because they've set up the opposite initially. So contradictions give your characters, give your audiences a sense of a journey. Akshay: Yeah. Ananya: Okay, next I want to talk about the audience having information before the character does. And in my opinion, this whole film was a big example of the audience having information before the character does. ⁓ the name is Lootera. Akshay: only because you saw it previously only because Ananya: But anyway, why does that work really well where the audience has information and the character doesn't is because it creates tension. Your audience is constantly wondering what impact this is going to have on my character, how are they going to react. So over here, once they've done it, even in the little moments where at one point you know that Sonakshi Sinha's father's character is essentially like a zamindaar who is like Akshay: Yeah. Yeah. Ananya: There's no Zameendari Abolishment Act ever going to be passed, like mark my words. And then as the, ⁓ you have a shot of the newspaper being delivered to him. But the audience sees just a glimpse of the newspaper first. But it's enough to know that the Zameendari Abolishment Act has come into power. And immediately you're like, fuck, what will his reaction be? It creates tension. Just a little moment like that. Akshay: Yeah. Yeah. Huh. Hmm. Hmm. want to talk about another way of building tension which is my screenwriting technique which is intercutting. So this is the free interval point where you come to know that Ranveer Singh's character is a lootera ⁓ and we for the longest title wasn't enough. ⁓ So what they do is general intercutting between two moments Ananya: title wasn't enough. Akshay: Two tracks is great anyway. Here what they have done is they have put it in three tracks. Which is that first you see that we follow Ranveer and Vikrant leaving. We see like the night before like they're like they're telling their workers that dig faster. We still don't know what's happening. The second track is Paakhi getting ready for the wedding. She thinks she's getting married today. So you have like her excitement. Anyway two contrasting scenes. Now the number three is her father discovering that the murti in the temple is actually fake and you realize that's what Ranveer and Vikram took. So the fact that you have these three contrasting moments, one is the robber, one is the person waiting for the robber in the hope that she's getting married to him and the third is finding out who the robber is. These three moments create this almost this pyramid of ⁓ Ananya: time. Akshay: one after the other building tension moment and I thought it was done extremely well because of the device of intercutting Ananya: Another moment of tension want to talk about where they really elongate it is by delaying the solution. Even if the solution is inevitable. So when Sonakshi Sinha's character ⁓ starts coughing ⁓ after they didn't kiss and they're driving back home the lake, starts coughing. Akshay: Hmm. Hmm. Ananya: Ranveer Singh at first doesn't pay heed. He's like, okay, just coughing, whatever. But you as an audience know that this is going to be something worse than before. Then there's a flat tyre. So he pulls over. Again, you're like, ⁓ my God, what's going to be happening to her? What's going to be happening to her? And she, Ranveer Singh changes the tyre, he comes back in and then he sees, ⁓ my God, she's gasping for breath. So he fishes for her medicine. But at that point, Akshay: No. Huh. Ananya: Even then he doesn't open the medicine box immediately. It's like, ⁓ my god, this and she helps him out and then he injects her. So that is like, as an audience, you're like, ⁓ my god, what's going to happen? What's going to happen? Again, creating as many obstacles as you can in your way works very well as a technique to create tension before the inevitable solution. Like at no point do you think, okay, this is going No, that's not your film. But you still are tensed. Akshay: ⁓ huh. Hmm. Yeah. Yeah. yeah yeah yeah i think it's similar to your opening munna bhai sequence where you said that why make it easy when you make it making when you can make it hard like like the immediate were like she's coughing the injection is in the back seat get me and do this but take the long way to that like so that there is instant tension and like you're making the audience wait for that big moment Ananya: make it hard, yeah. Yeah. Exactly. Akshay: I want to talk about one callback moment. ⁓ Callback as we've established in the previous episodes ⁓ a piece of dialogue, a moment which takes place between two characters and you realize either the relationship, the nature of the relationship has changed or not changed at all. So I want to use, I think they've done this with the device of the radio, is that when ⁓ she sees for the first time that Ranveer Singh and Vikrant are playing songs on the radio ⁓ she also turns the radio on in her room and it's like a very cute moment between the two of them and that the moment is of happiness, right? And much later on in the film is that ⁓ the radio comes back and this time it triggers anger because it's the same song playing on the radio and it immediately reminds her of him and this becomes actually her trigger point to go and complain to the police officer and telling them that this is the information he gave me. So I thought they used that moment really well and the nature of the relationship has changed. So I thought that was a good callback. Ananya: you Very good callback. Like they have really not wasted moments. Every moment is so thoughtfully crafted in this film. Just beautifully done. Akshay: Yeah. Yeah, yeah. Ananya: Then I want to talk about structuring scenes within a sequence and or when to give information within a scene because that is very important because it does many things for your character. So let's talk about the scene where we see Ranveer Singh ⁓ the leaf up to the tree. Okay. And you realise that he's not just been attaching the leaf. He's not doing it just today. He's been attaching the leaf to keep Paakhi alive for a while. Akshay: Hmm. Hmm. Huh. Hmm. Ananya: And why do they show it to you as almost the second last scene of the film? Because in the next scene, he is going to die. So you want your audience to be at maximum empathy for him so that when he dies, a part of you dies too. That's why they don't show us earlier on that, okay, you know, he's been doing this. They choose this moment, they structure it so that it's maximum empathy. Right? Akshay: ⁓ Hmm. Hmm. Hmm. Hmm. Yeah. Yeah. It's only teased. It's also teased a little bit, right? Like you see him like, like he takes out his painting ⁓ apparatus. And the next thing you see, he's like wet and he's cold, but we have no idea what he's done. So it's, it's also done very well. Yeah. Ananya: And also speaking of that scene. Yeah. Mm-hmm. very well yeah they've bread crumbed it but they've bread crumbed it just the right amount very thoughtful again very very thoughtful yeah then ⁓ the same scene where ranveer singh is attaching the last leaf they haven't even made that easy for him he climbs up the tree and just as he's going to attach it the leaf flies away he has to catch it he falls he's hanging off a branch his wound opens up Akshay: yeah right amount yeah yeah Easy. Yeah. Yeah. Ananya: Then with that wound he's bleeding, he still climbs back up, he attaches it and as he's coming down the branch breaks from under him, he falls again. Why do they do this? Because it's not just why make it easy when you can make it hard, it's because you want to see a character go to any length to do something. Because that's what makes you like the character. And this again ties in with the idea that they're going to kill him next scene. Akshay: Yeah. Yeah. Yeah. Ananya: So you want to feel so much for him that they had to make this difficult. Look at the extent to which he's going. So always think about how can you build maximum empathy for your character before something bad is going to happen to them. Make it difficult for them. Make them do really good things for other people. Akshay: Hmm. Hmm. Hmm. Yeah. Ananya: Then I want to talk about an impossible situation, creating impossible situations for your character. Over here, what they do is, they have Ranveer Singh's character fall in love with Pakhi, Akshay: Hmm. ⁓ Ananya: and then decide to give up his life as a robber. But then his boss says, if you give up your life as a robber, I will tell her that you're a robber. So then you can't have Paakhi anyway. So he is in an impossible situation. Akshay: Hmm. Hmm. Cool. Ananya: What I think as writers, what we need to do is create a lot more important situations, impossible situations, not just for your characters, because for yourself, because when you have to write yourself out of a box, you are going to think of something very unique. It's not going to be, okay, what happens next? You're going to think of what can I do that's different to take the story forward? So the more constraints you give, Akshay: Hmm. Huh. Hmm. Yeah. Ananya: the more you will understand, the more unique your story will be. So this situation was very well crafted from that point of view. Akshay: Yeah. Hmm. Hmm. Ananya: Then another thing I wanted to talk about was rooting a twist in logic. So we see Ranveer with a canvas which is empty and his friend keeps saying you keep staring at that canvas and you've never done anything and he's like one day I'll paint a masterpiece. So you think that okay he is just an artist with a self-doubt complex etc. Can't get started. And then in the painting scene with Sonakshi where he's asked to teach her to paint you realize that Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: the twist is he doesn't know how to paint at all. Akshay: Yeah Ananya: But it lands because when you think back to that painting scene you're just like, okay he just had like an empty dream. He was just hopeful. Like you know. So that only lands because it's rooted in logic. Akshay: We are. Yeah. Yeah. Again, a moment like this only lands for me in the movie because you've established the whimsical nature of this film, right? Like, if it was like a regular character saying, I want to paint one day, I'd be like, please shut up, You're like, please do your work. Right? Like, he has a canvas, he has a full set of like colors, but like, you know, like it can feel so extraneous in a regular, in a different film, right? Like, but because they've established this Ananya: Yeah. Akshay: This movie is like that. It's poetic, it's beautiful and it's like characters do think like this. So I think like it lands more also because of that. For me at least, yeah. Ananya: Yeah. Definitely, yeah, for sure. That is all I have on scenes. Akshay: Okay, great. Should we do character creation? Ananya: Yeah, let's do character creation. Akshay: I think. What the biggest trait they have used to make us like Paakhi so much is that she is mischievous. ⁓ And she's mischievous without the intent to have malice. Like she's not being mischievous to be an asshole. She is just having fun in her life ⁓ ⁓ fully owns it. ⁓ she's also blatantly honest about her mischievousness so that So when we see her driving this car very badly, you know, and she immediately says, if everything goes well, I was driving, but if like there's an accident, it's you who are driving, you know? So we like a brutally honest character about their mischievousness. And what ends up happening is that she does get into an accident. And she also like when Ranveer comes to her house and says, and she comes to know this is the guy who I had actually bumped my car into. Ananya: Hmm. Akshay: she immediately tells him, listen, don't tell anybody, you know. And so again, she's a little bit bully and a mischievous there, but again, not with the intent to be any malice, to create any malice. But in the moment when it happens the other way with Ranveer that, you know, he's teasing her a little bit, you know, like he thinks, yo, I got hit by a car. I don't know who was some new, koi nausikhiya gadi chala raha tha. Ananya: Hmm. Akshay: And again we bring in mischievousness because she accidentally pours coffee on him you know so I thought like huh she makes it seem like an accident but like deliberately she does it you know uh-huh so I thought like ⁓ this ⁓ the the layer of mischief in her character Ananya: Accidentally, yeah. Yeah. Akshay: was a great tool to build empathy for her, for us to like her and just a good way to draw us into her character. Ananya: Definitely. Yeah. And I also think one more trait of hers is very important. Is that while she is extremely naive as a character, extremely innocent, she's not entitled at all. So even though she's so rich, when the when the Zameendari Act, Abolishment Act comes into play, Akshay: Hmm. Hmm. Hmm. Hmm. Ananya: She's not like, my god, everything is going to go away from me. She's like, ⁓ okay. And two, even when everything goes to shit, like her father died, she's alone, she's dying, we never see her feeling like bad for herself. She was just like, okay, let's let death come to me. It's fine. So Akshay: So... Sorry. Yeah. Yeah, I just want I just want to forget him. That's her first stance with him. Yeah. Ananya: Exactly, yeah. She is never like, my god, woe is me. Or revenge, yeah. So because of that, I think we've also created a character who we really like. Akshay: Seeking revenge. Yeah. Yeah. Yeah. Ananya: Then I have one more note on character which also segs into dialogue. So I'm going to do both of them together. Thing is, I want to talk about status which we also touched on in ⁓ fashion. Status is a character knowing their sense of power and place in the world. Over here we have the character of the Zamindar which is the father. And in the start of the film they're watching the Ramlila. Akshay: Huh. Huh. ⁓ Ananya: and his accountant is telling him, you know, they're going to come and they're going to take all your land away. And he's like, no, that won't happen. And then he's like, no, they're really going to come. He doubles down. instead of the Zameendar character doubling down, like, no, they won't come for my land. He turns his attention, watches the play and laughs. This is a character who knows his standing in the world or he thinks he knows it. Status is like perceived, right? So he's like, I am untouchable. Akshay: Hmm. Yeah Ananya: and his reaction comes from that I am untouchable. going into dialogue. In dialogue also they could have had a scene where he says that no I'm going to like ⁓ make sure this doesn't happen blah blah blah but they chose it they chose to do it with this reaction that he just turns and starts watching the Ram Leela. So it's dialogue comes from status here or the lack of dialogue comes from status here right and Akshay: Hmm. Hmm. Huh. Hmm. Hmm. Hmm. Ananya: Another moment I noticed this lack of dialogue was like you said, Sonakshi says that when I'm driving badly, if there's an accident, then it's on you to the driver. If it all goes well, then I was driving. And this is when she's crashed into Ranveer Singh's character and she's now leaving the hospital or police station or wherever she was. And the driver is waiting outside and she's like, she reprimands him. She's like, this is all your fault. And he's like, my fault? Yeah, you were driving. Akshay: Cool. course. Ananya: And instead of fighting back and her going, listen to me else you'll lose your job, the driver looks down at his uniform and he's like, and immediately, you know, he's thinking, if I disagree, I'll lose my job. By that one look and the scene ends there. He's like, okay, cool. was driving and instead of turning things into an argument, I think the lack of dialogue makes for very good dialogue. Akshay: Okay, yeah. Hmm. Yeah, yeah, it's always like, brevity is the soul of wit, right? Like, keep your dialogues as short as you can, it delivers more, you know, for sure. Ananya: Okay, then do you want to go into genre tropes? Akshay: Yeah, I have one genre trope. is the meet Right? Like, so ⁓ in a romance movie, what is a meet cute? It's when the main couple have a meeting and it gives you a moment which is either impactful and you are left that there's a spark, there's a moment of chemistry. It's just cute or some sort of a physical element comes undone here, you know? Like, so I want to quote a few examples here, like when... In Band Baja Bharat, they have like the whole scuffle over the wedding plate, you know, the meal plate and the like, oh, you can keep this plate aside. I'm here. I'm not here. So that was like very cool. Similarly, with like a few other examples, say like from, and this is a movie which we've not done yet, Hum Tum, is that whenever they do meet, like somebody breaks a beverage tray or something. there's somebody sometimes a chai falls, a coffee falls, something or the other happens. And I thought, which was interesting here, the first time they meet, they have an accident. And the second time they do meet opposite each other is that he is playing this thing that, somebody banged their car into me and she drops the coffee a little bit. So these are very nice, sweet, cute moments which essentially lend itself into the romance genre. And as somebody who was done coffee-spilling in their life for meet cute enough, I approve this. Ananya: Yeah, Absolutely, sure. And the reason it works is not, it's just not a genre like trope because it happens everywhere. It's because it creates conflict and conflict is creates range. If your characters start with loving each other, then there's nowhere for that to go. Them to go, there's no movie. So, they have to start off, they have to meet on the wrong foot for them to eventually like each other. You need range, right? Akshay: you Yeah. Yeah. Yeah. Yeah. Yeah. Ananya: Another genre trope I have here is similar interests where they have poetry and painting as a similar interest. Even though he doesn't paint, he's interested in painting and Paakhi can paint. This happens in many films where characters have similar interests because of two reasons. One, it gives them an instant point of connection and B, it creates a playground for them. Means essentially now they've used painting as a device for them to keep meeting. Akshay: Who? Hmm. Hmm. Cool. Hmm. Hmm. Hmm. Ananya: So shared interest gives them a reason to keep coming together. Then speaking of shared interest, the next trope we always see in rom-coms is let me teach you how to do something. It's like, ⁓ I'll teach you how to snooker because then my hands come around you or bowling because then my hand comes behind you. Over here also, they've done it very well with the painting. So at first, they're standing close together and they're painting. Akshay: Hmm. Hmm. Yeah. Yeah. Yeah. Ananya: Then she holds his hand and I mean she holds the pencil which he's drawing with. Then when it's the paint brush, she holds his hand. So this essentially creates touch and closeness. Touch which the characters want but they're still too awkward to ask for. But you have to give to your audience. So because your audience is watching a rom-com for you. So this is how you create it by these situations of let me teach you. Akshay: Huh. Hmm. Yeah. Yeah. Ananya: Then I want to talk about longing versus stiffness as a genre trope So before the painting sequence, is longing in both of them, right? As we said, both the friends are looking, they're both looking at each other, they're stolen glances and stuff. So you're like, my God, when they finally have time together, what's going to happen? What's going to happen? What's going to happen? And then get that painting room and they're both so stiff. They're like, I don't know how to behave. I don't know how to behave. It is Akshay: Hmm. Huh. Yeah. Hmm. Yeah, yeah. Ananya: It's essential to do this in a ROMCOM because again, if they hit it off right off the bat, you're bored. You need to build up to that. Again, delayed gratification. But in a ROMCOM, you first create the anticipation that yes, it's going to happen, it's going happen. Then it doesn't happen. Then you build it up to Then another one you have is completing each other's sentences. So... Akshay: Hmm. Hmm. Yeah. Yeah. Ananya: She's like, I'll go to Dalhousie and write, write, write. And then she starts saying something again and he completes it. I'll write, write, write. And why does this work so much? Because what is romance essentially? It is the coming together of two people. And they put this in as a trope for you to see that now they're on the same wavelength. They're sharing the same brain. They're coming together. So it's an essential trope to have. And the last trope I want to talk about is fantasy versus reality. Akshay: Yeah. Hmm. Okay. Ananya: And you see that with Paakhi here where she is longing for him, she is daydreaming about him even though he has robbed her and then you come back to reality where he is nowhere in her vicinity. So it shows the difference in what she wants and where she actually is which creates longing, which creates yearning, which is an essential emotion in Rom-Com where you want your characters to yearn and again a genre trope-- essential. and then wait I have two more. Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: We have denial to friends like we discussed where they are both telling their friends no no no no we are not in love. Why does this work? Because it taps into A, something very human which we as humans do. Where anytime your friend says ⁓ you like him you're like no no no no no. We protect ourselves from vulnerability which is a very human thing and movies are essentially humanity on steroids and before the characters Akshay: So... Yeah. ⁓ Wow. Ananya: before the characters actually you know commit to liking each other they have to be like no they have to be scared because that is the reality of the situation and again it gives you range goes from no no to yes yes so deeply yes that I can't live without you you know and the last one is stolen glances where we have Sonakshi looking at Ranveer, Ranveer is not looking at her Akshay: Hmm. Hmm. Huh. Hmm. Hmm. Ananya: then he turns to look at her, she has looked away. The stolen glances when people are angry especially works because again it creates longing. They're like, he has the same feelings for you if only you'd look like two seconds ago, two seconds ago. For the audience it creates that arey yaar wala feeling. So again another genre trope that really works. Akshay: Hmm. Hmm. Hmm. ⁓ Like they almost miss each other a little bit like you know only if like two seconds earlier like you said they would've had each other. Ananya: Yeah. Hmm. Boy. Exactly. The next thing I want to talk about is the tone of the film. This film is a very restrained film in its tone. While it's whimsical, it is not loud in any way. And they have ensured that all other scenes are also not loud, even the ones that would ideally be loud. So when you have the action sequence where Ranveer is being chased by the police, a lot of it is hide and seek. Akshay: Hmm. Hmm. Hmm. Hmm. Hmm. Hmm. Ananya: You have gunshots but you don't have much screaming and shouting. That's not within the tone of the film because the tone is mellow, it's sober. Then crying. You have Sonakshi Sinha like crying to herself but never do you see her wailing. At no point is she like, you know, chaati peetke like after her dad's death, nothing. We don't see that. Even when her engagement is broken off with Ranveer Singh, Akshay: Right. ⁓ Hmm. Ananya: It is her coming down the stairs looking at her dad, cut to them searching the haveli. We never get into theatrics, which is this something, there's no melodrama. So even the scenes which could have melodrama, they have chosen not to go that route. Akshay: Hmm. ⁓ Hmm. Yeah. Yeah, yeah, it's a very subtle take on these moments. Yeah. Ananya: ready. That is all I have on Lootera. Akshay: Yeah, me too. Ananya: Cool! Well, thank you everyone for watching this episode of the Breakdown Besties podcast. With that, we hope it was really helpful. Please, please, please go back and watch Lootera. We had so much fun watching it. It is such a good film. Like, I think it's the best one we've done so far. I'm so happy we've done this. And yeah, you know the drill. Like, share, subscribe, tell your friends, leave us comments, ask us questions. We like feeling needed. We like feeling important. So... Akshay: Yeah. Yeah. Ananya: Yeah, see you next Thursday. Akshay: And give us suggestions, give us suggestions of which movie should we break down. Ananya: Exactly. There might be a bit of a lag time because we banked bunch of episodes, but we will do it. Akshay: We'll get there, yeah, for sure. Ananya: Cool, see ya!