'Angry Young Men', Editor, Geeta Singh

0:08Jawad MirThe floor is yours. I don't know what you gotta share. The process of editing Angry Young Men, so I'll leave it up to you.

0:14Geeta SinghI don't know. I've got, like, some notes here.

0:17Jawad MirProceed.

0:19Geeta SinghYeah. No, I think we... Sorry. We spoke a lot about, you know, how, the amount of time I spent in organizing my rushes, which really was the starting point where you're talking about 800 hours, right? So that part, done. What did I do after that, after I'd, you know, organized thematics and, you know, put them into some sort of sense and semblance? I started working on paper. So I did what... Not really paper edits, but more like paper structures, and more like scribbling, you know, random thoughts down, ideas, things like what might work as interesting transitions or how could we... If I found something that maybe I could juxtapose this with that, I would just, you know, make small notes or scribbles, things that you don't want to forget. You don't know where they're gonna come in the edit, but you know they're going to find their place, so you just, you know, jot them down. So I did, I spent a lot of time with pen and, with pencil and paper literally.

1:22Geeta SinghAlso, 'cause I feel writing helps. It's good. It's good to write. It helps you remember. It helps you re… you know, connect with your rushes better. And it… it's just a good process to internalize things, so I did a lot of that. And once that was done, I started bui… even before Namrata came into the edit, I started building, what we call the radio edit, which is, as the word radio goes, which is largely sound.

1:48Geeta SinghSo we've, I didn't bother about the visuals. It was,.. So we had broad structures with three episodes, which of course, like I said, changed. Episodes one and two changed, but we still did have broad structures for the three. So basis that, say, for episode one, I started working on the radio edit, which is largely putting interviews back to back. So Person A says something, cut to Person B, and then, you know, C, and then maybe Person A comes back in a story form. You know, so say we're t… talking about a small story, say we're talking about how arrogant they were, and they were not humble, and they asked for so much money and, you know, credit and all of that. So that's a section I'm working on. So what do I do? I have a thematic timeline called arrogance, which is, I don't know, two and a half hours, three hours long, of various people contributing to that idea of them being arrogant. So from there, I started pulling out bits that, you know, maybe Karan Johar is saying something, cut to Honey saying something, and you build a story in a way that if you were actually to close your eyes, you would hear the story in the best way at that point.

2:54Geeta SinghSo radio edits are like, your, a script or a screenplay for a film. So here it's, it's just that it's not on paper, it's, it's on your edit, and, but it's the base. It's your spine. It's like, you don't, you have to put, build your structure of your home first, right, before you start decorating it. So that was our structure. And, it took... It's very hard work. Radio edits are really hard because, you know, there's no joy of music, there's no joy of visuals, there's no breaks, there's nothing, just people constantly bombarding you with information. You have to make sense of it and construct it in a way that makes sense and is engaging as a story. So I think we went on to do radio edits for almost, six to eight months, maybe more. Maybe, yeah…

3:41Jawad MirWow

3:41Geeta Singh... Eight, nine months. Yeah. So there was no visual. We just kept at it. We would do it and come back and then, I mean, of course, I did it first, and then she came in and we did it together again. And, you know, we moved things around, moved pieces. It was hard, but it's always worth it. Because it's when you build your structure really well, then you've got a lovely base to, you know, build on and, you know, flower it and put in your artifacts and, you know, decorate it the best that you want. So once the radio edits were done, then we started working on the visuals. Then, of course, radio edits will change because the visuals will come in and they will find a space, where they belong, and they will make their space. So someone is saying something, which needs a break, it needs an impact, it needs an accent, so it needs a moment. So you will find a visual that, you know, explains that. For example, in the first episode where, you know, Rajkumar Hirani says, " Some made it to the edit, some didn't.

6:19Geeta SinghFor example, you know, the first opening of the episode where Salim sir says, " Hollywood call " You know, there, when I was watching the rushes, at that point the camera was not rolling. He had been miked, so the sound was recorded because the sound had started rolling, but the camera was still being set up and stuff. But I said, "Hey, this is a lovely line." But we had no visual for it because there were, you know... So I said, "Okay, what do we do?"

6:45Jawad MirYeah.

6:45Geeta SinghSo then there was this photograph of him as a young, handsome guy. So we decided to use that, and it worked so well with the Hollywood line in any case. So that was all, you know, finding these kind of things. Or when, Javed sir was sitting and, you know, the interview hasn't started, and his wife really actually just called and said, "Right, left profile, right profile." It was funny. That's humor. It introduces your character in a different way. You know, instead of

7:14Jawad MirYeah

7:14Geeta Singh... Immediately you connect with that person. And you're already, you've drawn the audience in, and now they want to hear what this person is going to say. So it's just a different way of introducing people, or using them, to bring out their own personalities. So we... I did a lot of that. You know, I don't know if you recall in episode three, Javed sir was sitting on a sofa and looking outside at the window.

7:40Jawad MirYeah.

7:40Geeta SinghHe says, " " You know, there was not one frame I had at the head of that shot because it was not intentional. They were going to shoot something else. Namrata, I think, was going to come and sit, and he was gonna show her some books or something. So it was just a moment that they were going to start shooting, and he was just sitting there and waiting for them to, you know, get their act together, and he looked at the light outside and just said that. And you can interpret that line, that line in so many ways, that the life is, light has softened in life. You know, it's just softened. You know, with time…

8:17Jawad MirYeah

8:17Geeta Singh... Things change. Maybe they have softened. They're not as, arrogant or, you know, like they were back then. So it's, of course, it's also how you position those lines, right? We are designing everything as, editors and directors and filmmakers. We are also in some way kind of manipulative. You put in things where they, you think they will…

8:40Jawad MirOh, yeah

8:41Geeta Singh... That's a fact. But that's what we do. We are, we are creating something, making more interesting for you, for the viewer to engage with. So…

8:50Jawad MirYeah

8:51Geeta Singh... And of course, what I like to do a lot, which, I did a little bit in this, not that much because maybe there wasn't enough scope was also to use, and of course it's not, it's not something which is, it's not rocket science. Everyone does it. But I personally like to do it a lot is that, you know, use a lot of silent moments under which people are talking. And this particular one, which I love, is when Javed sir, you know, picks up his glass of water.

9:17Geeta SinghAnd he's just drinking it softly, and his voice starts. So, you know, just these kind of things that, you know, that just make the edit more interesting instead of just... It can be simple also.

9:30Jawad MirYeah.

9:30Geeta SinghBut what is it that you can just do where the audience may not notice it really, because I feel sometimes you notice an edit, oh.

9:39Jawad MirYeah.

9:39Geeta SinghYou know, don't notice it. Let it just go. It's just there. It's unnoticed, but you're enjoying it. Sometimes you can't say why you enjoyed it, but it's just the experience that you're leaving the audience with, and that's what I try to do, every time, not just here, every time with every project. And

9:55Jawad MirYeah. No, it's... Sorry, go on.

9:57Geeta SinghNo, please, I need a break.

9:59Jawad MirOkay. No, it's, it's so important what you just said about relatability. I learned that, when I was doing some screenings, like test screenings, audience screenings with friends and family of my very first feature documentary, Only 78. It was about a small village, very scenic and, but it had this, they had this problem where they were trying to fight the government, to get their seawall repaired before, hurricanes destroy the village. It's right next to Atlantic Ocean. And you know, there's some dramatic shots, there are some really nice aerial shots, some nature shots. And my... I showed it to my sister and I'm like, "Okay, you know, what do you think?" She's like, "I, you know, there was this one shot that I really love." So I'm like, "Okay, and it's probably gonna be, like, one of those aerial shots and, you know, like, s… really cinematic shots."

10:44Geeta SinghYeah.

10:45Jawad MirBut she goes, "There was the chara…" She wasn't really a character. She came for, like, one quick scene where she had something to say, and the B roll would, of her was cutting vegetables.

10:56Geeta SinghAh.

10:57Jawad MirAnd my sister goes, "That's my favorite shot." I'm like, "Really? Why?"

11:01Geeta SinghThat shot, yeah.

11:01Jawad MirAnd then, and then, this was nine years ago, nine, 10 years ago. And then I realized like, "Oh, that makes sense." And since then, everything has been about, you know, exactly what you're saying. It's so important because that's how you hook your audience, because they need to be in the au… in the protagonist's shoes right off the bat.

11:21Geeta SinghYeah. Like Salim sir says, you know, he's just, you know, he's putting his sugar in the tea and he's stirring it, and he's asking Namrata and the crew, "?" It's very, it's just a normal thing.

11:32Jawad MirYeah.

11:32Geeta SinghAnd he's giving us a very, basic information about his daily routine, that, "I drink tea in the morning and one cup of coffee in the evening." I mean, it's just that, but it just makes them real people, that they are, they are these celebrity writers and... But hey, you know what? They're just like us, and they have same problems like us…

11:52Jawad MirYeah

11:52Geeta Singh... And all of that. So things like that. And of course, you know, it's, it's, it's these details. God is in these details, in these small things. It's the small things that are going to make it big. For example, you know, in the second episode where we are talking about how Shoolay was a failure at first, and then of course it picked up and, the dialogues on the streets and they came up with the album. So there was a shot when I was going through the rushes, there was a shot of, these thundering or dark gray clouds, which are sort of looming large over. And I said, "Okay, this is nice. Don't know where we're gonna use it, but, you know, somewhere it'll find a place." and it found its place where we are saying the dialogues were, being heard on the streets, and then this shot comes in and I use the sound of thunder also to create that fear of Gabbar, where his…

12:46Geeta Singh... Dialogue comes in, "Are yoo samba." So, you know, there's…

12:49Jawad MirRight

12:49Geeta Singh... This bigness over there, and then there's rain. So rain is sort of permeating through the city, through the streets, as are the dialogues. So that's when the dialogues continued, and Gabbar says, so the… I use, I juxtaposed two dialogues from there, where Gabbar says, "Jo darr gaya woh marr gaya," and then cuts to Dharmendra saying, "Isliye marna cancel." So actually…

13:10Jawad MirYeah

13:10Geeta Singh... In the film they are far apart, but the way they are used, in every screening that we've had, people have laughed at that point. It's just how you're using things, you know, from various places and, you know, putting them together and that's, I think that's about creating the magic. These small things that…

13:27Jawad MirI…

13:27Geeta SinghYeah.

13:28Jawad MirIt's very important. Yeah, no, I think where I noticed it very, and it's in the trailer, too, where…

13:32Geeta SinghYeah

13:33Jawad Mir... From Deewar, Amitabh Bachchan says, "What didn't happen in 25 years is gonna happen now." And then it cuts to Javed Akhtar saying, "Well, you know, hamaare saath aisa hi hoga." Like, it just synchronizes…

13:44Geeta SinghYeah

13:44Jawad Mir... So much, and it just makes it a, you know, very beautiful part of the story. And I loved what you did. I'm a huge fan of sound. I'm crazy about sound. Like, you know, even if it's, a shot of rain or, you know, just open sky, music is playing, I need to hear air. I need to hear something.

14:07Geeta SinghYeah.

14:07Jawad MirAnd it just adds so much texture to the thing, and you did that very beautifully and I absolutely loved that.

14:14Geeta SinghThank you. And, you know, I'm glad you brought the sound thing up, because I am crazy about something, is that when I'm organizing my rushes, not only do I organize the rushes, I also organize the sound. So I have an entire timeline of sound effects. So whatever they have recorded, they have recorded a lot of location sound, various kinds, and even something that you might pick up from the library. I would pick up selections of, okay, there's a street hawker. He, his call is interesting. Or there's just a simple sound of a cyclist's bell or interesting horn. Just put them together, say, "You know what? These are going to find their place." And they make interesting sound cuts. Sometimes it, there's a little sound that just comes between a dialogue. You know, there's, there's someone says something and there's a moment there. If it's a street shot and you have this cyclist's bell or something.

15:03Jawad MirYeah.

15:03Geeta SinghYou know, it, they are there in the background. You're not supposed to notice them. You're, but you're supposed to experience the whole thing, and that's the intention. The sound, yeah, I mean, it's like you cut the sound out, you lost 50% of the fun's gone.

15:18Jawad MirYou can probably have a scene with sound. Well, I shouldn't say probably. You can definitely have a scene with sound and not a good visual.

15:25Geeta SinghYeah.

15:26Jawad MirBut the other way around, can't do it.

15:29Geeta SinghAbsolutely.

15:29Jawad MirIt won't work.

15:30Geeta SinghYeah. Totally. I…

15:31Jawad MirIt won't work. And this, they say that audience can forgive a bad picture, but they can't forgive bad sound.

15:35Geeta SinghYeah.

15:36Jawad MirAnd that's how important sound is.

15:37Geeta SinghIt's very important. It's very important. Even like, you know, in the, in the opening of the first episode, I show, I did it and I showed it to Namrata. I said, "This is fun," where Gabbar is walking on those boulders.

15:52Jawad MirYeah.

15:52Geeta SinghIt's his introduction shot, and he's, it says, "Kitne aadmi the?" And the goon replies, "Do the, Sarkar." Immediately it cuts to a photograph of two, the two people.

16:02Jawad MirRight.

16:02Geeta SinghSo, you know, it's "Do the" and "Yahi do the," and because these two people were the iconic writers who just changed the game, which is what they say. They were game changers. So it was, "Ye do hi the jinhone sab badal diya." They just, they, you know, brought script writing to another level and the kind of stuff that they gave. So again, using the dialogue to make a reference to these two. It could have been done in any other way, but just how do you weave in their own work to talk about them? So, yeah.

16:33Jawad MirYeah.

16:33Geeta SinghThat was, that was, a f… or even when, you know, when Ranveer says, "Mere pass ye hai, woh hai. Tumhare pass kya hai?" So he also in his actual, in the, in the shoot, he had said, "Mere pass maa hai," and we could have continued to do that, but Namrata remembered and we found that clip and she said, "You know what? A. R. Rahman said, 'Mere pass maa hai' at the Oscar." So then we cut from Ranveer to Rahman at the Oscar saying, "Mere pass maa hai." It just made that cut even more interesting. Than just having…

17:00Jawad MirWell, it kind of shows the impact that line has had, like…

17:03Geeta SinghAbsolutely. Yeah

17:04Jawad Mir... Over so long, right?

17:05Geeta SinghSo long, that it, one, Ranveer from, you know, our younger generation remembers that dialogue.

17:11Jawad MirYeah.

17:11Geeta SinghAnd then Rahman has taken it where? To the world stage. Where, you know, he's saying it over there, "Mere pass maa hai." I was like, "Wow." So that again was an interesting, cut. You know, of course editing is all about rhythm and pacing, a lot of which comes from your own, your own rhythm, your own body, your own breathwork, actually. Where you cut. Why am I cutting here? What am I cutting to? Where am I coming from? And it's all of that. But having said that, sometimes you just need to hold, and you need to have…

17:54Jawad MirYeah

17:54Geeta Singh... You need to hold fearlessly, knowing that your audience is with you and not feel, "Okay, is it too long? Maybe a second less. Are they gonna get fidgety?" I feel somewhere if you don't, if you, if you don't let that doubt come in and you go with your conviction, then no. If Javed sir was talking about how his, he could've, his marriage could have been saved, had he had better sense back then, and he's very emotional about it, So we held it till we held it, till there was n… not even one more frame before he started speaking. So it's your conviction. Or even when he talks about the breakfast trolley, which you love, and the fact that he doesn't deserve this breakfast. Again, we said, "No, we'll stay." We'll stay because he's talking to you. Even after he's finished speaking, he's talking to you. Because he's…

18:46Jawad MirYeah

18:46Geeta Singh... What he's said has, is, has left an impact on you, and you have to give the audience that time to take that in, to soak it in and…

18:53Jawad MirAbsorb it in

18:54Geeta Singh... Absolutely.

18:55Jawad MirYeah.

18:55Geeta SinghSo sometimes you just have to have that courage of, "I'll hold. It's okay." And somebody who gets fidgety, too bad. So, you know, I think the table pacing and thing is, it's, it's a, it was a very personal thing. I mean, how you, your own rhythm and... Yeah. You have any take on that?

19:20Jawad MirNo, it's, it's so true because, so I feel that, you know, going back, again, you e… evolve over time, right? Like, you, n… in the last, ever since I edited my first documentary that I directed, and then after that I kind of did the second one a little bit and third one less, and I had an editor, I don't know, you might know her, Hemal Trivedi. She is in States. But I felt that holding thing is so important, and I feel that not cutting is so important now in the last, you know, six, seven years. Of course, if you're creating, like, a trailer or, you know, something shorter, yeah, that requires that. But just, you know, a woman walking up the steps to Capitol Hill, instead of cutting into three different shots, let it go.

20:12Geeta SinghYeah.

20:12Jawad MirYou know, it just, you, when you cut, it just distracts and pulls, and which is why I love Spielberg's work. As amazing his coverage is fantastic. He somehow has this way of bringing, the way that we used to be done in the 1930s and '40s, even in Bollywood, e… even in the '90s. I mean, if you watch, like, Deewar or Shola in the '70s, you would have these long, you know…

20:34Geeta SinghYeah

20:34Jawad Mir... Waist up or shots where they have multiple characters and the camera will bring the characters in the shot…

20:40Geeta SinghYeah

20:41Jawad Mir... Very seamlessly, and that doesn't happen anymore, and it bothers the hell out of me. And, but I love that. I love less cutting.

20:52Geeta SinghYeah.

20:53Jawad MirI probably didn't maybe 10 years ago, but now I do.

20:57Geeta SinghI think it comes from our own sense of, rush, because we're in a world of a hurry now, right? Everything is at the click of your…

21:05Jawad MirYeah

21:05Geeta Singh... Finger. You're on your phone all the time, on various devices, and you're just, we're always in a hurry. So you also feel that, oh, everybody else is also in a hurry. So maybe, you know, if you cut it'll be faster. The attention span is less. Like, oh, this attention span has become a big thing that we, everyone's al… always talking about it, right? That, but so we just have stopped slowing down. So it also comes from your own, your own conviction and what you feel is, what you believe in. And I really feel if you believe in that, go for it. If you're…

21:36Jawad MirYeah

21:36Geeta Singh... Truthful to that, it will translate in your work. You don't have to worry about the audience. And those who are going to get fidgety are going to get fidgety in any case. So forget about them. You ca…

21:46Jawad MirAbsolutely

21:46Geeta Singh... Any case, you can't make one thing for everybody. You cannot please everyone. It's not possible.

21:51Jawad MirOh, yeah. Yeah.

21:51Geeta SinghYeah.

21:52Jawad Mir100%. I…

21:53Geeta SinghYeah. You make some…

21:54Jawad Mir100%

21:54Geeta Singh... True, which is true to your heart, your, you put in your best, your craft to shine, and that's it. After that, and of course, once your work is out there, you've done everything that you've done, then you be open to criticism as well. It's okay. People are going to review your work, and they may not like it. They may like it. And they, and it's okay. And I feel it's also important to have a balanced review. That's the only way you will also grow. I mean, I always, I read reviews, and I have also for Angry Young Men, and there have been both. Some good, some not so good, some bad. But it's okay to say, "Okay, what could we have done better? What is it that we left out? What is it that we, it maybe didn't occur to us?" And, it's, it's a learning, and it's okay to do that.

22:48Jawad MirYeah. I think what's more important even than that, for me at least, is I think as human beings, if you do something good and people really love it, everybody to a certain degree, it gets to their head. To a certain degree. Some more, some less. So it's important to kind of be pulled back to the ground and make you realize that you're not invincible.

23:13Geeta SinghYeah.

23:13Jawad MirOkay, now I gotta figure something else out. So it keeps you grounded, and I think that's very important in storytelling because you're trying to tell, you know, as a storyteller, you're not trying to take sides. You're just telling a story as it is.

23:28Geeta SinghYeah. I mean, sh… if you're going to make... Sorry.

23:33Jawad MirIt's okay.

23:34Geeta SinghIf you're going to create a piece of art, it could be anything. It could be if I'm editing or someone's shooting or whatever you're doing, you have to be humble. Art and humility, I think they go hand in hand. There's no place for ego. You have to be grounded. You have to be literally be in touch with the earth for you to create. It's your, from your inner being. So this getting to your head and all that, I feel it's just, it, this is unnecessary things, and they spoil your work.

24:09Jawad MirIt is. It is. And but you learn about eventually, right? I think it's, yeah, it's, it's, egos, I mean, if you look at anywhere, ego's really... You know, I was talking to Mark Mancina. He has composed music of, Twister and Bad Boys and… he worked on Lion King a little bit, and he was telling me, this was last year, he was like, "You know, you have people like Elton John, Hans Zimmer, Jeffrey Katzenberg, Michael Eisner, Frank Wells, James Earl Jones, Jeremy Irons, like, all these big names come together, and somehow the egos did not clash." Like, that's a very rare thing to do. Like, 'cause everybody was at the top of their game at that time. And it's, it happens to the best of people, and egos do ki… kick in, but yeah, you gotta stay grounded because that's the only way you'll tell a true story that you want to tell.

25:02Geeta SinghThat's good. And, you know, just coming back to Angry Young Men, the other thing that…

25:05Jawad MirYes, please

25:05Geeta Singh... We, it's, it's, it's not a whodunit. It's not a thriller. So the question was, how do you end the episode so that you want your audience hooked in to s… you know, click on the next episode and stay and watch it, right? Like…

25:24Geeta Singh... A binge watch, which most people did. So of course, the second episode, we had this, we had a tease of the split, which always arouses some curiosity in people, so they would stay. But first episode, what do you do? So then I was telling Namrata, I said, "You know, Vijay, the Vijay was always there, right? They created Vijay." So I said, "Why don't we do this Vijay montage where we, you know, pick up these little dialogues from different films," which we did look for Deewar, Zanjeer, and, someone's addressing him as Vijay, and then they talk about how they are Vijay. That actually their own personalities were sort of translated and transferred onto this person that they created.

26:07Geeta SinghWhich is how we ended that episode, that…

26:09Jawad MirRight

26:09Geeta Singh... "Woh gussa hamare andar bhi tha. Woh anger hamare andar bhi raha hoga." But of course, that anger in them, which we explored a little bit in the second episode, was the anger was there, but it wasn't like Javed Saab says, it's not like they were conscious of that anger. If, you know, the country was in a state where things were not going the way they should have and, they were newly independent and, but it was a subconscious thing. It wasn't like they were consciously writing that, "Oh, we are angry, so we'll write about, anger." No. "Or we create a guy who's, going to be angry." No, it was just within their bodies and their systems, and then they created this thing. So that's how we arrived at the ending of episode one, which I think works because there was some sort of a sense that, okay, they've told us all these things about how these two guys came in, how they met each other, how they struggled, and how they created Vijay and introduced Amitabh Bachchan. Now what? What happened then? So I think it worked in some sense, but we did struggle a little bit of how do we end this episode? How do we…

27:09Jawad MirYeah

27:09Geeta Singh... Like, what's, you know?

27:11Jawad MirWhat's the hook? What's the hook for the next one?

27:12Geeta SinghWhat's the hook? Yeah, because there's no cliffhanger, right?

27:14Jawad MirYeah.

27:14Geeta SinghBut you need something. I mean, yeah, that's the truth. OTTs want you to give something where…

27:20Jawad MirYeah. I know, I know

27:21Geeta SinghYeah.

27:23Jawad MirBut I honestly, we did not feel, I mean, I don't know, maybe, I was just so ecstatic about the series ever since Zoya told me about it last year. I didn't feel anything. For me, it was a seamless flow. Even Namrata yesterday was saying that, you know, there were some things that she could have done this way or that way, and I was like, you know, for me, it was, as it is, it was the most perfect way of a three-part series that told a story that I wanted to see in the way that I had hoped even more. So, you know, you have people who will criticize, which is fine, but I think you guys really did a terrific job. And I mean, again, the, I have never done a movie where I have talked to so many people, and I'm going to talk to so many people. So the that's how special it is. So I really appreciate all of your work.

28:14Geeta SinghNo, I think, I mean, if she, of course, we all look back now. When I also watched the se…

28:19Jawad MirYeah

28:19Geeta Singh... You look back and say, "Oh, you know, we could have done this. We could have done that. We could have put that in, taken this out, or held this a little longer, or cut this," whatever. But that's a process, and that's okay. And 10 years down the line, if we were to do this, we would not do this. We would make something else. We would, we would make it differently.

28:37Jawad MirOf course, yeah.

28:37Geeta SinghBecause we also grow. You're growing, and you're bringing your own experiences into it, so that's, that's fine. I'm just gonna quickly go through my notes and see if I've left something out.

28:47Jawad MirSure

28:48Geeta Singh... I don't know if I have or if there's any other question that you have for me in the meantime.

28:54Jawad MirI am good in terms of the notes. Sorry, questions. But, you feel free to say…

29:01Geeta SinghYeah, sure

29:02Jawad Mir... Whatever you have to say.

29:09Geeta SinghYeah. Actually, there's one thing that I'm going to close this with, which I really believe.

29:13Jawad MirPlease.

29:15Geeta SinghAnd which I think, Namrata and I also sort of managed to do, is that, you know, I believe that it's only when you don't cling to the idea of owning an idea is when you can create magic. The moment you start feeling, "Oh, this is mine. Oh, this is mine," it's gone. You've lost it.

29:43Jawad MirYeah.

29:43Geeta SinghBecause art real, like we s… said, art always suffers when ego comes in. There is no space. And once your idea is in the edit, it's in your story, it really doesn't belong to you anymore. It belongs to the story. It's not yours to claim. It's become you've, you've, you've given it a life and form of its own, and then it doesn't matter whether it's mine, Namrata's, X, Y, Z. It doesn't matter. Because it w… it's a, it's such a collaborative medium. Sometimes I would say something, and, sometimes it works, sometimes it didn't. Sometimes she said something, it was great, sometimes it didn't work. Sometimes both of us came with rubbish ideas, but from that rubbish, there was a wonderful thought that generated, and then we got, we could build on that. So it is so collaborative. So it cannot be, like I said, so it's, it's, once it's out there, it's gone. And it's best not to, you know, cling on to owning something.

30:39Jawad MirYeah.

30:40Geeta SinghYou have to own the whole thing. It's a whole thing is it's everybody's. Yeah.

30:44Jawad Mir100%. Really well said. I agree. I couldn't agree more.

30:48Geeta SinghThank you.

30:50Jawad MirThank you so much, Geeta, again, for your time.

30:52Geeta SinghThanks for having me for twice, second time, take two.

30:54Jawad MirYeah. Well, we'll have you a third time in about four or five months, I'm sure. So

30:58Geeta SinghAh, yes. That will be a wonderful story.

31:02Jawad MirYeah. I'm looking forward to that as well.

31:04Geeta SinghLikewise.

31:04Jawad MirYou're, are you working on that now, I'm assuming?

31:07Geeta SinghYes. Almost done actually, just the last leg of it. Four episodes, so just a little bit of work on the fourth episode. But largely, yeah, moved on to the next stage of music and DI and stuff.

31:18Jawad MirMixing and all that stuff. Yeah.

31:20Geeta SinghYeah.

31:20Jawad MirCool. Awesome.

31:22Geeta SinghWonderful.

31:22Jawad MirThank you so much again.

31:23Geeta SinghThanks so much.

31:23Jawad MirLook forward to chatting with you again. We'll stay in touch.

31:25Geeta SinghBye-bye. Bye.

31:26Jawad MirTake care. If you wanna watch the full conversation of this clip, be sure to click here, and don't forget to like, subscribe, and share.