The results of this study suggest that the A11-66E variant of the A1R gene does not increase the risk of developing type 2 diabetes mellitus or diabetic nephropathy. However, it may be associated with higher levels of systolic blood pressure and serum creatinine in those who have uncontrolled hyperglycemia. This article was authored by Mahmud Reza Moradi, Zahra Rahimi, Sonia Amiri, and others.


ఇర్నోలిలాడికిస్ల్నిట్త్రండింవారుదారంచి పోట్చి ఆ఩ోస్స్ పా్చినింటాట్నన్ండియాట్ట్ప్ట్ట్టంనిస్స్రులినాబ్ పరినానాహరోలి second is the with column so i have already explained about the select and with column in this playlist earlier so here you can see this is the syntax for using the when clause so first we are required to import the function and after that here we simply going to use the select and under this select first we are selecting all the columns so let's assume we are having total five columns in our data frame so first we want all those columns then we are going to add one more column and in this column first it is checking when item name value is total income then we are going to add the quantity those are having in the data frame plus hundred in the second condition if the item name is sales government funding grants and subsidies so on this it will be going to add 200 on the quantity similarly for the second item name and if all these condition will not be true then inside the otherwise this is the else part we are going to simply add 1000 and here we are going to provide the areas so this is the new quantity so this is the syntax that we will be using similarly we will be also seeing how we can use with column option let me quickly go inside the browser and we will try to implement it in practical so here we have this data frame which is a df and it is having sales data like sales order ID date, item code, item name and quantity now let me quickly scroll down and in the new cell here I am going to first import the function so we can use the from pyspark dot sql dot functions then import instead of specifying any function I am going to import all the functions so we can use the as thick first I am going to use by using the select statement so we can use the data frame dot select inside the bracket we can specify the as thick because we want all these columns let me put this in one of the data frame which is the df1 and let me try to display this df1 so what it is doing it is going to fetch all the columns from this data frame and we will be specifying that in df1 now the next I am going to use the when clause so for using the when clause we can simply use the when then we can start the bracket and inside this bracket we can specify the conditions so the condition will be your data frame that is df dot item name is equals to your total income so if this item name is having total income then what we want we want what will be the data frame quantity just adding 100 on this this is the first condition we have added for adding the second condition we simply add dot and then we can use again when clause for using the multiple when conditions we are required to use dot when then again inside the bracket simply use df dot item name if the item name value is equals to this value then we can simply add data frame dot quantity plus 200 similarly we can add one more condition so dot when here data frame dot item name value equals to this time I am going to use this interest one so we can add here if the item name value is this then simply we are going to use data frame plus 500 on the quantity now the last condition will be if all these conditions will not be satisfied then what we want to specify so simply we can use otherwise if we are not going to specify otherwise then it will be adding the null instead of this value so here I am going to add the value as 1000 now the last thing as let me try to execute this first so here inside this output we can see this column name so this column name is not proper it is having all the condition so what we are required to do in this scenario let me add the alias and in this alias we can add the column name may be quantity new and let me execute it so what we can see we are having the quantity new and this is calculated by using the when clause if the total income then quantity is 5 and it is adding 100 here so we can see 105 and if your item name is sales government then your quantity is 6 it will be adding 200 and new quantity will be 206 similarly we can see the third one for the interest one here it is adding 500 so the old quantity was 7 and after adding 500 now it is 507 for the other values as we can see 1000 so by using this method we can use it now let me try to use by using the with column so how we can do that instead of this select we can simply use with column and the first parameter will be the column name so I am going to specify the column name as quantity new let me try to remove this alias over here that's it only this change we are required to do so what this with column will do it will be going to add a new column on the existing data frame that is DF and it will be quantity new let me try to execute it and we will see the same output as we could see it is having the same output so either you can use the select or you can also use the with column so I hope guys you have understand how we can use the when clause so thank you so much for watching this video see you in the next video


Hi, my name is Jacobo and I'm a software engineer at TIGALIA. I've worked on browser solutions for the automotive industry and, more recently, inaccessibility on the upstream Chromium browser. We at TIGALIA are open source experts and consultants with almost 20 years of experience. We are best known for our contributions to open source browser technologies in the Chromium, WebKit and Servo projects, and compilers to the major JavaScript engines, V8, JavaScript Core, SpiderMonkey, also Gile, also contributions to graphics and multimedia in the Mesa and Streamer projects. In this presentation, I would like to start with an introduction to what accessibility means. I will follow with a more thorough explanation of what accessibility APIs are and how they work. I highlight two important aspects, the accessibility tree and the communication between the elements involved. Finally, I'll present some ideas on how to use these technologies for safe driving purposes. So, first of all, what's accessibility? We can say accessibility is to make a product, device or environment available to as many people as possible. It applies to anything from building to software. It's a simple idea with a lot of challenges behind it. In the IT world, we reach accessibility through the uses of assistive technologies shortened as ATs, which are software, hardware or a combination of both, used to enable use of a computer by as many users as possible. ATs can be hardware or software provided. Examples of hardware ATs are adaptive input devices like special mice or keyboard or hearing aids. Most usually, you will hear about software solutions. Some are provided by the system like a magnifier to increase the size of the visualization area around where the focus is, high contrast mode for operating system and applications, things like setting a bigger mouse pointer or adding a trail, captioning to provide visual feedback when you cannot receive audio or the opposite screen reader to transform text into audible feedback. Notice that accessibility can be helpful for anyone in different ways. It's not just about disability. Captioning is very useful when you cannot enable the sound for some reason like when you don't have earphones in a silent environment or to access content in other languages. This is an example of an application, LibreOffice in particular, using a high contrast mode. High contrast is provided by the window manager for things like window decorations or common widgets like scroll bars or buttons. But applications can help provide a high contrast experience, for example, including an appropriate set of icons. In web content, it's harder because you have to apply high contrast to the many different styling choices made by web authors. There's an entire set of recommendations for web authors regarding this. See this example of Twitter when the Firefox browser enforces high contrast on it. Black borders, white backgrounds, black text and blue links to make clear what's a link and what's not and whether it's been visited or not. But when someone is set to work on accessibility in accessibility, they usually work on or around the system accessibility APIs. These APIs expose the application UI in a tree-like format for ATs to consult and even manipulate it. They are platform-specific. Windows, it's called iAccessible2. On OSX, it's called NSAccessibility. On Linux, for historical reasons, there are two APIs. One for applications, ATK, and the other one for ATs, AT-SPI. All these APIs are different but with shared ideas and purposes. They take ideas from each other as well as from other accessibility systems like the one in Java. They share the tree-like structure and common properties like name, description, role. Role is an important property that defines the expectations regarding the behavior of a UI component and also defines its API. Common roles have a window, container, button, dialogue, alert. They have different names in each of the different APIs but they are usually equivalent roles in each of them. How is the accessibility tree built? UI toolkits handle it for common widgets. For example, application developers don't have to do anything special to make a button accessible. Custom widgets and applications require explicitly handling this, implementing part or all the accessibility API for the widget. While applications with their own toolkit must implement the application-aside API themselves. This is the case of for multi-platform applications. Some have internal UI abstractions which are translated to native ones. That's the case of LibreOffice. Other have custom toolkits that render directly using low-level primitives, and that's the case of Chromium. This is a real example of an accessibility tree built out of standard widgets in Linux. The visible text is used as the accessible names of the items. The roles used are application, frame, which means window, some blank space called filler and a button. It required no special intervention from application developers. Web browser developers must build the accessibility tree out of web content. They use HTML semantics to create the tree and populate it. This is a simple example taken out from the Chromium project documentation. A simple HTML document is transformed into an accessibility tree. It follows more or less the tree structure of the HTML document. Notice how HTML semantics are used to fill the names of the items. The title tag in the heading is used as the name of the top-level web document node in the accessibility tree. And the text input is labeled by the item that is next to it. Sometimes HTML semantics are not enough, so we have the ARIA standard to expand HTML and fill gaps. It can be used to add accessible labels and descriptions from invisible attributes or from other HTML documents. Notice that HTML semantics should be used when available, like in the previous example. ARIA can be used to add roles, for example. A piece of text that briefly appears in a web application saying changes saved. The ARIA alert rule can be used to notify ATs about this message and make it read immediately. It can also be used to describe hierarchies not explicit in the DOM tree, for example, to indicate the correct place in the document hierarchy of a piece of floating text. This is a real-world example of an accessibility tree from the Chromium web browser. Notice how it seamlessly exposes the application UI and the web contents as part of the same tree. Roles are shared by the application UI and the web content, for example. A bottom is the same role, be it a native bottom in the UI or a bottom in a web form. The only indication of something being web content is the role of the container role. It's the role of the container element. Before we move on, let's make a recap about accessibility APIs and the accessibility tree. These APIs are platform-specific but based on shared ideas and functionality. They expose the UI of applications in a tree-like format, which ATs will consume. This tree may be automatically generated for standard widgets with no specific coding applications. But in the case of more complex software, app developers must implement accessibility APIs for custom widgets or toolkits. Web browsers are an example of this more complex software. In addition to their own UI, they must generate the accessibility tree for web contents. To do that, they use HTML hierarchy and semantics with the ARIA standard for advanced features. Now we have learned how the accessibility tree is built. Let's explain how ATs access and consume it. This is a high-level view of how an AT and a screen reader, for example, works. We have two ends, the screen reader and the software running on the system. And we require bi-directional communication between them. This is achieved with inter-process communication. On the software side, there is usually an accessibility implementation provided to some degree by the system or the UI toolkit. Like explained before, standard widgets should be accessible more or less out of the box. This is a more specific scenario of accessibility on a desktop Linux system. On one side, we have the Orca screen reader. On the other side, a typical Linux application built with GTK or Qt toolkits. These toolkits implement the ATK API. Finally, ATSBI is the bridge that connects both ends via IPC, D-BUS, in this case. There is a library for interaction with ATK. Let's see these individual developments with a bit more detail. Orca, the screen reader, is an AT. It's an individual piece of software running its own process in the system. ATSBI is the bridge that connects Orca with the software. It runs on D-BUS for IPC. It also keeps a global registry of system accessibility, so applications only need to deal with their own accessibility. For example, they may use identifiers that overlap the identifiers in other applications. On the application side, there has to be an ATK implementation. Our software may be built using the GTK or the Qt toolkit. Widgets provided by them already come with the corresponding ATK methods and properties. If we are implementing custom widgets in our application, we will also need to implement ATK partially or completely. Finally, there is a library that will translate between ATK and ATSBI. It is provided by the system to be dynamically linked by the software and run inside the same process. This is true for most Linux applications, but as we mentioned before, it's not the case for most browsers like Firefox or Chromium. They will not use an existing toolkit. Instead, they will implement all the widgets from their own, together with all the required ATK properties and methods. They will still use the rich library instead of using IPC themselves. Finally, here are some ideas of potential uses of accessibility technologies for safe driving purposes. These APIs are very powerful. They allow to access the entire application UI and contents in a structured way. Alter contents for presentation and even manipulate applications remotely, like simulate a button press or a mouse click. Since accessibility tools can access content and present it in many ways, what can we do with that? The most obvious idea is text-to-speech. This is what screen readers do, because it's useful to visually impaired people, but it's also useful to drivers who should keep their eyes on the role. Accessibility tools can provide a simplified presentation of the content, removing banners, menus, etc., and providing content in the least distracting way possible. A special case of simplified presentation can be the creation of a table of contents presenting only headings for quick inspection, so you can skim through a big piece of content and extract what you need more quickly. Combining this with text-to-speech would be very useful. We could adapt content to multiple screen sizes and shapes, in addition to providing a simplified presentation of the content. We could make it fit in a container that content was never intended to, for example, a teletype-like screen on the cockpit. We could even go further manipulating the content, like providing on-the-flight translation of contents. I imagine this could be useful if you are on a trip abroad and want to check the local media for traffic news. We could also apply accessibility tools to innovate on content navigation. We mentioned before we could extract an index for the contents, since accessibility tools can also be used for interaction. We could implement a way to shortcut directly to specific sections of the content, combined maybe with text-to-speech. We could use accessibility APIs as an interface to special input devices, for example, buttons on the steering wheel or even voice commands. There are of course multiple ways to implement these features. We can make them work through accessibility APIs, as we have mentioned, or we could implement specific applications that have voice control, text-to-speech, etc. We could even modify the browser engine to implement some of them. Think, for example, on how Chrome integrates with Google Translate services or the reader mode available in most browsers that strips non-content parts of the website. We have all those options. When would accessibility APIs be a good fit? I think they are the best path if you have to leverage existing applications and content. Accessibility support is already there in toolkits and browser engines. It would require to audit and test thoroughly your software, though, to make sure it follows best practices with regard to accessibility, especially web contents. All in all, my goal today was to let you know about accessibility APIs and how they work, so you could take them in consideration when designing your systems. Thank you for your attention. I will be available for your questions and feedback in the channels provided by the organization. Don't forget to visit the Igalia Virtual booth, where you can ask me or my colleagues about web browser technologies. Hope to see you soon. Goodbye.


at HP Discover 2011, where SiliconANGLE.com is checking out all the news around the web here, but we're live at HP Discover with theCUBE, our flagship telecast where we go to the events, go on the ground, talk to the smartest people, executives, bloggers, thought leaders, whoever has the smartest knowledge that we can extract and share that with you. That's our goal, and we're here with David Scott and Carl Eschenbacher. Welcome to theCUBE. Thank you, John. David Scott, Senior Vice President of the Storage Group, formerly the CEO of 3PAR. Great to be here, John. Godfather of thin provisioning, which everyone copied, and Dinah here, what's next. And Carl, you're the co-president recently, part of the promotion of all, a new president, co-president role at VMware. That's accurate. Welcome. You guys were having a meeting before you came on. Can you tell us what you were talking about? Plans. Plans. Yes. And you guys know each other. You guys are friends, personal friends. We are. We are. You know, we spend the occasional dinner with each other. So this should be fun. So VMware, actually, at VMworld, we were at theCUBE there as our first big production that we had, kind of continuous multi-day coverage. And Paul laid out his plans for what is essentially a cloud operating system from what we were analyzing it. And you guys have a lot of plans involved. And the ecosystem message was great, $15 of revenue for every dollar created from VMware. Juan, how's that going, Carl? And what's the update quickly from VMware? Yeah, so there's roughly about a $45 billion ecosystem that's been generated through VMware's cloud infrastructure platform. And that's because virtualization drives the convergence of all different assets in the data center. And with convergence comes disruption. And that's why the ecosystem that surrounds VMware is so large. And one of our best partners in the industry is our friends here at HP. And it spans more than a decade. And we're really excited about some of the announcements that have been made this week in joint partnership with HP. And the ecosystem is alive. It's vibrant. And I think it will continue to grow as people look more and more at these converged infrastructures. So saying, David, you guys were doing thin provisioning before it was cool. And cloud kind of stuff before it was cool. And now everyone's copied that. So what's the three-par story with VMware? Because you guys, VMware is Switzerland. And although owned by EMC, has to deal with all the storage vendors like NetApp and others in HP. So what's the story here with three-par? Yeah. Well, interestingly enough, three-par and VMware had a really strong relationship from when three-par was still an independent company. We did a lot of joint work in terms of supporting kind of interfaces, APIs very early on. And that was really driven out of the fact that both companies were looking at some joint target segments, particularly in the hosting service providers, where fundamentally the complete virtualized environment was what was of best of breed components was what was differentiating us. In fact, I think it was about four years ago, HP three-par is an independent company, and VMware actually jointly announced one of the first kind of solution blueprints for the cloud, and we named it 3CV. So the relationship's been going on very tight ever since that time. And it continues obviously with three-par within the HP fold. So what's the reaction on the market, Carl, and you're in, VMware's out there. There being independent three-par, I was using some good technology. What's been the reaction of the market in terms of the three-par acquisition with HP and its impact to VMware and the relationship? Well, I think if you're kind of following on what David was speaking about, everyone is looking at how to drive convergence in their data center. And HP had a lot of good storage solutions, but they were looking for something that could take them to the next level and really provide multi-tenant cloud environments. And that's what the three-par acquisition has given HP. In VMware, yes, it's true. To your point earlier, John, we are a company that has a majority shareholder in EMC, but at the same time, we also understand there's a vibrant ecosystem out there and people need choices. And the relationship with three-par is as strong as ever. And as David said, before there was probably any vertical stacks or any converged infrastructures even brought to market through this three-CV initiative of three-par C-class blades in VMware, we actually brought this to market almost four years ago and there was a lot of success. And it may actually be what's driven all of us to really talk about virtual systems this week. So even four years ago, that's like, you know, decades ago, you know, in terms of cloud time. I mean, just last year, you guys transformed, VMware has transformed its business significantly, even in the past year, under the paul and the stack that these laid out is very similar to what HP is talking about here. So what's changed in the marketplace relative to that proposition you just mentioned from four years ago? Specific to the infrastructure there, John? Infrastructure layer and the marketplace. You've done some acquisitions at the top of the stack. So what's changed in the cloud relative to virtualization? You have cloud foundry out there, cloud foundry specifically. That's hypervisor in the cloud summer saying the freemium model, is that, tell us what that's about. Yeah, sure. So I mean, you know, this whole cloud word has become very pervasive in our industry and everyone's using it. And I'm not sure anyone has a common definition, but the one thing we do know is that cloud, if implemented the appropriate way, whether it's in a private or public setting can reduce the cost for a customer to run their applications as well as to support their infrastructure. So VMware, while we've historically been focused on the infrastructure layer, we've also started to take a look at how applications are written and really try to focus on delivering the new next generation frameworks to allow applications to be modernized. And we think there's a tight coupling between some of the things we've announced around cloud foundry, which is an open source developer community cloud and what we're doing in the infrastructure. And those two shall converge over time as well. Is that a freemium model? Is that a freemium model? Are you giving away for free? The cloud foundry is being given away for free. And we actually have a sandbox that we stood up to allow developers to go and actually get access to it today. David, how's the impact above the infrastructure applications? As you know, VMware recently bought a social company. So I think what's social cast was it recently, as you had Zimbra. It's not a lot going on at the top of the stack in terms of apps, but there's a ton going on in mobile. What are you seeing on the infrastructure side that's happening? Again, you guys did thin provisioning. That was great. Everyone copied that. You guys were leaders. So what I'm trying to get at is what's next? What's the next big thing that you guys see that maybe others don't? Well, I think the next big thing is making resources kind of work together on across data centers, across metropolitan areas and across long distance. It's an area that we talk about as federation of the infrastructure. And actually HP's had a tremendous head start in leading scale out software that is federated. In fact, another partner of VMware's very early on was Left Hand Networks, which is now part of HP. And that has a federated scale out software model and has been one of the environments that really is tightly integrated with VMware to provide kind of long distance the motion support across metropolitan areas. And we think that that capability, peer-based federation, is going to be extremely important in all software architectures moving forward because the way you try and federate to join resources together, you got two choices.  And we think the answer is peer-to-peer federation, just like VMware's vMotion, it's peer-to-peer. Is the marketplace ready for that? Are we there? What inning are we in on that peer-to-peer? Because some are saying there's a lot of white space, especially in the VMware stack, because you guys are growing and it's ready. I mean, what's happening with that?  You know, I think it's early stages right now, but thin provisioning was early stages. And the point when thin provisioning was early stages, people said, you were never going to ever want to do that. It's a crazy idea. Now everybody in the world feels it's the must have. And I think you're going to see the same thing in federation. Carl, how does vMware keep up with the pace of change? I mean, even just from vMworld, we were watching you guys, obviously the acquisitions, everything else is okay. But you have a lot's going on in the middleware and the platform side. So above the infrastructure at the platform side, you've got a lot of white spaces and there's a lot going on with the big vendors. Obviously Oracle, other vendors like SAP have different approaches. You have to close and open. This peer-to-peer really talks about open. Can you talk about what's going on the platform level? Yeah, sure. So as I said earlier, the Cloud Foundry announcement we made a couple months ago was a really critical announcement for vMware because it put us in the forefront of how people are going to generate and build and write their next generation of applications. And two years ago now, almost two years ago, we made a critical acquisition for us of Spring Source, which is the industry leading Java J2E framework that's out there today. So we see a very tight coupling, as I said earlier, John, between the infrastructure and the applications. The infrastructure needs to become much more automated to support the rapid requirements of the users and the next generation of applications that are being developed. So we believe as we move up stack and focus on these new frameworks that historically haven't been part of our DNA, we believe we're going to see people start to say, wow, I'm writing now in a vMware framework in an open source type of a cloud and we're also going to then deploy that in a virtualized appliance on top of a highly virtualized infrastructure like what we're doing for the virtual system. So we see the two coming together. And in fact, it's very complimentary. I mean, HP's recently announced virtual systems. It's all about tightening up and providing kind of Bessebreed functionality, integrated server networking storage stack that's tied in with the virtualization layer, infrastructure layer and the applications beyond that. And we also announced the cloud system approach which is allowing people a complete infrastructure to build out their own private clouds. And the great thing is that you're able to upgrade from virtual system to this new cloud system world, leveraging kind of technologies both from HP and VMware. The other thing I'd add, John, that we just announced jointly with HP last week is a lot of people historically have looked at a converged and virtualized infrastructure for more infrastructure type applications. We're seeing a rapid adoption of tier one applications moving on top of this environment. And last week we made an announcement with HP and SAP that the converged infrastructure with B-Sphere can now support and is certified to support SAP applications. So you can see us moving up the stack and looking at the heavier weight mission critical tier one applications to run on this environment. Yeah, I mean, we were at SAP Sapphire and then the message there was very clear. I mean, obviously mobility, but the data, they didn't really talk about big data like everyone was hyping it up. They were really talking more about almost an assumptive way, vast data, and that's the term we called it. They want the information really fast. So they were talking about virtualization and we were trying to get out some questions we didn't really find many customers to talk to there that could answer the question, but how many SAP environments are truly virtualized in production outside of the test and dev? Are you seeing more of the big app guys like the SAPs virtualizing in this environment? Yeah, clearly. Again, if you look at- Can you do percentages like pie chart? I don't know the percentages off the top of my head, John, but I know a large percentage of our customers are running databases in general on top of a virtualized converged infrastructure. So we do definitely see that adoption happen. And in fact, and as you'll see in a video that Paul will, that David will run on Paul, it talks about how there's now more virtualized workloads being deployed in physical servers. And this year alone, many analysts predict that there will be more applications virtualized and it's been virtualized in the last five years combined. So it's not if you're going to virtualize, it's when and how fast, and how can you take advantage of these new converged infrastructures to really focus on business agility? You know, we, it's looking at angle.com where we try to cover all the tech innovation. We like to pontificate a lot, but also speculate. But one of the things we've been speculating on is the internet operating system for years, you know, and now we talk about the cloud is so really rocking and rolling in terms of hype and reality, Steve Jobs was talking about iCloud. So, you know, that's going to make cloud even more mainstream in terms of vernacular. But, you know, we also cover Microsoft and, you know, we talk about Microsoft in the old sense and they're trying to get back on track. But is there really a cloud operating system? Because, you know, you have Paul Moritz who knows that business in the operating system. He worked at Microsoft and, you know, we at VMworld last year, there was a cloud operating system kind of pitch. I mean, it was, you didn't say cloud operating systems what we were saying. So I'd love to get your perspectives, David and Carl. What do you think about the cloud operating system concept? I mean, it's a systems play you mentioned in our last interview. I think the definition of what a cloud operating system will be is the question mark. People have having difficulty defining what the cloud is let alone what a cloud operating system is going to be. So, you know, I think there's plenty of room for innovation and that's at the heart of what is making the industry so excited at this point in time. You're getting this tremendous transformation from kind of traditional IT to the delivery of IT as a service and all of the building blocks have to change. VMware was very early on understanding that kind of the virtualization of the server environments was going to have to be one of those elements of change. At three par, we recognize that you had to change the storage to the same thing. The operating system environment is clearly kind of one of the next areas to be focused on. Yeah, I mean, I'd say the same thing, David. I mean, the industry's going through a radical transformation here and existing operating systems as we once have known them will probably have to migrate and take a different role, especially when you look at it from applications and how they're being developed. And if you think about it, if there's more applications being deployed in virtual environments and physical environments, there's an abstraction layer now called virtualization with things that HP is doing that actually becomes, if you will, the underlying architecture for service delivery. So it's not a hardware delivery, it's a virtualized delivery taking advantage of highly optimized infrastructure that, for example, HP's providing. Yeah, I mean, I just find it interesting that the subsystems of storage, compute, and servers, HP has under one roof now. So you think about what we've seen. And networking. And networking, yeah. So we've seen about what you guys have done with three parsons, the acquisition.  So we're just watching that area closely. So I just wanted to get your take on that. I can get in the hook in my ear here. So I know you guys got to go. But final question, this is John Furrier from SiliconANGLE.com. We're inside the cube at HP Discover with Carl and David from HP and VMware. Final question for you guys is more of a philosophical one. So you can take your corporate hat off and go personal here. What's the future going to look like in five to 10 years? The world we're going to live in, society, obviously virtualization and some of the technology you guys are building is going to change a lot of things like how we interact, how we govern, how we do things with mobile and others. So what's your view of how this tech will translate people's lives in society and technology and industry, whatever, it's a free question. Okay, so I'll take my corporate hat off and although I didn't have one, I'm plus it would mess my hair up David, so I wouldn't do that. So I think every decade or so our industry goes through tectonic shifts and we're in the next tectonic shift to cloud computing and the underlying architecture for cloud computing is virtualization with converged infrastructures. And I actually believe what's going to happen are we're being driven by a consumer world and it's bleeding into the enterprise so it's going to be about any device getting access to information and applications real time in a very secure environment. So we as IT need to find a way to try to consumerize the infrastructure to make it very consumable, drive the cost out and make it all done in a self-service way where the consumer is getting access to services from IT and IT isn't the bottled neck any longer. That's what I believe we're moving towards. I think Carl's spot on, I think as you go out 10 years it's going to be increasingly difficult to separate one's professional life from one's personal life. You're already starting to see that privacy to the parts of your personal life that you want to keep private but it will be a blended melded world. Okay, well thanks for coming in. David Scott, Senior Vice President of HP Storage. Carl is the co-president of VMware. Obviously, storage is a big part of the cloud operating system. Lots of changing, the software environments are growing and evolving. Thanks a lot for coming in the queue, appreciate it. Thanks John. Thanks Carl. Thank you, David. Great to work with you Carl, thanks. We're here.


There's a very old joke from many, many years ago. Good, you're gonna tell a joke. Only if you've never heard the joke. Does the phrase death or yugumba mean anything to you? No, magumbo means something to me. Okay, these three guys get stranded on an island. They think they're alone until they're captured by the natives that live there on this island. And they're tied up and brought to the tribal chief. He looks at the first one and he says, death or yugumba? He says, what is yugumba? Death or yugumba? Well, I would like to, death or yugumba? He doesn't want to die, so he says yugumba. And the tribal chief says, yugumba! All the men come out and sodomize him. Goes up to the second one. Death or yugumba? That guy says, oh man, I don't want to die, but death or yugumba? He takes a deep breath. He says yugumba. Yugumba! All the men come out and they sodomize him. Goes to the third guy. Death or yugumba? The third guy looks at him and he says, death. The tribal chief smiles and he says, death! We'll go back to where Steve Baderick says the quorum. I am yugumba. You can follow us on Instagram, Twitter for more juicy content. Thank you Steve Baderick for supporting us on Patreon, follow us on Twitter, and subscribe to like button. I wish I had my dad joke cut, but I don't, it's the grandpa one. Today, we have a video from Thumb Companion and it's actually Shade Kapoor. Hey! Count to five, Shade Kapoor, he actually goes over five of his films in depth and different things. So like four of them we've seen, one of them we haven't. Why, which films are chosen and by who and why? By him. Thumb Companion, I suppose. They just choose him. All right, I hope. Jab we met. Great. Kamini. Great. Heder. Great. Oda Punjab. Great, I'm in. And then there's also one we haven't, I remember the title. Yeah, I think we've seen maybe the trailer or a couple songs. Yeah, it was very early film of his so I think he was still chocolate boy at the time.  Great, great, great. We'll always have a film companion. Here we go. Like this video, please subscribe to Film Companion. Shade, thank you so much first of all for making time for Count to Five. So I'm gonna show you five scenes from your career. 16 years, 28 films is what IMDB says. So I'm still under 30. Yeah. It's not bad, dude. Not bad. I've not done so many films. You have done so many films.  You know, because you need to give each film time and, you know, so. No. 20 is not so bad. 20 is not so bad. I thought I had crossed 30. No. I say I stopped counting. So I've had crossed 30, but 20. You have now. Yeah. 20 years, 28 films. Yeah, that's less than two films a year. So that's okay. I'm okay with that. So I want you to try to watch the scene and then just go back to what you can remember. Just deconstruct it for us. What was your brief? How did you get into Canada? I have a terrible memory, but I'll try my best. I might be the wrong candidate for your show, but I'm fine with my best football. I don't remember anything. What kind of a mixture is this? Huh? I was in this. Are you sure it's me? No. We're relying on you to do better than that. Let's start at the beginning, 2003. Wow. Yes. You've not done anything. It's not funny. Oh, I need some chocolate. Ladies and gentlemen, presenting Mr. Spencer College, Rajeev Mathur. That's me. Stop. Not bad. Thank you. I was waiting for him to say that. Thank you. You're going to get very cringey expressions. What are you doing? With good looks, why don't you taste it? Otherwise, it might be like you're staring at me. I'm all alone. This is hurting him to watch. Tons of Spencer College, Javed and Danny. Not me. But just you wait and watch, Mr. Javed and Mr. Danny. I'm not going to eat now, nor my best friend. Mambo. I'm going to eat. Oh, God. He's like, thank God that's over. Why? Oh, God. I cringe when I watch a lot of my work from the past, because I don't know, I just feel like I was so bad. But you weren't so bad. It's so fresh and kind of, you know.  It's not a note you want to get. That acting was so fresh.  And if you have a slightly pleasing personality, people tend to kind of forgive you for all your imperfections and stuff. That's very true. I mean, I just look at it and I feel like, I guess I was right for the film. Yeah. Because I didn't need to be anything more than what it is. Right. He has these tough edges and I think that kind of works for the character. What do I remember about this scene?   So yeah, we didn't have long days. Ishwish was a film full of new stuff. You guys need a union. No joke. This was one of those days when we had to finish a lot of work in one day because this was Rajeev's house, Rajeev Mahathur. And so we had to finish all of his work in one day, all that housework in one day. And so we, I think, took this shot around one in the morning or something. And so I was extremely exhausted. That's one thing that I remember. How many takes? I think 10 or 11 takes. Because it's like, you know, it's just... It's a monologue. And you know, usually at that time... It's a monologue. It's a monologue, kind of. I've done a few. Yeah. Yes, yes. Think of it, this is also my introduction shot. So my career kind of started with monologues. And I never really thought about that. So I guess that big poetic justice or whatever. We heard. You knew your lines? Are you? I knew my lines so well that sometimes the director had to tell me, like, Shai, you know them too well. Make them sound like they're just coming out of your mouth. You know? Because I was super enthusiastic, excited and like stuff. But I was very nervous before this shot. Like for me, this shot, I was more nervous before this shot than I was before my Heather speech. Really? Yeah, because it was a monologue and it was for the first time that I was going to do something like that. Sure. And your director was like... Introduction. So I was like, dude, this is the first time people have watched me and... You had Vishal. 40 seconds or whatever. Correct. You're in his hands. And then go somewhere else. And he's trying to prove, you know... I need to do well. That's all on there, you know? You end up saying that, bro, you know, you need to be an actor and you need to be able to hold this shot for 30 seconds. You know, so I was really nervous before this shot. How old were you? I was 22. Yeah, I was quite young. 22 today, I think, is a lot more grown up than 22. Back then. 15, 16 years back, yeah. And I was just like this kid from Lokhandwala didn't really know too much but just really wanted to be in front of the camera. And I thought I knew how to act but I kind of knew how to be comfortable in front of the camera. I was, like you said, kind of fresh. And... It's very endearing. Of course, it is. You know? Not for me. That's for the audience. Right. To you it may be, but for him it's painful to look at. I mean, a lot of people think that I'm a star kid or something but actually, you know, I never lived with my dad and when I got cast for this film, they didn't even know I'm his son. Right. You know, that happened much later because I never really presented myself like that because it was a complicated family dynamic. So I had to go for an audition and what a sitar and explain to them. It was like that. And then it was like that. And then it was like that. That's why I'm like this but you don't know but I'm like this. You know, so it's a bit complicated. So I was like, I used to just, you know, say, okay, my name is Jahid. And we used to... And move on. And move on. Yeah, yeah. So then, yeah, so I remember my mom was actually a lot of what you see of me in this film came from the support that my mom gave me. She was almost every day of this set with me. Really? Yeah, yeah. And... But you didn't find that... No, I used to seek her out. I used to seek her out. I was not that confident where I would tell her that, you know, I know what I'm doing. You know, I think that's something that exists in this generation a lot more than that generation. Right. And I think that's really good. I think people are very confident and very prepared and people kind of always self-assured and they know what they want to do. They've already decided in their heads and we could see all that, you know, with actors today. I'm like, why do you have to...  Also, you know, my mom was always an aspiring actor. She was a wonderful Gatha dancer. She was a very good actor. She did try to... Her hand at mainstream cinema and, you know, things didn't work out exactly the way that she would have. So it was almost like we were doing this together. Right. You know, like a part of my debut was also a part of her dream, you know. She's living through you.  It was just like something that we told ourselves that this would happen. But deep down, you knew that it might never happen. So when it was happening, I wanted her by my side. You know, because that was the moment. And I said, she wouldn't be in the 23-hour days. Man, she would just stay as much as I would ask her to stay.  I said, Mom, now you leave. And she would leave. You know, I'm saying, like, so unconditional. That's amazing. I could just, like, tell her to be there. And she didn't make you conscious. No. In fact, I would always look at the director and right after looking at the director, look at my mom.  So I think I needed that in my first. Well, that's the only time after that, never. You know, she never came. In fact, she's hardly ever come on my film sets. But that time, it really mattered when she was there. So I'll always be thankful to her for that. She's always there, always, like... Because, Mom, all that is true. Really? Yeah. She wouldn't tell you you could do that. She wasn't willing to just say, Billionton. Not at all. Not at all. I mean, we had quite an honest relationship. And I think at that time, we used to have film cameras. Yeah, yeah. 2003 would be on film.  Right. I think it was like... You only have that much. 10,000 bucks for 4,000 feet. Correct. And 4,000 feet would last about four minutes or something. Yeah, yeah. I don't know if I'm saying wrong. But 4-5 minutes is enough. That's money. Or the actual product with every second that passes, yeah. But you just start building on it. Yeah. You can use it like trash. Right. It doesn't matter. Just non-stop. Like, when you know that you have only so many opportunities and every opportunity has a cost attached to it, changes everything, right? I mean, today it's like we can keep farting around if we want and then when we get it, we get it.   Because you want to get eight or nine shots and then the director's going to turn around and say, dude, I can't do this. You've only got so much tape.  We're moving on. I make the most of what I can. And you were aware of this at 22. Oh, yeah. I've assisted in direction and stuff. Right. When you're dying to be an actor, you do all your research. Yeah. Rock and roll. Yeah, I did my bit. Yeah. Nice. Okay, let's go to scene number two. You know what? Geethe... Okay, a man going the other end, he's a philosophy, right? Keep this with you. Right now, you're coming with me. You can't force me, Aditya. Of course, I can. Geethe... You're coming with me? What's wrong with you? You're white in this. What's a white?  Get out of here. Leave me alone, and all that. That's a nice thing. Yeah. It's a legit nice scene. Even 10 years, 15 years down the line, if I was to look back at that, I'd say that was a nice scene. I can't say that about the series. I got lucky. This is a legit nice scene. It's actually a very memorable scene for most people. I love when you just pause when she says, Don't you mean that your chance is here? That's actually the nicest part of this character and their relationship. It was one of the first films where the hero of the film wasn't loved by the heroine of the film madly. It was a very real take at how the two protagonists of the heroine of the film and how their relationship can be. I remember this day was a bad day for me. You know, in the sense that when you keep shooting back to back to back to back to back, there is always that one day or that some moment that you reach and it's something you're back to. Nothing's working. You get better with time because you learn to be aware of the fact that you will get spent at some point. And so you need to be very... You need to conserve. You need to be very instinctively aware of how you are going to conserve your energy and be aware of the scenes that are going to be demanding and keep yourself... So always do the demanding ones first. Interanged in the character. You know, you have to keep yourself wet. Right. Because every day it's almost like the character is going to do that to you. Great analogy. So you've been shooting a long time. This was towards the end of the schedule. Right. And I was just not being able to feel the emotion. And I know people really like this scene, but I was pushing. I was actually pushing the emotion this day. And therefore, you know, it's very out there. Right.  Because I was not feeling it enough. And so I was feeling the need to compensate for that. And you know, perform more. You know, that happens with that. It happens, man. It happens. Very few directors... I think it's more to do with your relationship with the filmmaker where they know. But you know. Right. You know when you're giving a shot and you know when you're feeling the shot. Yep. And if you're not feeling it, there's no way to put it on. Audience won't always know. Right. But you know. But you know. I will definitely know. Sometimes the audience will know. It's possible to feel every moment. Completely. I don't know. There might be some actors out there who can see it. Especially in film because you do stuff in such blocks as opposed to theater. I'm just on and it's just flowing. And there are days where I feel like... You have to strain a little more. I need to... Like honestly, acting comes naturally to me. I'm... A lot of people think that I'm a method actor and all this because it's... You know the roles that I play are very complex and... And I don't... Like better people have liked me. It's been different from what they've seen me in the past. And that's been the reason why people like me. He surprised me that something different. But I'm not... With time I have become... Very instinctive. Like I started off with a lot of thoughts and I was process oriented. I used to put a lot of brain into it. It was an intellectual process. And over a period of time it became a very emotional process. It became a very organic process. It became a very... It stopped becoming a process. It just started happening. It's like a gut reaction. It just needs to be what it is. You need to flow with it. It's like energy. I bet you're by the instinct. The better you get at that, the less... I think you're thinking of hibiscus. You know you can't feel the effort. You know that effortlessness starts coming in. And sometimes... You're on school of acting. The audience and filmmakers... My point of view as an actor sometimes is that... Just being effortless becomes being a great actor. But you have to be effortless in different things. Right. When you learn to become like a Meryl Streep. You know you see her perform. And she does such different roles. She's effortless in all those characters. Being effortless at being yourself is somebody who's good at emoting. But I think being a great actor is about being effortless at different people. Different characters. You know representing... That's why your font's a goat baby. That to me is JD Great Acting. And that requires time and effort. And having a very open mind. Of course a lot of time and effort to do nothing. It's a living organism. One time I had a chat with me and we were in Manali. And he just took me for a walk. And I used to take a lot of pride in the fight that I was very prepared. And he just took me and he put his arm around me.  Just stop thinking about it. Great advice. Great advice. Don't you appreciate the effort I put in? And I think that reflects in this character. The effort's in the prep. There shouldn't be effort in the presentation. It looks like there... You know, you can see straight lines. It's geometric. It's not fluid. And that really worked for Degash. Because I think that contrast between how he was and how Geet was is what made the film what it is. And so I guess I was right for the part. This is one of my favorite scenes. I did struggle a lot on this scene. I did struggle a lot. And yeah, it's a lovely scene. It's a very nice scene. Like you're happy. I'm happy because I've done other things after that. Which we wanted to do. You know, so this kind of works in the... You know, sometimes things that are limitations actually end up working in your favor. So it works in different ways. Yeah. Yeah. Okay. Oh, come any. I'm just gonna get to talk about Vashal. See, nice that you chose a scene of Guddu's. Because I felt that the poor guy don't wish I was by Charlie. Yeah. Because everybody was so into Charlie. This is a great scene choice. It's also like when he gets his rocks or chasms where it is untouched. You get another one already leveled. It's so funny and so scary. Exactly. It's so awesome when he does that. And you're so afraid for this poor guy. Yeah, I can feel that. You know the tension in the room. And I'm not even there, but I can feel it. I'm like, what's gonna happen to him now? Right. And he used to be laughing before the scene.  And when he says this, you're like, dude, that's really funny. And then you have to go out there and really do it. Yeah.  It's going down right now. Yeah, yeah, yeah. It's not funny. You know, I don't know. He is so commercial. Some of this deep part of Vishal sir is just so commercial. This was a very special scene. When we read it, we knew that the writer has written a great scene, which is Vishal sir's obviously has written a great scene. And it's very dark. It's really funny and entertaining and very commercial. And we need to do it in a manner where at no point do people feel like it's a scene. You really need to feel like this is happening. And the first conversation that me and Vishal also had about coming in was he said, you know, both my heroes have a speech defect. And at no point in time do I want people to feel that we are making fun of people who have speech defects.  It is who they are. And we need people to relate to them at every level. People should feel what they're feeling, understand them as people. And yeah, they should be no different from any other character. So that was the challenge. The challenge was to, you know, be able to make people feel how it is to be there. Because then you can't make fun of it. Then it touches you somewhere deep down. And that makes impact. And that would probably be more relevant than just having a scene where it is funny and you're just like that kind of stuff. So I met a lot of people who had speech defects. There's a reason why people stammer. It's different from something like listening. Listening is more of a technicality. It's a physiological problem. But stammering is a psychological problem. And it's amazing, you know, the kind of stories I heard when they told me why they started stammering. And as a parent today, when I look back, it's of great help. Because a lot of times it happens when you're spoken to very strongly or you see something that's too much for you to absorb as a child. And because of that, you know, it just becomes, you know, turns into a physical problem. Because psychologically you've been so affected. So that was amazing to know. But Chad, until this point, Uncle Kamine, you're doing films. Many of them were love stories.  It was. I mean, it was. It was.  It went from love to substance. You know, got the opportunity and fortunately with a great filmmaker in great form at a time in his life when he was raring to go, you know, and so was I. And he just, God sent him to me because I had done nothing to deserve this opportunity.  But did you ever have a moment of, what if I just can't do it? Like are those kind of self-doubts ever in there? I, the only reason I'm sitting here today and I think I always, it's really stupid, but I always thought that I'm a great actor and I'll be a great star. Like that was just like set in my head. It was set. You knew this. I mean, I believed it. Right. Is it the truth? I'm still figuring out. You know what I'm saying? But there was this voice inside me which gave me that drive. I think you said I want to be an actor, not a star. Really sort of. You're high ground, bro.   They're gonna trash me only. She's one of them. So, come on. I need some impact. You did? I love this movie. Thank you so much. Love, Kamine. And let's go on to another performance that I love. There it is. Moji. Chana. Yes. Do you remember? What did you say in your childhood? What? I'll get older and marry Moji. I'll get older and marry Moji. And I used to sleep in between doctors every night. And doctors used to kiss me. So, I used to fight with them. And now they kiss their brother. I adore this film so much. It's beautiful. Amazing. Love the lines, dude. What a script. What a script you were given.   Because you can't force something that doesn't already exist. You can only take from what's in the script, you know. And of course, there are films which are great because of the screenplay, because of the drama, because of the emotion. But for an actor, I mean, when you get lines which have this kind of, you know, just lines which are so kick-ass. That's all you can say. They're just kick-ass lines. It's, you know... Tell me, when you have a line like that or... What can I do?  You don't. It was very instinctive. It was very instinctive because I was already... Naturally. You don't make decisions beforehand how to play it. No. It's like something I can't help and something that pains me so deeply. Yeah. But it is what it is. So it just...  It's that kind of a thing for him because he can't help it. You know, and now his brother touches you. Yeah. It's such a simple scene. Actually, it happened very simply. We didn't really work it that much. It just... We just shot it. And, you know, Tabu is a great actor, yeah. I mean, yeah. She's just one of the finest actors of her generation. Amen. She's just getting better and better and better with time because I think it's not really about her getting better. It's just about people recognizing who she is and giving her opportunities and cinema reaching a stage where it deserves her, so to say. Yeah. You know, because the films that she did initially, the characters in the films were so... Yeah, yeah. Yeah. There was nothing great there. Correct. But today because that stuff is happening and when people think about who can do it, it's only her. She's the only one who can do stuff like this. And she's still so beautiful and young and she still doesn't really have that motherly quality. Yeah. That's who we need. This equation work. Yeah.  No, no. Especially that moment when he puts that ether on her. Yeah. He gives it a peck on her neck. Yeah. You know, so... There has to be a closeness in age. ...things to which is being said. Yeah. And I was very clear about the fact that I don't want to ever use it as a tool to titillate the audience. Yeah. It has to be something that makes you uncomfortable. Right. And it does. Yeah. So it was always meant to be like that, that people should feel uncomfortable. They should not like what's happening, you know. But the characters can't be uncomfortable. No. Exactly. The mood has to make you feel like... Yes. What does Vishal do for you that no other director does? I don't know. I think, you know, some things are best timed. You know, certain equations are best timed. There's always somebody who brings the best out in you. And I think Vishal sir is that person in my life. He's brought the best out in me. And I think every actor is fortunate to find one or two people like that. You're not going to find too many. Right. And it's just something which is special. And yeah, he makes me look better than I am, I don't know. I mean, it's his lines. It's so many things. It can't be explained.  Everybody is suddenly at another level. Correct. So all he has to do in the film is craft. Does he do anything specific with you in his briefing, in his sort of just what he wants from time to time?   Right. That kind of character. Oh my God. That's correct. Yeah. So yeah. It's the choices that we make that make us who we are and he makes great choices for actors for sure. Okay. Last one. Oh, we'll punch up. Great scene choices. I love this role. Great stuff. Great stuff. Oh, it was a great scene. Yeah. Great stars. Love the expression on your face. Love the scene. Love the scene. Love the scene. And then you show me this again. Nice scene. Actually, that's my, probably one of my favorite scenes in the film, but people liked a lot of other scenes. No, that was a good, so was the head or choice. Starting up and go. Great choices.  Such a nice scene. Actually, I had so much fun watching it because I haven't really seen it for really long. So it was really nice to see it. Look at something and say, like, yeah. Yeah. When you're that far away from it, you get a different perspective. You can see it more objectively. Yeah. So you don't know whether to laugh, you don't know to be, whether to be afraid, you know, it's, it's. I find Tommy's character very funny. He is very funny.  Right. And I'm right, the opposite of that is a person. Like, my whole life, I've spent keeping it together. That's the kind of person that I am.  Right. You know, I'm kind of like, yeah, yeah, you know, so it was completely the opposite. And like, you know, how he's saying that, you know, and my interpretation of, in one line of the character actually has been shown very, like it's as close to that interpretation. In my head, he was a five-year-old Punjabi child.  And he was lost. Right. Okay, so my entire, because if you don't show him as an overgrown child, you can't forgive him. Correct points.  Right. So what you tend to do is you tend to try and explain it to them. You really did it with them. Right. Versus an intentional deception or something. Yeah, yes. You know, that was the only way that we could have got Tommy to be liked. Absolutely. Otherwise he would be hated. Yep. And if he was hated, we lose the purpose and the purpose was to take people through the journey of an addict and to make them understand what's going on in their life. Love that movie. Great movie. Him and Alia. Amazing movie. And then they can be compassionate towards them and kind of, if they ever have to engage with one, they can deal with him the right way. So, we'll all, at some point in time, come across somebody who's having an issue with addiction. We all have our issues with addiction of different things in life. So, this is just a very out there version of that. And in this scene, I feel he is as childish Correct.  This is literally shouting like a kid in a candy store saying, you know, I'm on that chocolate. I'm on that chocolate. Right. Yeah, he's having a tantrum. And so, he's just, you know, he's just there. And Satish uncle is so good at this. He's so good. He has so much fun working with him, you know. But, Chad, when you do a role like this, is there ever any vanity about how you're going to come off? Or are you as an actor? What do you mean when you say vanity? Like, I'm just very interesting how people ask actors about vanity. Like, what is there in the petition of vanity? Only that, right? I should sort of look good. But I have to because he's also a rock star. Right. No, no. I mean, this guy, Kabir Singh can't. No, he's She's talking about the star mindset. First of all, Kabir Singh look great. She's asking him about the mindset of a star and he's defaulting to his mindset as an actor. I think that's how he always does. Yeah.  Larger than life guy. But at the same time, he's completely screwed and he is an addict and I need to, so I needed to get both those things going. So it was so difficult to achieve it because cocaine addicts tend to lose a lot of weight and, you know, and, and, as a star, he needed to have a good body. He needed to have a good tattoo thing with him. Yeah. And so it was really tough to find that, to bring growth, those things together. It's easy when you have a brief that's kind of single-dimensional. It's difficult when you have a brief which is so, like, opposing to each other. Like, he's a drug addict so he should look effed. Right. And he is this rock star so he should look amazing. Correct. Like, how do you, like, what do you do with that? Yeah. Yeah. So we just, like, figured some way of doing it and, you know, it's not about good. It's about playing a character that's very attractive. And I think being attractive doesn't come from looks. I think it comes from how the audience feels when they watch a character on screen. That doesn't just have to ... Yeah, of course. It's a good looking but that's boring. Yeah. Wow. You know, that's boring. I got that for the first four years of my career and then I was like... It's wrong. You know, like, somebody else do it. Right. Sorry to pause it. My issues. Like, because I know you have to edit it then, but I want to focus on our last few minutes. I have to pee so bad. I'm finishing a movie two, three days before I start telling people around me, they are over. I am now done.  Like, what do you mean? This character still means so much from you and I'm like, yeah, but like, I've given everything. Now I want to go. It's like that. Check out, check out. It makes a long process, man. I wanted people to be attracted to him because I couldn't have people respect him, appreciate him, or, you know, none of those things because, you know, handsome is as handsome does. There's nothing this guy was doing that was, you know, nice. So he had to have that for the right balance.  Yeah. And I'm happy to play a character where people get put off by me, but then that character shouldn't be a character which needs to be redeemed or a character because my first feeling about Tommy was that he's lost. Yeah. And when somebody is lost, then you need people to feel for them. So I had to do all those. Right. But when you look back at all these scenes, how do you feel? First of all, I must say that I'm really actually enjoyed the scenes you chose. I kind of Absolutely. I was, I enjoyed the fact that he chose not the scenes like with Heather, you didn't choose the speech. Yep. And say with Tommy saying, you didn't choose the portion where he's passed out or the scene with Alia, you chose the scene. So I appreciate that because, you know, some of those are my favorite scenes, but you know, people don't really talk about them. So it was nice that you addressed some of those scenes. Shaad, when you look back, do you feel like you can't pat yourself on the back and say, good job? No, you know, it's a kind of weirdly like the opposite kind of feeling.  It kind of makes you feel nostalgic and you do feel a bit emotional because most of the characters that I've played have taken a lot from me. You know, so they are a part of me in some way. And it's been 15, 16 years I've been doing this and a lot of these roles have been spread over time. So, you know, you know that these are special opportunities that come your way. And I feel very thankful, very, very thankful to all the filmmakers who gave me these opportunities. And to God, of course, that he gave me this main, main actor, you know, I never thought I would be one. And I feel really I hope that I get more opportunities like this. You know, because they don't come by every day and this is what I really love. I feel like it would be a life well spent if I could do this for another 15, 20 years. You know, get a few more of these and really be able to see my teeth inside and and give people an experience that makes impact on me.  Correct.   So are we meant to be athletes? Are we meant to be fashionistas? Or are we meant to be actors? I mean, it's, you know, it's getting very complicated and it's getting very stupid, you know, or missing the point. And the point is, people walk into the theater to have an experience which makes some impact with them emotionally and touches their soul at some level. And that has nothing to do with clothes in your body, you know. I've done it myself, you know, so, I mean, with time, I've learned that there's more to life than just being narcissistic and wanting to look amazing and go, I've done that, you know. You want people to love you for the roles you play and for what you made them feel like. You know, that's really what being an actor is. I remember seeing Harrison Ford's interview, you know, about Indiana Jones and one of the Indiana Jones and somebody asked him, so do you do all your stunts yourself? He said, I'm an actor. They have a stuntman. I'm an actor. I'm an actor. I'm an actor. I'm an actor. I'm an actor. You know, he said, let's understand who we are. Yeah. You know, what my job profile is. Because that profile is getting altered for all the wrong reasons. Yes. And so, these are the roles which helped me, you know, I think acting and filmmaking is a very cathartic process. You know, it can have a deep impact on others and you cannot make deep impact with other people if you haven't made it with yourself.  And I think that is the deepest and the most beautiful part of this job. And I hope I get more roles where I can experience that. I'm sure you wish.  Thank you. I had a blast. Thank you. Even though we didn't know how to use that laptop. We've got through. We've got through. Just as how pretty much most of my career was, I never knew I'm going to do it, but I got through. Thank you. So if you like this video, please subscribe to Film Companion. And if you like one of those scenes. That kind of just emulates everything we've thought about Shahid. Yeah. We've heard him say candidly before about acting. We're very early on and are getting to know him. He's heard a clip about his understanding of the craft. He's first and foremost an actor and wants that to be his main. I would love to hear him talk about more his love for dance if he still has his love for dance. I would too. Obviously, I think since he's primarily an actor first and wants to be an actor first, most of the meaty roles don't have those dances. Yeah. That obviously happened earlier in his career. Mm-hmm. Because that's more the commercial aspect of film. Yeah. But I would love to hear him talk a little more about that. But yeah, it's clear that and what he said is true. Filming is a interesting process because it's long. It's what a lot of people a lot of people think it's this glamorous thing. You show up on set. You do these amazing scenes. And you do. But also, primarily, you're waiting around. You're doing the scenes that you don't care about as much. 15 times. Sometimes, if they can't get it correct. Mm-hmm.  And so you're not always going to be your job as an actor is you have to be on. But you're not always on. And like you said, the audience might not know but you know that I wasn't in the correct head space. A short film I just did recently. We and it was just a short film. We were on set for all day and the big emotional part of this the thing had had it was happening later in the day. And I just couldn't I couldn't get couldn't get to where I wanted to go and everybody all the other people were like it looks great. I'm like, no, and they could tell that I was extremely disappointed in myself for what I was giving them. I was like, like 10 minutes. And I asked because I I think I was actually just really hot under all the lights and I I'm a very warm person. And so like I I think all my because I had to cry in the scene. Oh, my tears are like dried. Sweating all your liquid out. I couldn't get anything out. And so you said this was at the end of the day. Yeah. Yeah. And so I went outside. It was nice and cool. I could offer about 10 minutes. I came back. Luckily I was able to do the scene how I wanted to do the scene. But like I was just like I was I guess I was just burnt and really hot. Yeah. Yeah. All this stuff just happened. Sure. During the day. But like it's also as an actor you know when you give the correct performance. Yes. The audience might not know. Right. Like because you can we could trick the audience but we always know where we are and you know if you've given what you've wanted to give you can feel it. It's instinctual. Yeah. Absolutely it is. Yeah. But also like it's 12 hours of just you might do a 10 second scene. I cut you don't continue it's very rare that there's a continual shot like in theater. It's very rare. And then you're not even guaranteed the scenes going to work because it's going to be changed in editing. Yeah. There's scenes that work I was talking to director friend of mine last year about he was called in to help edit something on a first time director. He was on set when they filmed a scene. And the scene was so beautiful that everyone on set was moved. They were so excited. And when he was shown the final edit my director friend it just didn't work it was clunky and did not feel good. And he talked to the director about that and said here's what you've done we all witnessed the work of the actors that day but your editing screwed it up and the director agreed it's why he showed it to my friend who is directed for 35 40 years who then went and made changes to the editing so that there was less edit more flow from the scene. Yeah. But the opposite is true as well. Thankfully you can be saved by a magnificent director where you have a day where it's not working and the director and editor know and they make editing choices that make it work. Yeah. Yeah. You can make a film 180 degree difference. Yes. Just with editing the most astonishing thing that I've ever experienced as an actor is when you're certain nothing's working on stage and your process is just not instinctual. It's not habituated. It's not in the moment and you and your fellow actors know it. Everything's flat.  You felt so good and then it's over and it's a real tepid response. Not one person stands up.  The mystery of acting. Yeah. Filming is especially filming as opposed to theater is just such a Different animal. Yeah. Because it's Your approach as an actor is the same but the actual process of doing it is very, very different. That's why a lot of actors love theaters because it's this continual emotion and you can really get into It's an actor's medium. There's not 10,000 stops in between which is why some theater actors can't be film actors in a vice versa. Yeah, each have their pros and cons. You have to be able to turn it on when there's nothing you've done nothing at all or also you might have done this emotional scene or a really silly scene before and now you have to go into the extreme emotion if they're very mean to you. Or if they're very mean to you. You better have your characters arc and everything fully fleshed out and know your script backwards and forwards because we've mentioned this before you're not going to be filming everything within context and so you have to already know where this character is and what's going on in the story and have all of your questions answered because you may start day one the legendary story of Lin-Manuel Miranda working on Tic-Tic Boom and the climactic moment catharsis for the lead character in the film they had to shoot the very first day of filming because that's when they could get Central Park. You didn't have any chance to get to inhabit this character while filming you better have known that day one. Yeah it's amazing.