All language subtitles for The.Good.Karma.Hospital.S02E00.WEBRip.x264-ION10

AMRITA: The chief element
of The Good Karma Hospital

has always been
that it is a family.

And it is those core characters
within the Good Karma Hospital

that I am the most invested in.

JAMES: When you'’re creating
a character,

you'’re just doing what you feel
is realistic and truthful.

You know, and whether
people like it or not

is totally out of your hands.

AMANDA: You get a script and
I will do it because I like it.

But you haven'’t got a clue

whether that will go down well
with audiences.

It'’s always so fabulous
when it does.

AMRITA:
The fans'’ reaction to the show

last year, I think,
was incredible.

We were thrilled they loved it
as much as we enjoyed making it.

JAMES: When we were shooting
last year, we knew we had a gem.

It was just a matter of
executing that as best we could.

Until something actually goes
out and people react to it,

you'’re never quite
prepared for it.

It was very big, having a show
out on ITV on a Sunday,

with Amanda in it, puts
you very much in the public eye.

I was really surprised by
the amount of butch men

who would come to me and say,

"You'’re killing me, I'm loving
it. I'’m crying every week."

WOMAN: We came to Sri Lanka
cos we like the programme.

MAN: We wanted to see
where it'’s filmed.

It'’s an incredible
couple of weeks.

We weren'’t even aware
they were filming,

we just came to see the venue,

having seen the programme.

To get invited in
and then getting asked

to be part of it is incredible.

WOMAN: I'’m speechless,
absolutely speechless.

There is the Professor at
Paediatrics holding a baby!

I am the
Professor of Paediatrics

at the University of Sydney.

But I can tell you, this is
a pretty good-looking baby.

Look at this.

- It'’s very lifelike.
- Not jaundiced.

3.8 kilos or something.

- He'’s not breathing very well.
- [Laughter]

Actually, I think it'’s pretty
reasonable for a medical show

filmed in a low-to-middle-income
country.

It gets some of the feel
of issues there.

We'’ve got a bit of
division here.

Because Mary and Leone love
the young male doctor.

Hi, Dr Gabriel!

Blow him a kiss. Mwah.

It'’s amazing. It's really nice
to be part of something

that has genuinely
a very loyal fan base.

They just go on social media.

You see how many people are just
excited to see Series 2.

They want it now,
they want it straightaway.

AMRITA: What'’s great is each one
of our characters are different.

Everyone moves and speaks
with a different rhythm.

The energies can sometimes
be polar opposites.

Just look at me and Gabriel,
for example.

NEIL: It caught the imagination
of the general public.

I think it appeals to a very
broad demograph.

Kids are gonna love it, cos
we'’ve got pretty kids in it.

Grandma'’s gonna like it
cos I'’m still around.

And, you know,
get the odd dead person too.

It'’s got everything, hasn't it?

NIMMI: There'’s some magic that
happens when we get here.

I hope we'’ve sustained it
in Series 2 as well.

I don'’t know whether it's being
in Sri Lanka, by the beach,

the heat, everybody together
as one big family,

the writing...
I don'’t know what it is.

Let'’s hope
that magic carries on.

PHILIP: I think
it'’s exotic to look at.

It looks amazing,
it is a beautiful place.

Hospitals are always kind of...

..a fulcrum for lots of drama.

Sad things as well as
happy things.

NEIL: Really the main star is
The Good Karma Hospital.

Then there'’s us around it.

You'’re gonna come across
something different every time.

Like India itself, I think the
show and the people within it

are such a massive
palette of colours

that that'’s what
makes it unique.

I think it'’s been...

extraordinary.

It makes me really happy.

What happens in
any television show is,

for it to achieve
a universal affection,

it has to be real,

as well as it has to be able

to take people
into their own hearts.

I think that combination,
that confluence,

has been achieved totally
in Good Karma Hospital.

That'’s why I believe
it'’s very special.

It was very important the second
series moved on from the first.

The characters have moved on,
the stories have moved on.

It was important that we used
all of that information.

Unlike last year, I was
fortunate enough to have actors

that had played their roles.

So there was a much
greater understanding

of what their characters were,
who they were

and their journeys.

So we really could kind of work
on that and grow from there.

AMRITA: With Ruby,
what I'’ve loved is that...

she'’s kept that feminine
soft side to her

but there'’s also a toughness
that'’s coming forward now.

To me, she'’s always been
a tomboy.

Ellie'’s captured that
amazingly this year.

A typical day at the office now
would be...

..a pair of combats
and then a little vest top.

The other thing for me
that was very important

was that she also started
to relate to her environment.

She wasn'’t just the Western girl
who had come from Britain

to work here.

There are elements with...

Indian sort of patterns,
textures, materials.

This is quite
a fine example of that,

including little
vest tops under,

a layering of her,
a layering of her personality.

It also allows us to continue to
have a practical element to her.

But it does expose her more
as a woman as well.

That'’s worked beautifully
this year.

We'’ve been trying very hard
to not cover up

the real sense of India
and the heat.

So Amy'’s done a beautiful job
of keeping the characters

with almost a glow-like
complexion at all times.

AMY: Definitely with Ruby, just
in reflection of her costumes,

she'’s more tomboy
so her make-up is softer.

And also hairstyles
are a lot softer.

It'’s just thrown-up ponytails,
messy buns.

AMANDA: You can'’t move
a character too far away

from how they'’ve been
set up to begin with.

But she'’s just sort of honed it
and put her own take on it.

Also, bearing in mind that
because it'’s so hot,

you know, loose-fitting clothes
are what you have to have.

Otherwise you'’d die
in this heat, I think.

This is Amanda'’s section here.

This is one of my favourite
dresses she'’s worn this series.

We use this for Episode 1.

Amanda looks stunning
in turquoise.

It brings out
those wonderful cat eyes

that have this
beautiful blue to them.

Linen, which is lovely.

It still has shape,
which is wonderful.

So we still do get her shape.

But our big thing this year -
pockets.

So they'’re practical dresses.

And they have a kind
of practical feel to them.

Amanda looks stunning in colour.

And colour is something
we can really use here.

You know,
having such strong sunshine

makes a massive difference.

The way you can use colour that
you can'’t do back in Britain.

This year my costumes are
more colour-coordinated.

Yeah, and I'’ve put that down
to Lydia'’s influence.

"Wear that."

We haven'’t shied away
from the patterned shirts.

What we have done is shied away

from a comedic shirt.

We'’ve gone more into interesting
patterns and textures

and less of the kind of classic
Hawaiian look for him.

All the sarongs are local,
of course.

And we go again,
as I was talking earlier,

about the different materials
and textures.

Beautiful washed-out cottons

and then you get into the silks

and these beautiful
spicy colours.

With Dr Varma this year...

I felt it was really important

to keep a certain amount
of continuity with him.

In terms of the look and feel
of Gabriel,

there'’s just little subtle
differences

that represent
his emotional journey

and where he is in Series 2.

We'’ve brought in more colour.

As we find out more about him
and he opens up,

so it enables us to kind
of bring more of him out.

Very different style for AJ
this year

and one I know
I'’m definitely enjoying.

I'’d kind of describe his style
as very much urban trendy.

ELEANOR: Sagar'’s changed
a lot this year.

Important that we show the
journey that he was maturing.

Although he still has
that lovely air

of someone that kind of wants
to live life to the full.

There'’s such a mixture of
contemporary and traditional

that just feeds into each other.

It'’s quite extraordinary.

And the colours, the textures,

the inspiration
is all around you here.

You can'’t get away from it.

It'’s been really important we've
kept the costumes Indian

as opposed to Sri Lankan.

Although we'’re filming here,
it is set in India

and there are differences.

It'’s very important to keep that
at the forefront at all times.

I'’m incredibly lucky, I've got
a fantastic costume team.

We have at least 100 and 300
per background per day

which is an awful lot
to get through.

I mean, India is an incredibly
contemporary country.

You know, that'’s mixed
with all their traditions.

But that was a real big point

that we wanted
to bring forward this year.

That was a real emphasis for me.

LUCY: Ruby'’s journey of
self-realisation

was a massive part of Series 1.

We really wanted to continue
that story with Series 2.

AMRITA: This past she'’s never
known about starts to surface.

It'’s initiated by this letter
from someone

that turns out to be
quite close to her.

DAN: Gabriel accompanies Ruby
on this journey

when she discovers her heritage
and her background

and some secrets about her past
which she didn'’t know.

That brings them
much closer together.

It also at the same time
pushes them apart,

because she feels perhaps
he'’s got a little bit too close.

JAMES: They'’re both forced to
confront change

and change who they are.

AMRITA: It is sort of where
we left them last year,

that we don'’t quite know
if they like each other

or what'’s going on.

- Is that a compliment?
- Statement of fact.

Do you even know
what a compliment is?

Yes, empty praise offered
by insecure people

to please others.

In Series 2, we were really
interested to explore

a bit of the interior of India.

So it gives a slightly different
flavour to the show.

JAMES: I mean, just the views
are jaw-dropping.

They'’ve really captured that
very well on camera this year.

In between set-ups
and sometimes at lunch,

I will just turn around
away from the set

and just see this panorama
of tea.

All these sort of wonderful
things and jungle area.

The heat and the humidity and
the smell is so intoxicating.

It'’s incredibly easy to act.

You just stand there going,
"God, this is amazing."

JAMES: I think the audience
is gonna be really happy

with seeing that on screen
and also seeing

what happens to Ruby and Gabriel
with that backdrop,

which is very emotional
and interesting.

She does want
to feel part of a family

and she does want to connect
with her Indian past

and her Indian heritage

and understand that side of her
she'’s never really got to know.

For her, I think it does become

something that
she adopts for herself

but yet was already
part of her anyway.

It'’s about her exploring that
and discovering that.

And she has to work out,
address how she feels

about the fact that her father
abandoned her as a child.

That'’s a big test for her.

And she very much grows up
over the series.

It'’s kind of certainly darker
and a bit more mysterious.

And she'’s taken to some
quite tough places,

so I think it'’s interesting.

LUCY: I think one of
the really amazing things

about Good Karma Hospital

is that it puts two women
at the front of the show.

But within that,

there are questions
of women as professionals

and questions of women
in the rest of their lives.

And obviously motherhood
is a key part of that.

A story brought to us by
one of the writers, Gabby.

And it was immediately -
for me, certainly -

I immediately thought it was
a fantastic story for the show.

We should really
call the father.

Actually, I'’d rather you called their mother.

NIMMI: A friend of her sister'’s
appears and she'’s having twins.

It turns out the twins are
actually being given

to a family member of hers,

because she wants
to go off and study.

And Mari has a real issue
with this, initially.

Because for my character,
I think,

having a child is one of
the most important things.

And it'’s something
that she'’s not able to do.

Credit to Amanda,
it was one of the things

we talked about between series,

her character'’s history and
the interaction with the nuns

in Series 1
and what was behind that.

So when this storyline came up,
it seemed like a perfect fit.

Mari, please, listen to me
before you do this.

You'’d be alone.

A single mother with
a desperately sick baby.

I am prepared
to make that sacrifice.

This child will take over
your entire life.

Forgive me.

Isn'’t that how
it'’s supposed to work?

They have to confront their own
problems and their own decisions

in order to do the best
for their patient

and in doing that,
reveal some deep-rooted pain.

Within the terms of that story,

it helps both of those women
move on.

One of the twins is sick.

The family take only the one
that'’s healthy away.

Then this twin is left behind.

Mari has bonded quite deeply
with this baby.

DIRECTOR: ..and action!

[Wailing]

That'’s it, keep pushing.

You can do this.

And cut.

That'’s a wrap. Good for me.

Lydia lives with
the consequences

of what happened to her
every day.

But she'’s also beautifully
found a way

of making sense of her life
as a professional woman.

And we want to celebrate that
in this show.

I should never have talked
to you that way.

I'’m so sorry.

That'’s fine.

I think there'’s a huge bond
at that moment.

It takes Mari and Lydia to
a different level of friendship.

We obviously,
from our department,

we provide silicon babies.

In between takes, obviously,

the real child
can'’t be on set the whole time,

and you don'’t want that.

We had two babies on stand by.

We created them from sculpture
and then moulded it.

There'’s so many programmes
like One Born Every Minute.

There is that pressure to sort
of keep up the realism.

But we also use that
as reference ourselves.

We realised there was gonna be
a lot of hair on these babies.

So we had to punch them in
individually.

Quite lifelike in the sense
that they feel like skin

and they'’ve got that weight
to them.

Yesterday we had...
the new baby was passed over,

the bloodied gloves were put on.

The next minute,
Amanda'’s face dropped.

The real baby pees
all over Amanda.

Luckily, with Amanda
being a mother herself,

having the newborns on set
peeing over her wasn'’t too bad,

and very fortunately, she was
wearing an apron in that scene.

We were able to change that
rather than the whole of her.

You don'’t get that problem
with a silicon baby.

At first we don'’t know
why he'’s here,

but when the reason he returned
to India is clear to Greg,

they both go on
a journey together

to deal with his sadness
and grief over losing his wife.

That'’s again
another emotional story.

I think they'’re both absolutely
brilliant, Neil and Philip.

We know how great they are
at both being comic actors.

Both find emotional depth
in their character -

in Philip'’s grief and depression

and Neil trying to help him out
of it like a mate would.

I think it'’s about men not
talking about depression,

not talking about grief
and not being able to open up.

The two guys,
without giving the story away,

they help each other,
get through it together.

I think it'’s really nice.

[Street band playing]

It'’s India, it's Tuesday,
it'’s another bloody festival.

PHILIP: He'’s at a festival.

He says
he gets woken up regularly

by festivals going on
in the street,

which involves a lot of music,
a lot of loud stuff.

He goes out and he witnesses
an accident with a young girl,

who appears to step out
into the traffic

to help him cross the road...

..as if she could stop them
just by holding her hand up.

She gets hit by a tuk-tuk.

And she gets taken to hospital

but she hasn'’t got any injuries
whatsoever.

So she claims that the reason
for that is she'’s a goddess.

And I have no earthly parents.

However, you'’re a good man.

Paul and Greg made good friends
last year, they got on well.

It was the tragic ending
of Maggie'’s demise.

So he turns back up
sort of out of the blue

to retrace Maggie'’s tracks

and to complete some of the
things she wasn'’t able to do.

But he'’s really grieving,

so he'’s in a state of depression
as well.

And Greg takes it upon himself
to accompany him on his journey

to various things
that he wants to go to.

This was Maggie'’s favourite.

- Sea goat, you say?
- Yeah.

I'’ll need a shower first.

It'’s a good relationship
and hopefully cathartic

by the end of the day.

Try and take his mind off
or just help him to move on.

It is a sad situation. It would
be in real life, you know,

losing people
to illnesses like that.

I think it'’s important to
expose, shine a torch

on normally an area of the dark,
a man suffering grief.

You know, and kind of turn
that round a little bit

and play with that
and see how things pan out.

DAN: I'’m pleased because
it kind of pays off.

It feels like the second half
of the story.

We had the story of Maggie
and Paul in Series 1,

and her eventual death.

And for the second series,

we'’re just, for me, telling
the other half of that story,

which I think is interesting.

LUCY: We were really keen
to make Episode 6

a real treat for the audience.

One of the iconic features of
Kerala are the backwaters.

So Dan had the idea
of setting a story

on a traditional
Keralan houseboat.

Our designer, Debbie, has
tackled the houseboat

with incredible enthusiasm
and determination.

The authenticity that she'’s
bringing to that piece of design

is really breath-taking.

A Keralan houseboat'’s got
a particular shape to it.

It'’s got a particular feel.

Trying to make sure
that we get that level right.

All the kind of elements of
being in India and Kerala

and all the textures
and fabrics.

But also bringing into that
her character,

and who she is and where
she'’s been in her life

and what she'’s interested in.

Virginia is the older mentor,
the sort of woman of the world

and she'’s very much embodied
her environment

by living in the houseboat.

We wanted to bring
in different elements,

so it wasn'’t just purely
Keralan.

You know, we'’ve kind of, like,
taken elements of European

and Chinese, Asian furniture

and just brought in a kind of
more worldly feel to it.

And the backwaters of Kerala...

and just trying to make our lake
feel a little bit more enclosed,

a bit more of a community
going on.

We'’ll put reeds in the water,

there'’ll be a lot more
vegetation

around the back of the boat,

which at the moment is open
to a couple of houses.

We'’ll cover all that up with
palm trees and banana trees

and reeds around the area,

then a couple of canoes
and fishing boats going past.

So we get a sense of the wider
world and the community there.

There'’s um...
room for a little one.

And then just building something
that is shootable, workable.

Artists going on there, were
on there for nearly two days.

It'’s got to be comfortable and
it'’s got to show where we are,

it'’s got to show
our environment.

Otherwise we might as well
be in the studio.

So we'’ve decked the jetty
and from there

we'’ve moored a very solid
structure to the lake

and then built the boat on that.

So you get the shape of the boat
just on the water level

but underneath
it'’s completely solid.

Originally we thought about
putting a little bit of movement

but you'’d need to do so much
to register it

and filmically, it would just
not be practical at all.

So it'’s totally solid.

Originally, when we did
the plans for the houseboat

and the layout, we were gonna do
a three-foot sidewalk

down the edge of
the actual interior,

so the cameras could get
outside of the windows.

But when we drew it up properly,

we realised we were totally
compromising the actual look

of the boat and it became
like a normal canal boat

rather than the Keralan...
kind of much more compact...

you know,
it'’s much more rounded.

Suddenly it was really long
and angular.

So we decided to take away
the camera tracks

which I talked through with the
DoP and he was happy with.

What we'’ve done now is tie it in
to the hull of the boat,

so it'’s all one unit.

She needs framing in some way.

I think the material needs to be
sheer so we can see beyond that

and see onto the trees
and the lake behind her.

So we'’ve gone for something
along these lines,

which we'’ll source probably
from Colombo.

And then her bed, some sort of
antiquey throw she can...

I'’ve kind of gone for purples
and dusky pinks

for the main furnishing palette.

We'’ve spoken to Ellie and she's
gonna work with that as well.

It'’ll all tie in.
She will become part of it.

It feels sort of
Lady Of The Lake to me.

She'’s lying there on the bed,
her fabric'’s over her.

It'’s all very beautiful
and elegant,

but kind of weathered
and matured.

Don'’t be lonely, Lydia.

You deserve so much more.

Promise me that.

I promise.

When we started talking
about Episode 6,

we really wanted to find a way

to bring all of our core
characters together

in one big set-piece.

And we decided
that the best way,

and the most
visually-stimulating way

would be to do it around
Ram and Mala'’s wedding.

DARSHAN: We find Ram in love,
to be suddenly alive

to a world which is bigger
than the hospital.

Whether to step up his
relationship with Mala,

he'’s contemplating marriage.

Throughout the second season,

we see him speaking out loud
about it,

maybe confiding his fears in the
people who are closest to him.

The exciting thing about doing
the wedding of Ram and Mala

is to keep the traditions alive
of a traditional Hindu wedding

and the rituals the bride
and groom go through.

Ram and Mala are having quite
a simple but elegant wedding.

They are still wearing
traditional dress.

It'’s a very simple look,
particularly for Darshan.

For the first time, all of our
leads are in traditional wear.

A material of a sari
can tell an awful lot

about where someone comes from.

So for us,
it'’ll be a really nice...

creative aspect where
everything can come out.

We'’ll be doing again...

We'’ll be making them look
slightly more traditional.

The jewelled bindis are great
for the girls,

bits in their hair...

You know,
they'’re doctors and nurses.

For them to actually
be able to...

For us to be able
to create this...

really beautiful make-up
and hair for these guys...

With regards to Mala, the bride,

they wear a big flower piece
in their hair.

It goes right across the back.

We look at the henna aspect,
the henna is tattooed on.

We see Ruby for the first time

wearing traditional wear
this series.

Which is lovely,

because it'’s throughout
the whole of this season,

you know, as we'’ve said before,

she'’s shown her practical side,
she'’s learning to be a surgeon.

She really has had to sort of
embrace her environment.

So it'’s quite wonderful
to take her

and put her in such a different
look for the wedding.

Interestingly,
that idea came from Amrita.

She felt it was really the right
moment for her character

to...I suppose,
assume her Indian identity

in quite a literal way,
actually.

Ruby?

Real Indian women don'’t fidget.

Hm.

What, and I'’m not
a real Indian woman?

Of course not.
You were born in Nottingham.

Last time I looked,
that was not in India.

But we may be prepared
to adopt you.

After a suitable time period,
on a trial.

And how long is this trial,
exactly?

It finishes exactly...

..now.

So, do I pass?

With flying colours.