Suresh, rightly put :clap:Quote:
In Nandhalala, Mysskin has chosen to use the background score as a narrative tool. Mysskin has tried to narrate an obvious story through visuals and not so obvious layers of the story through music. That is that.
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Suresh, rightly put :clap:Quote:
In Nandhalala, Mysskin has chosen to use the background score as a narrative tool. Mysskin has tried to narrate an obvious story through visuals and not so obvious layers of the story through music. That is that.
I don't think any script writer will choose a story like nandhala that way and also shoot, edit , add sound effects for that .
The Background score for the film would have been a post- editing perspective that was added and not a choice made at shooting/script stage
Yes, I agree. I didn't mean that he wrote the not-so-obvious layers of the script thinking about Ilaiyaraaja's music. I wrote it in a sense that a filmmaker writes or makes a film even after it is shot and edited; it is just that he doesn't use paper and pen - the tools are different at this stage.Quote:
Originally Posted by MumbaiRamki
When IR asked what he should put for the opening credits of the film, it is Mysskin who suggested to leave it without music. He explained why he did so in an interview. That decision of Mysskin, was not written on paper during the scripting/shooting stage. The filmmaker here is using silence a tool to express something and to create an impact on the audience.
Listening to the opening 'Meet Agilan' track (one of the rare close-ups in Mysskin's films!). Would be 10-15 times today.
Finishing chords - some kind of inward-sounding woodwind instrument...wind synth?
Sure synth... but brilliant.Quote:
Originally Posted by kid-glove
It would be interesting to know how much inputs Mysskin gave to illayaraja before and after the background score. As far as the title score , i think primarly raaja asked , as the titles would be something thats not a part of the script and sometimes sets the mood of the film.I thought Mysskin wanted the viewers to get used to the pace of the film :0Quote:
Originally Posted by sureshmehcnit
Movie may not qualify for National awards if it is a lift, copy or inspiration from some source....don't you think? :roll:
I don't know the facts, I just found out Netflix hosts that ASIAN movie... may be I will check it out in coming days..
too bad if it is not a original idea ...
vinatha.
ஏங்க? அப்படி என்ன பொல்லாத பாவம் சேரப் போகுது? கலை என வந்துவிட்டால், அது நம்மை எப்படியெல்லாம் ஆட்கொள்கிறது என்பதற்கு மட்டுமே முக்கியத்துவம் தரவேண்டுமே தவிர, இது காப்பியா, டீயா என சோதித்துப் பார்க்கக் கூடாதுன்னு சொல்றேன். அன்னை தெரசா சொன்னது ஞாபகத்திற்கு வருகிறது. If you start judging people, you have no time to love them.Quote:
Originally Posted by baroque
no பாவம் done .
நேஷனல் அவார்ட்ஸ் ரூல்ஸ் என்னன்னு எனக்குத்தெரியாது ...அதான் கேட்டேன். :)
moreover
there may be some films with original & inspiring theme ,may have good enough bgm by some music director or IR himself. Don 't you think they should be rewarded & encouraged ..after all they earned it honestly.
வினதா .
அது அவார்டு கமிட்டிக்கே தெரியாது :-)Quote:
Originally Posted by baroque
That apart, even movies that are re-made after acquiring rights from another language have got national awards in certain categories. (e.g. KSC winning award for Hindi version of inji iduppazhagi after SJ won for Thamizh previously).
Movies that are "copied" / "inspired" etc won't have any restrictions at all, for any recognition - let alone national awards.
Didn't TIME magazine list nAyakan among greatest movies ever made (after being very well aware of the inspiration / scene lifts etc from Godfather)?