:thumbsup:Quote:
Originally Posted by Sid_316
I like these Brazilian Crime/Gangsta/Corrupt_Cop films. :D
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:thumbsup:Quote:
Originally Posted by Sid_316
I like these Brazilian Crime/Gangsta/Corrupt_Cop films. :D
Brothers- Intense. :)
Revisited Amadeus
Was just referring to Wiki now and found a couple of interesting points:
From Amadeus Wiki (Play)
Quote:
Factual accuracy
Shaffer used dramatic licence in his portrayals of both Mozart and Salieri, but there is debate as to just how much.[citation needed] Documentary evidence suggests that there was some antipathy between Mozart and Salieri, but the idea that Salieri was the instigator of Mozart's demise is not given academic credence. While, historically, there may have been actual rivalry between Mozart and Salieri, there is also evidence that they enjoyed a relationship marked by mutual respect. As an example, Salieri later tutored Mozart's son Franz Xaver Wolfgang Mozart in music.
Writer David Cairns called Amadeus "myth-mongering" and argued against Shaffer's portrait of Mozart as "two contradictory beings, sublime artist and fool", positing instead that Mozart was "fundamentally well-integrated". Cairns also rejects the "romantic legend" that Mozart always wrote out perfect manuscripts of works already completely composed in his head, citing major and prolonged revisions to several manuscripts; see Mozart's compositional method
aaaha, summava sonnainga vellakkaaranunga :bow:Quote:
Originally Posted by Bala (Karthik)
Maddy,
:lol:
Rendu vishayams after reading this:
1. We always tend to romanticize a lot of stuff without actually having access to the things really happening. I guess Cairns implied that he usually has everything on his mind, but he also finds the need for correction, enhancements etc...
2. I wonder about the aforesaid(romanticizing stuff) in the context of Raasayya. Of course, as many people from the field have observed, he follows the compose in mind and write down everything - first time/only time model. However, there might have been times when he would also have found the need to correct/revise/enhance, perhaps(?). This does not change the basic model much IMO.
Irrespective of the degree, it is reinforced in my mind more strongly than ever, that what Raaja does while composing is absolutely mind boggling. People might take sides as to which approach they prefer, or some might say the approach matters little and we laymen should not be commenting on such things and should be confined only to talking about the music etc... but in my mind, whatever side one is on, such talent is beyond fathomable levels! Without parallel! :notworthy:
P.s: Towards the end of the film, there is the "Confutatis" dictation scene. That is how a typical Raaja composition session would be i guess!!!
Just realized I also quote (like a quote-whore) guru Woody Allen in there. :oops:
Raaja's method is astounding. :notworthy:
But whatever said of artist's methods, we aren't paying enough credence to their "intentions" in first place. For all we know, the first attempted notes might be a masterwork in its own right. But the art of perfecting and getting the right essence is absolutely essential and matters to the artist. Best example would be (and also quite relevant to the thread) Kubrick getting countless shots/takes of reactions from actors and is known to chose eccentricity/theatricality over the apt/right choice - which was quite likely to be nailed in the very first take. Why? Because the artist wants the creation to fall in line with his overall vision and in setting it up in the right way for "us" to see/hear/feel/experience. The process is quite often fine-tuning and chipping off the rawness of creation to what the artist absolutely needs to convey. Than necessarily a hit-and-hope or luck. :thumbsup:
Avatar !!!!
The Pianist - Good. Actually I thought this was better than Schindler's list. There are some movies you need to recognize and give awards so that some stories and messages passes through the next generation and holocaust is one of them.