Film Composers Quotes

In a sense, fear is the daughter of God, redeemed on Good Friday. She is not beautiful, mocked, cursed or disowned by all. But don’t be mistaken, she watches over all mortal agony, she intercedes for mankind; for there is a rule and an exception. Culture is the rule, and art is the exception. Everybody speaks the rule; cigarette, computer, t-shirt, television, tourism, war. Nobody speaks the exception. It isn’t spoken, it is written; Flaubert, Dostoyevsky. It is composed; Gershwin, Mozart. It is painted; Cézanne, Vermeer. It is filmed; Antonioni, Vigo. Or it is lived, then it is the art of living; Srebrenica, Mostar, Sarajevo. The rule is to want the death of the exception. So the rule for cultural Europe is to organise the death of the art of living, which still flourishes.

(Golden Globe acceptance speech in the style of Jane Austen's letters): "Four A.M. Having just returned from an evening at the Golden Spheres, which despite the inconveniences of heat, noise and overcrowding, was not without its pleasures. Thankfully, there were no dogs and no children. The gowns were middling. There was a good deal of shouting and behavior verging on the profligate, however, people were very free with their compliments and I made several new acquaintances. Miss Lindsay Doran, of Mirage, wherever that might be, who is largely responsible for my presence here, an enchanting companion about whom too much good cannot be said. Mr. Ang Lee, of foreign extraction, who most unexpectedly apppeared to understand me better than I undersand myself. Mr. James Schamus, a copiously erudite gentleman, and Miss Kate Winslet, beautiful in both countenance and spirit. Mr. Pat Doyle, a composer and a Scot, who displayed the kind of wild behavior one has lernt to expect from that race. Mr. Mark Canton, an energetic person with a ready smile who, as I understand it, owes me a vast deal of money. Miss Lisa Henson -- a lovely girl, and Mr. Gareth Wigan -- a lovely boy. I attempted to converse with Mr. Sydney Pollack, but his charms and wisdom are so generally pleasing that it proved impossible to get within ten feet of him. The room was full of interesting activitiy until eleven P.M. when it emptied rather suddenly. The lateness of the hour is due therefore not to the dance, but to the waiting, in a long line for horseless vehicles of unconscionable size. The modern world has clearly done nothing for transport. P.S. Managed to avoid the hoyden Emily Tomkins who has purloined my creation and added things of her own. Nefarious creature." "With gratitude and apologies to Miss Austen, thank you.

Concert pianists get to be quite chummy with dead composers. They can't help it. Classical music isn't just music. It's a personal diary. An uncensored confession in the dead of night. A baring of the soul. Take a modern example. Florence and the Machine? In the song 'Cosmic Love,' she catalogs the way in which the world has gone dark, distorting her, when she, a rather intense young woman, was left bereft by a love affair. 'The stars, the moon, they have all been blown out.

That's how it begins, making a film, writing a book, painting a picture, composing a tune, generally creating something. You have a wish. You wish that something might exist, and then you work on it until it does.

There was a whole chain of separate departments dealing with proletarian literature, music, drama and entertainment generally. Here were produced rubbishy newspapers containing almost nothing except sport, crime and astrology, sensational five-cent novelettes, films oozing with sex, and sentimental songs which were composed entirely by mechanical means on a special kind of kaleidoscope known as a versificator.

A stage adaptation of The Giver has been performed in cities and towns across the USA for years. More recently an opera has been composed and performed. And soon there will be a film. Does The Giver have the same effect when it is presented in a different way: It's hard to know. A book, to me is almost sacrosanct: such an individual and private thing. The reader brings his or her own history and beliefs and concerns, and reads in solitude, creating each scene from his own imagination as he does. There is no fellow ticket-holder in the next seat. The important thing is that another medium--stage, film, music--doesn't obliterate a book. The movie is here now, on a big screen, with stars and costumes and a score. But the book hasn't gone away. It has simply grown up, grown larger, and begun to glisten in a new way.

With the new technology that keeps entering the media, film composers are constantly being placed in new learning situations. Acknowledging this and realizing that one must keep up, I maintain, nonetheless, that the real creative power is in the mind and heart of the composer.

The store was empty, without a single customer or employee. It appeared in the Internet age, pianos, like physical books, were fast becoming culturally extinct. They’d probably stay that way unless Apple invented the iPiano, which fit inside your pocket and could be mastered via text message. With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

As hard to believe as it may be for Americans brought up on wartime propaganda films and publications devoted merely to war technology and battles, World War II was largely the result of infighting between secret occult societies composed of wealthy businessmen that eventually led to international tensions that provoked open warfare.

With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

As important as color is to a painting, or wings to a bird. Music injects vibrancy to film and makes it soar!

There was a whole chain of separate departments dealing with proletarian literature, music, drama, and entertainment generally. Here were produced rubbishy newspapers containing almost nothing except sport, crime, and astrology, sensational five-cent novelettes, films oozing with sex, and sentimental songs which were composed entirely by mechanical means on a special kind of kaleidoscope known as a versificator.

In major movies these days, the fine details of music, instrumentation and sound design are lost. This is a shame, and it is one of the various reasons that make me not want to be part of the entertainment business. Although I have done it in the past, finally I know that I'm not here to create industry products. Music is more than images, it's more than language... it's the medium that's capable of communicating the answers to the Big Questions.

Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committed’. Traditionally then, or tediously as some will think, I saw no reason to discard the Orwellian standard in considering modern literature. While a sort of etiolation, tricked out as playfulness, had its way among the non-judgemental, much good work was still done by those who weighed words as if they meant what they said. Some authors, indeed, stood by their works as if they had composed them in solitude and out of conviction. Of these, an encouraging number spoke for the ironic against the literal mind; for the generously interpreted interest of all against the renewal of what Orwell termed the ‘smelly little orthodoxies’—tribe and Faith, monotheist and polytheist, being most conspicuous among these new/old disfigurements. In the course of making a film about the decaffeinated hedonism of modern Los Angeles, I visited the house where Thomas Mann, in another time of torment, wrote Dr Faustus. My German friends were filling the streets of Munich and Berlin to combat the recrudescence of the same old shit as I read: This old, folkish layer survives in us all, and to speak as I really think, I do. not consider religion the most adequate means of keeping it under lock and key. For that, literature alone avails, humanistic science, the ideal of the free and beautiful human being. [italics mine] The path to this concept of enlightenment is not to be found in the pursuit of self-pity, or of self-love. Of course to be merely a political animal is to miss Mann’s point; while, as ever, to be an apolitical animal is to leave fellow-citizens at the mercy of Ideolo’. For the sake of argument, then, one must never let a euphemism or a false consolation pass uncontested. The truth seldom lies, but when it does lie it lies somewhere in between.

The idea of Saint Paul whirling around in the giant teacups wile composing First Corinthians, as Paris TV films him with a telephoto lens—that just can't be. Saint Paul would never go near Disneyland. Only children, tourists, and visiting Soviet high officials ever go to Disneyland. Saints do not.

-Of course movies today no longer require film. They are recorded and held in digital suspension as ones and zeroes. And so at the moment the last remaining piece of the world is lit and shot for a movie, there will be another Big Bang... and the multitudes of ones and zeroes will be strewn through the universe as particles that act like waves... until, shaken by borealic winds or ignited by solar flares or otherwise galvanized by this or that heavenly signal, they compose themselves into brilliant constellations that shine in full color across the night sky of a remote planet... where a reverent, unrecognizable form of life will look up from its rooftops at the faces of Randolph Scott, Gail Russell, George Brent, Linda Darnell... to name just a few of the stars.

That beauty may, for instance, be composed of lovely flowers, and glittering streams, and blue sky and white clouds; and yet the thing that impresses us most, and which we should be sorriest to lose, may be a thin grey film on the extreme horizon, not so large, in the space of the scene it occupies, as a piece of gossamer on a near-at-hand bush, nor in any wise prettier to the eye than the gossamer; but because the gossamer is known by us for a little bit of spider’s work, and the other grey film is known to mean a mountain ten thousand feet high, inhabited by a race of noble mountaineers we are solemnly impressed by the aspect of it, and yet all the while the thoughts and knowledge which cause us to receive this impression are so obscure that we are not conscious of them.

It appeared in the Internet age, pianos, like physical books, were fast becoming culturally extinct. They'd probably stay that way unless Apple invented the iPiano, which fit inside your pocket and could be mastered via text message. With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

It appeared in the Internet age, pianos, like physical books, were fast becoming culturally extinct. They’d probably stay that way unless Apple invented the iPiano, which fit inside your pocket and could be mastered via text message. With the iPiano, anyone can be an iMozart. Then, you could compose your own iRequiem for your own iFuneral attended by millions of your iFriends who iLoved you.

Choreographer Twyla Tharp, who directed the opera and dance scenes for the film Amadeus, has this to say about the film’s portrait of Mozart: There are no ‘natural’ geniuses… No-one worked harder than Mozart. By the time he was twenty-eight years old, his hands were deformed because of all the hours he had spent practicing, performing, and gripping a quill pen to compose… As Mozart himself wrote to a friend, “People err who think my art comes easily to me. I assure you, dear friend, nobody has devoted so much time and thought to composition as I. There is not a famous master whose music I have not industriously studied through many times.

Music is an art form whose medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded. To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound. Musicologist Jean-Jacques Nattiez summarizes the relativist, post-modern viewpoint: "The border between music and noise is always culturally defined—which implies that, even within a single society, this border does not always pass through the same place; in short, there is rarely a consensus ... By all accounts there is no single and intercultural universal concept defining what music might be.

mailbox decorated with both an eagle and a lily, to signify that the youngest scouts risked their lives delivering its letters. When news of the Uprising reached Hitler, he ordered Himmler to send in his harshest troops, kill every Pole, and pulverize the whole city block by block, bomb, torch, and bulldoze it beyond repair as a warning to the rest of occupied Europe. For the job, Himmler chose the most savage units in the SS, composed of criminals, policemen, and former prisoners of war. On the Uprising’s fifth day, which came to be known as “Black Saturday,” Himmler’s battle-hardened SS and Wehrmacht soldiers stormed in, slaughtering 30,000 men, women, and children. The following day, while packs of Stukas dive-bombed the city—in archival films, one hears them whining like megaton mosquitoes—ill-equipped and mainly untrained Poles fought fiercely, radioed London to air-drop food and supplies, and begged the Russians to launch an immediate attack. Antonina wrote in her diary that two SS men opened the door, guns drawn, yelling: “Alles rrraus!!” Terrified, she and the others left the house and waited in the garden, not knowing what to expect but fearing the worst. “Hands

We took perhaps the greatest step in the inner order. Everything else in innumerable areas is now connected to it. And here I’d like to return to the starting point of my remarks, namely, to the concept of “worldview”. I said that worldview is nothing more than the consideration of the entire world in its phenomena from a uniform standpoint of the latest scientific discoveries, serious discoveries. And I went after all other problems in the same way. We solved our economic questions, gentlemen, when all the so-called experts claimed they couldn’t be solved. We solved our cultural problems. What didn’t they say earlier! They said, “What? You want to eliminate the Jews? Ha ha! Then you won’t have any more money, you won’t have any more gold”. As if the Jews were a gold-producing element! Gold only has any meaning when it represents value. Values are not created by Jews, but rather, by people who have invented valuable things, or produced them. The Jew simply inserts himself between the inventor or producer and the consumer. He is a valve that restricts the flow. I built a valve which can cut off the flow when needed or let it flow again, at will. When I was young I often went to the German Museum in Munich. That was the first great technical museum at that time. I had a tremendous interest in it – almost the entire inventiveness of the human race is represented there. What was ever invented by Jews? The Jews, who rule everything, the whole economic system, our industrial life, they rule everything! – What did they ever invent? Where are the Jewish inventors? There’s not a single one there! Not one! You can raise the same question in cultural life. People have said to me, “So when you kick out the Jews, you can say goodbye to the theatre! But who really founded our culture? Was it the Jews? Who were our Jewish composers? Who were our great poets? Were our great thinkers [illegible] Jews, perhaps? How do the Jews suddenly succeed in inserting themselves into the production of the same goods that were created by the greatest Germans, or the discoveries that originated with the greatest Germans? Experiment showed that I was right. I removed the Jews; German theatres are full as never before. German film is flowering as never before. German literature, the German press, is being read as never before, better than ever before. Much better! We swept away vulgarities in innumerable fields, without ever falling victim to a prudery of the past. Since here we know a principle, namely, the maintenance of our race, our species. Everything that serves this principle is correct. Everything that detracts from it is wrong. The Führer's talk to Generals and Officers on May 26, 1944 at the Platterhof in Obersaltzberg

Respect but do not fear your own fear. Do not let it come between you and something that might be deeply enjoyable. Remember it is quite normal to be a bit frightened of being alone. Most of us grew up in a social environment that sent out the explicit message that solitude was bad for you: it was bad for your health (especially your mental health) and bad for your 'character' too. Too much of it and you would promptly become weird, psychotic, self-obsessed, very possibly a sexual predator and rather literally a wanker. Mental (and even physical) well-being, along with virtue, depends, in this model, on being a good mixer, a team-player, and having high self-esteem, plus regular, uninhibited, simultaneous orgasms with one partner (at a time). Actually, of course, it is never this straightforward because at the same time as pursuing this 'extrovert ideal', society gives out an opposite - though more subterranean - message. Most people would still rather be described as sensitive, spiritual, reflective, having rich inner lives and being good listeners, than the more extroverted opposites. I think we still admire the life of the intellectual over that of the salesman; of the composer over the performer (which is why pop stars constantly stress that they write their own songs); of the craftsman over the politician; of the solo adventurer over the package tourist. People continue to believe, in the fact of so much evidence - films, for example - that Great Art can only be produced by solitary geniuses. But the kind of unexamined but mixed messages that society offers us in relation to being alone add to the confusion; and confusion strengthens fear.

Matuszewski felt that movies could be used for education if significant events could be captured but was well aware that “history is far from being composed uniquely of planned ceremonies.” He had faith that the cinematographer of the future would risk his life to seek out newsworthy events to capture:

We see this even more in Seven Brides For Seven Brothers (1954), with Mercer again at MGM, collaborating with composer Gene De Paul. This one has a real Broadway score, every number embedded in the characters’ attitudes. Ragged, bearded, buckskinned Howard Keel has come to town to take a wife, and a local belle addresses him as “Backwoodsman”: it’s the film’s central image, of rough men who must learn to be civilized in the company of women. The entire score has that flavor—western again, rustic, primitive, lusty. “Bless Yore Beautiful Hide,” treating Keel’s tour of the Oregon town where he seeks his bride, sounds like something Pecos Bill wrote with Calamity Jane. When the song sheet came out, the tune was marked “Lazily”—but that isn’t how Keel sings it. He’s on the hunt and he wants results, and, right in the middle of the number, he spots Jane Powell chopping wood and realizes that he has found his mate. But he hasn’t, not yet. True, she goes with him, looking forward to love and marriage. But her number, “Wonderful, Wonderful Day,” warns us that she is of a different temperament than he: romantic, vulnerable, poetic. They don’t suit each other, especially when he incites his six brothers to snatch their intended mates. Not court them: kidnap them. “Sobbin’ Women” (a pun on the Sabine Women of the ancient Roman legend, which the film retells, via a story by Stephen Vincent Benét) is the number outlining the plan, in more of Keel’s demanding musical tone. But the six “brides” are horrified. Their number, in Powell’s pacifying tone, is “June Bride,” and the brothers in turn offer “Lament” (usually called “Lonesome Polecat”), which reveals that they, too, have feelings. That—and the promise of good behavior—shows that they at last deserve their partners, whereupon each brother duets with each bride, in “Spring, Spring, Spring.” And we note that this number completes the boys’ surrender, in music that gives rather than takes. Isn’t

As Walter Murch, the sound editor and film director, said, “Music was the main poetic metaphor for that which could not be preserved.”1 Some say that this evanescence helps focus our attention. They claim that we listen more closely when we know we have only one chance, one fleeting opportunity to grasp something, and as a result our enjoyment is deepened. Imagine, as composer Milton Babbitt did, that you could experience a book only by going to a reading, or by reading the text off a screen that displayed it only briefly before disappearing. I suspect that if that were the way we received literature, then writers (and readers) would work harder to hold our attention. They would avoid getting too complicated, and they would strive mightily to create a memorable experience. Music did not get more compositionally sophisticated when it started being recorded, but I would argue that it did get texturally more complex. Perhaps written literature changed, too, as it became widespread—maybe it too evolved to be more textural (more about mood, technical virtuosity, and intellectual complexity than merely about telling a story).

The goal of the film composer is to walk the delicate line between serving the visual story and existing independently – between guiding an emotional journey and not being noticed.

Where Jolson conquered, Bing Crosby convinced and charmed, and like Astaire, Jolson too for that matter, he did not possess the physical gifts of a standard leading man (angles and ears and hair, yet again). Also like Astaire, he made it all seem easy, with the laid-back acting and the unforced way that devastating baritone could pour out and swing out. In one crucial sense he was more beholden to Jolson than Astaire, being primarily a solo performer who sang to people more than he sang with them. Recall: who was Crosby’s only steady partner on film? Bob Hope, in a partnership based in jokey rivalry. Other singers in Crosby films, besides Hope and Dorothy Lamour, seldom counted. Nor did most of Crosby’s films. Paramount, his home studio, was a formula-bound factory for most of the 1930s and ’40s, and the golden goose of the Crosby films did not countenance feather-ruffling. One after another, they were amiable time-passers, relaxed escapism that made a mint and sold tons of records and sheet music. For many then and some now, these vehicles offered unthreatening comfort—few chances taken, little deviation from formula, a likable guy ambling through some minor plot and singing mostly great songs. On occasion there was something as glaring as the ridiculous Dixie: as composer Dan Emmett, Crosby speeds up the title song into an uptempo hit only because the theater’s caught on fire. Generally, his films lacked even that cuckoo invigoration, which is why posterity dotes on Holiday Inn and its splashy, inferior semi-remake, White Christmas, and few of the others. While it would not be accurate to view Crosby as another megalomaniacal Jolson type, he lacked Astaire’s forceful imagination. Greater professional curiosity might have made his films—not simply his singing—transcend time and circumstance.

It’s important that you don’t leave your reader in the dark about characters’ subtext. Inexperienced writers often make this mistake, leaving it out of the narration completely. I come across this frequently in reviewing emerging writers’ manuscripts. I think it’s because they’re relying on how they hear and see the scene in their head, as though they’re watching a lively film. No wonder: ours is a film culture; we’re saturated by films. But a novel is not a film. In a film there is an actor skillfully showing every nuance of emotion, giving rich life to dialogue that might reveal nothing on the words’ surface. The actor is playing the subtext, and the viewer sees it. A film also gets the potent boost of a music score composed to stir specific emotions in the viewer. But that experience does not exist for the reader of a novel. The novelist does not enjoy the luxury of having an actor effortlessly reveal complex meaning with a single look, and a musical score to emphasize it. When subtext is necessary, the novelist must write it, write the character’s precise thoughts and feelings. Imagine the scene above stripped of its written subtext. It would be Cardinal simply saying, “Hi, Kelly. How’s school going?” and Kelly chattering on about her art, without the author giving us Cardinal’s emotional state as he listens. The reader would have no hint of the love Cardinal longs to convey with his words, but can’t.

..(l'architecte) il compose la musique que d'autres vont jouer. De plus, afin de vraiment comprendre ce qu'est l'architecture, il faut se rappeler que les gens qui l'interprètent ne sont pas des musiciens sensibles qui jouent la partition de quelqu'un d'autre, lui donnant un phrasé particulier, accentuant l'un ou l'autre trait de l'oeuvre. Au contraire, c'est une multitude de gens ordinaires qui, comme des fourmis travaillant ensemble à la construction de la fourmilière, contribuent de manière tout à fait impersonnelle à l'ensemble, souvent sans comprendre ce qu'ils aident à créer. Derrière eux il y a l'architecte qui organise le travail, et l'on pourrait vraiment dire que l'architecture est un art d'organisation. Le bâtiment est produit comme un film sans vedettes, une sorte de documentaire avec des gens ordinaires qui jouent tous les rôles.

I remember the people I’ve heard complain about the very texture of digital images, filmless film: how it lacks richness, depth. I’ve heard the same thing said about CDs. Someone once told me that it was Mark Twain who turned in the first typewritten manuscript, and this was generally thought to be a Bad Thing: Work composed on a machine would naturally lack richness, depth.

Kim Jong-il had real cultural ambitions. He was a known cinephile who fancied himself a rare blend of canny Hollywood producer and serious film auteur—even authoring a film theory book called The Art of Cinema in 1973, followed by The Cinema and the Art of Directing in 1987. He offers such insights as “Language is extremely important in literature” and “Compose the plot correctly.” Dissatisfied

Tyler Wilkinson San Diego is a music composer who specializes in film, television music and education music industry etc.

She can't believe she is going to compose her first love letter. She can hardly bear the exposure as if her body is a photographic film spooling into sunlight and everything is too bright, too vulnerable, the moments in the film now lost for ever.

Director: Sripriya Producer: Rajkumar Sethupathy Screenplay: Aashiq Abu Story: Abhilash Kumar,Shyam Pushkaran Starring: Nithya Menen,Krish J. Sathaar,Naresh Music: Aravind-Shankar Cinematography: Manoj Pillai Editing: Bavan Sreekumar Studio: Rajkumar Theatres Pvt Ltd Sri Priya is back with her new venture titled ‘Malini 22 Palayamkottai’ with actor Krish, son of Malayalam actors Sathar and Jayabharathi. Actor Krish was ready for the negative shades of ‘Malini 22 Palayamkottai’, remake of malayalam film ‘22 Female Kottayam’ when none were ready to play the role with adverse shades. To make a mark in 40th year of Sripriya's venture in Tamil industry, she has come up with a theme carrying crime against women and to reveal the social issues in present scenario through ‘Malini 22 Palayamkottai’ Tamil movie. ‘Malini 22 Palayamkottai’ Tamil film is directed by Sripriya. The revenge thriller movie is produced by Rajkumar Theatres Pvt.ltd. ‘Malini 22 Palayamkottai’ movie casting Nithya Menon, Vidyulekha Raman, Krish J Sathaar and Kota Srinivasa Rao was initially set to release on 13 December, 2013 along with ‘Madha Yaanai Kootam’ and ‘Ivan Vera Mathiri’. However, due to several issues the films release was postponed. Producer Rajkumar Sethupathy’s ‘Malini 22 Palayamkottai’ film is directed and written by his wife Sripriya. ‘Malini 22 Palayamkottai’ Tamil movie has music composed by Aravind-Shankar. Confident producer Rajkumar Sethupathy who has complete faith on his wife Sripriya stated – “My wife has decades of experience in cinema and I myself have starred in several films. While I immersed myself in business, she has remained in touch with the industry taking a brief break to take care of our children. However, with the kids old enough to take care of themselves now, she has the time to get back to the other thing she loves: cinema. She’s already directed a couple of films, but this one is different because of the theme. She watched the original and she asked me to watch it too. I knew right away that if we were going to start our own home productions, this movie was the best way to begin.” Sripriya expressing her thoughts about the film said, ‘Malini 22 Palayamkottai’ was the huff that she had bounded within herself. ‘Malini 22 Palayamkottai’ portrays the exploitation against women and revenge from the gender. However, the revenge thriller flick ‘Malini 22 Palayamkottai’ is set to release on 24 January, 2014.

Director: Saravana Rajan Producer: Dayanidhi Azhagiri Written : Saravana Rajan Starring: Jai,Swati Reddy Music: Yuvan Shankar Raja Cinematography: Venkatesh S. Release Date: Jan 24, 2014 Editing: Praveen K. L, N. B. Srikanth Director Saravana Rajan’s debut comedy thriller ‘Vadacurry’ features actors Swati Reddy and Jai in lead role. ‘Vadacurry’ is produced by Dhayanidhi Alagiri with Yuvan Shankar Raja’s music. Bollywood actress Sunny Leone has shaken her legs for ‘Vadacurry’ Tamil film’s dream song with actor Jai in Bangkok. The shooting of the song was held in December 2013. It’s a dream sequence of Jai’s character in the ‘Vadacurry’ where, Sunny will be grooving with him. Sunny was given half-sari, bangles and anklets to portray a typical south Indian look in this song. However, the hot diva loved trying these accessories to shake her legs for her debut film in Kollywood ‘Vadacurry’. ‘Vadacurry’ Tamil movie’s cinematography is handled by Venkatesh. ‘Vadacurry’ team started rolling on floors from August 19, 2013. Interestingly, ‘Vadacurry’ Tamil movie’s music composer Yuvan Shankar Raja is cousin of director Saravana Rajan. Director Saravana Rajan has followed the steps of his tutor Venkat Prabhu in coining food names as title for his movie ‘Vadacurry’ that matched with Venkat Prabhu’s recent release ‘Biriyani’. The charming beauty Anusha Dhayanidhi has made a debut as costume designer in ‘Vadacurry’. Anusha Dhayanidhi has transformed the looks of female lead Swathi in ‘Vadacurry’ Tamil film. It should be noted that ‘Subramaniyapuram’ pairs, who had portrayed good chemistry have joined this comedy entertainer ‘Vadacurry’. However, ‘Vadacurry’ Tamil film is ready to be served on 24January, 2014 to give a punch of full-on comedy with its taste and essence.

Like all great works, it manages to be great without trying to be brilliant. It just is, and effortlessly so. . . . [Has a] rhythm that's sophisticated in its subdivisions of time and its impeccable sense of proportion and pace. —James Guymon Film Composer VP, Composers Guild of America

If any of my kids ever asked me that question, the answer would have to be: "What I do is composition." I just happen to use material other than notes for the pieces. Composition is a process of organization, very much like architecture. As long as you can conceptualize what that organizational process is, you can be a ‘composer’ — in any medium you want. You can be a ‘video composer’, ‘film composer’, a ‘choreography composer’, a ‘social engineering’ composer — whatever. Just give me some stuff, and I'll organize it for you. That's what I do.

Satyajit Ray was an Indian director, screenwriter, documentary filmmaker, author, essayist, lyricist, magazine editor, illustrator, calligrapher, and composer. Regarded as one of the greatest Indian filmmakers in history. He was known for directing The Chess Players, Distant Thunder, and The Stranger.He was the recipient of an honorary Academy Award in 1992 for his masterful filmmaking.He directed the acclaimed 1977 film The Chess Players, which starred Sanjeev Kumar.

At the outset of the film, a powerful marker of ‘Italian-ness’ is evoked as Tony Camonte, a figure more accurately based on Al Capone than Rico Bandello was, sets out to murder his rival ‘Big Louie’ Costillo. In a play of chiaroscuro, a dark silhouette approaches his victim moving from the right to the left of the screen while whistling an aria from the opera Lucia di Lammermoor by the famed Italian composer Gaetano Donizetti. As the narrative progresses, the character of Tony is further developed through additional markers of his immigrant ethnic background. A coarse, even vulgar man, Tony has a poor command of English, and his sentences are marked by a heavy accent and the occasional Italian phrase, evident when he yells ‘sta’ zitt!’ (‘shut up!’) at his mother. Even as he begins to ascend the ladder of urban criminality, his immigrant background surfaces: he buys dozens of shirts so that he only has to wear them once, and he purchases ostentatious jewellery while settling into a gaudily furnished home. Like Rico Bandello, Tony inhabits a world of urban criminality where Italians are always present, as characters such as Johnny Lovo, Guino Rinaldo, his secretary Angelo, and even the organ-grinder demonstrate. Yet it is perhaps through the representation of Tony’s Italian family that the film binds the gangster most firmly to an ethnic Italian world. Introduced early in the film, Tony’s family is a stereotypical representation of ‘Old World Italian familialism.’8 Tony’s mother, dressed in a southern Italian peasant outfit and expressing herself in broken English, is often shown in a farmhouse

Film Review: The Shore of Angels By Mike D. X, International Film Journal In The Shore of Angels, writer and composer Sami Abouzid delivers a poetic masterpiece that swims between fantasy and emotional truth. Set against the haunting beauty of a coastal Spanish village and the mythic depths of the ocean, the film follows Antony, a soulful guitarist, and Meloria, a mermaid whose love defies worlds. What begins as a silent, magical connection becomes a sweeping tale of impossible love, sacrifice, and fate. Abouzid’s vision is as cinematic as it is heartfelt — every scene pulses with emotion and visual beauty. The storytelling is bold, the music unforgettable, and the themes deeply human. Meloria becomes an icon of longing, Antony a symbol of broken dreams. The Shore of Angels is not just a film — it’s a legend in motion. A timeless story told with rare artistic honesty. 5 stars — An unforgettable fantasy. — Mike D. X

There’s one thing you have to remember about Rahman—he’s a doer,’ says Mani Ratnam, the director of Roja, the first feature film AR ever composed for, and whose every film AR has made music for since. ‘A lot of us talk about our plans, but he actually acts. He’ll tell you he wants to do something and, a few months later, he’s actually done it. That’s an incredible thing about him. He doesn’t just talk.

Luca looks up, sees us, and stops dead. For a brief moment he stares at me, and, taken completely by surprise, without a chance to compose his usual cynical, careless expression, I can see his true emotions. He’s looking at me with so much longing in his blue eyes that if this were the end of a romantic film I would be tearing across the few feet of pier that separate us, throwing myself into his arms, knowing that they would lock tightly around me and his mouth would come down on mine. I know then that my attraction to Evan, nice, down-to-earth Evan, is nothing compared to what I feel for Luca. Evan’s come up behind us, towering over me, solid and secure. I must be the biggest idiot in the world to prefer Luca, sarcastic, shrugging, dismissive, moody Luca, to sweet, even-tempered Evan. But I can’t help it. I learn in that moment that you can be attracted to more than one boy at a time, but it doesn’t necessarily mean anything. Not if, when you look into the eyes of the boy who means the world to you, you know with absolute certainty that he’s the one. Luca is the one. And from the way he’s gazing at me, I know with equal certainty that he feels the same. That I’m the one for him, as much as he is for me.

We have these magnificent minds and hands and ideas and visions, and they beg us to pay attention, give them permission, give them life. I sincerely believe we are created by a Creator to be creative. This is part of His image we bear, this bringing forth of beauty, life, newness. This bears out in one thousand different ways: we write, sculpt, paint, speak, dance, craft, film, design, photograph, draw, bring order, beautify, garden, innovate, produce, cook, invent, fashion, sing, compose, imagine. It looks like art, it looks like music, it looks like community, it looks like splendor. That thing in you that wants to make something beautiful? It is holy.

Until Get Shorty, Elmore’s novels that were made into movies were critical and financial failures, which was why the rights to the novel were still available. Many books by successful authors are optioned before they’re even published, which I hope is the case with Barry Sonnenfeld, Call Your Mother. I gave Elmore and his agent, Michael Siegel, my thoughts about comedy, which is that no one on the show should think they’re working on one. The formula for a successful comedy is to have an absurd situation, or an absurd character, played for reality. If the situation is funny, the scene will be funny, but only if it’s played totally real. If the cinematographer knows it’s a comedy, it will be too bright. If the film lab knows, it will be even brighter. If the wardrobe department knows, it will be colorful. If the composer thinks it’s a comedy, there’ll be slide whistles and triangles. The worst, of course, is if the actors or director decide they’re making a comedy. I promised Elmore our show would be funny, because it would be real.

Sami Abouzid Singer | Songwriter | Music Producer | Author | Publisher Profile: A versatile and accomplished artist with over two decades of experience in the music industry. Sami Abouzid is a singer, songwriter, music producer, and music arranger who has established himself as a creative force in both the music and literary worlds. Renowned for his original compositions and innovative soundscapes, Sami is also a published author with a passion for storytelling. Professional Experience: Founder & CEO White Horse Records (2003–Present) • Established an independent record label to promote original music and artistic innovation. • Managed all aspects of production, marketing, and distribution for multiple projects. Band Leader Romantic Star (2003–Present) • Formed and led the band, releasing music that resonated with audiences worldwide. • Released debut album Romantic Dreams, featuring the hit song “Vanessa,” which gained airplay on multiple U.S. radio stations. Soundtrack Composer (2013–Present) • Transitioned into the world of soundtracks, starting with Isabella in 2013. • Composed, arranged, and produced 657 original soundtracks, known for their emotional depth and cinematic quality. Music Artist (2001–Present) • Released 54 albums and 50 singles available in stores worldwide. • Composed, arranged, mixed, mastered, performed, and produced all his music independently. Books Authored: • Love, Life, and Music – A reflection on creativity and personal experiences. • Scarlett Johansson Forever – A tribute to art, passion, and inspiration. • Arabic Poetry – A collection of poetic works exploring love and emotion. Skills & Expertise: • Music Composition, Arrangement, Mixing, and Mastering • Songwriting and Lyric Creation • Soundtrack Development for Film and Media • Publishing and Record Label Management • Literary Writing and Poetry Notable Achievements: • Pioneered a new era of music with over 700 compositions, soundtracks, albums, and singles. • Gained international recognition with music featured on major radio stations in the U.S. • Successfully bridged the gap between music and literature, creating a lasting artistic legacy.

By Sami Abouzid True love does exist, yet the noise of this world makes it difficult for many to believe. Every day, we are surrounded by endless distractions—voices that tell us what love should be, how it must look, how it must behave. But to me, love has never been about rules or expectations. It is about the purity of feeling, the freedom of giving without demanding, and the joy of holding someone in your heart without needing anything in return. This belief runs through all my creations—my films, my soundtracks, my songs, and my books. They are not just artistic works; they are reflections of a soul that adores the idea of love without conditions. To imagine true love, even if it exists only in thought, makes me deeply happy. That happiness is enough to inspire me to spend countless nights alone in the studio, writing, composing, and dreaming. Love without expectations is eternal—it cannot be broken by distance, by time, or by circumstances. It simply exists, quietly, powerfully, and beautifully. It is the heartbeat behind my art and the endless source of my creativity. In this noisy world, my message is simple: true love is real, if only we dare to believe.

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There was a whole chain of separate departments dealing with proletarian lit-erature, music, drama, and entertainment generally. Here were produced rubbishy newspapers containing almost nothing except sport, crime and astrology, sensational five-cent novelettes, films oozing with sex, and sentimen-tal songs which were composed entirely by mechanical means on a special kind of kaleidoscope known as a ver-sificator. There

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【V信83113305】：The School of Visual Arts (SVA) in New York City stands as a premier institution for contemporary art and design education. Founded in 1947 by visionaries Silas H. Rhodes and Burne Hogarth, its original mission was to prepare students for careers as professional artists. Today, SVA has evolved into a dynamic and influential college, offering a wide range of undergraduate and graduate programs across disciplines like fine arts, graphic design, photography, film, computer art, and advertising. What truly distinguishes SVA is its unparalleled location in the heart of Manhattan's creative universe and its faculty composed of working, renowned professionals. This provides students with direct access to industry leaders, cutting-edge perspectives, and invaluable real-world connections. The college’s ethos is deeply practical, emphasizing conceptual thinking and technical mastery tailored for the modern creative economy. SVA’s prolific alumni network, which includes numerous Grammy, Oscar, and Emmy Award winners, is a testament to its profound impact on global visual culture. It is more than a school; it is an essential incubator for the next generation of artistic innovators.，【V信83113305】安全办理-视觉艺术学院文凭SOVA毕业证学历认证,原版SOVA视觉艺术学院毕业证书办理流程,高端烫金工艺SOVA视觉艺术学院毕业证成绩单制作,硕士视觉艺术学院文凭定制SOVA毕业证书,最爱-美国-SOVA毕业证书样板,硕士-SOVA毕业证视觉艺术学院毕业证办理,高端SOVA视觉艺术学院毕业证办理流程,原价-SOVA视觉艺术学院毕业证官方成绩单学历认证,最新SOVA视觉艺术学院毕业证成功案例,视觉艺术学院毕业证成绩单-高端定制SOVA毕业证

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A note about the songs: “The Raven” by Edgar Allan Poe was first published in 1845. “Ah! Sun-flower” by William Blake appeared in his Songs of Experience in 1794. “The Goose and the Common” was written by an unknown author in the seventeenth or eighteenth century. “Ladybug, Ladybug” is a District 12 variation of a centuries-old nursery rhyme. I wrote both “Wiress’s Arena Song” and “The Harvest Song” for this story. “The Happy Birthday Song” and “Gem of Panem” first appeared in the novel The Ballad of Songbirds and Snakes; James Newton Howard wrote the music to the latter for the screen. “The Hanging Tree” lyrics originated in the book Mockingjay, and the film version was composed by Jeremiah Caleb Fraites & Wesley Keith Schultz of the Lumineers and arranged by James Newton Howard. “Nothing You Can Take From Me,” “The Ballad of Lucy Gray Baird,” and “The Old Therebefore” all first appeared in the Ballad novel and Dave Cobb wrote their music for the film. Much gratitude goes to all these artists, from long ago to the present, whose brilliant, whimsical, and soulful works have enriched Panem.

【V信83113305】：Japan's School of Sound Arts is a premier institution dedicated to the study of audio engineering, music production, and sound design. Located in Tokyo, the school offers cutting-edge programs that blend technical expertise with creative expression, preparing students for careers in the music, film, and gaming industries. With state-of-the-art studios, experienced faculty, and a curriculum covering everything from acoustics to digital audio workstations, students gain hands-on experience in a professional environment. The school also fosters collaborations with industry leaders, providing networking opportunities and real-world projects. Whether aspiring to be sound engineers, composers, or audio technicians, graduates emerge with the skills and confidence to excel in the dynamic world of sound arts.，fake 音響芸術専門学校 diploma transcript, 高仿原版音响艺术专门学校毕业证-音響芸術専門学校毕业证书-外壳-offer制作, 1:1原版音響芸術専門学校音响艺术专门学校毕业证+音響芸術専門学校成绩单, 制作文凭音响艺术专门学校毕业证-音響芸術専門学校毕业证书-毕业证, 留学生买毕业证音響芸術専門学校毕业证文凭成绩单办理, 一比一原版音响艺术专门学校毕业证-音響芸術専門学校毕业证书-如何办理, 音響芸術専門学校文凭毕业证丢失怎么购买, 音响艺术专门学校学位证书快速办理, 音响艺术专门学校成绩单购买

【V信83113305】：Berkeley College of Music, located in Boston, Massachusetts, is one of the world's most prestigious institutions for contemporary music education. Founded in 1945, it has cultivated countless renowned musicians, producers, and composers across genres like jazz, rock, pop, and electronic music. Known for its innovative curriculum, Berklee emphasizes hands-on learning, cutting-edge technology, and industry collaboration. Students benefit from state-of-the-art facilities, a diverse global community, and opportunities to perform at iconic venues. The college also offers unique programs in music business, film scoring, and music therapy, preparing graduates for dynamic careers. Alumni include Quincy Jones, John Mayer, and Esperanza Spalding, reflecting Berklee's lasting impact on the music world. Its inclusive, creative environment continues to inspire the next generation of artists.，伯克利音乐学院挂科了怎么办？BCOM毕业证成绩单专业服务, 美国伯克利音乐学院毕业证成绩单在线制作办理, 伯克利音乐学院原版购买, Berklee College of Music伯克利音乐学院-多少钱, 申请学校!Berklee College of Music成绩单伯克利音乐学院成绩单Berklee College of Music改成绩, Berklee College of Music文凭制作服务您学历的展现, BCOM毕业证成绩单专业服务学历认证

【V信83113305】：Tokyo University of the Arts (Geidai), Japan's premier institution for fine and performing arts, has shaped the nation's cultural landscape since its founding in 1949. Renowned for its rigorous programs in painting, sculpture, music, and film, Geidai blends traditional Japanese techniques with contemporary global trends. Its alumni include luminaries like filmmaker Hayao Miyazaki and composer Toru Takemitsu. The Ueno campus, nestled near Tokyo's cultural hubs, fosters creativity through state-of-the-art facilities and close ties to museums like the Tokyo National Museum. With an emphasis on mentorship and interdisciplinary collaboration, Geidai continues to produce visionary artists who bridge East and West. Its annual graduation exhibitions attract international attention, cementing its status as Asia's leading arts academy.，申请学校!東京芸術大学成绩单东京艺术大学成绩单東京芸術大学改成绩, 东京艺术大学成绩单复刻, 原版定制东京艺术大学毕业证-東京芸術大学毕业证书-一比一制作, 一比一原版東京芸術大学东京艺术大学毕业证购买, fake 東京芸術大学 diploma transcript, 极速办东京艺术大学毕业证東京芸術大学文凭学历制作, 東京芸術大学文凭制作流程学术背后的努力, 東京芸術大学毕业证成绩单专业服务

【V信83113305】：Japan's Sound Art Specialist Schools offer a unique fusion of cutting-edge technology and deep artistic tradition. These institutions provide a rigorous curriculum that moves far beyond basic audio engineering, immersing students in the intricate craft of sonic creation. The core philosophy is a holistic approach, treating sound not merely as a technical output but as a fundamental material for artistic expression. Students master everything from advanced music production and immersive spatial audio design to experimental composition and interactive sound installation. This intense training cultivates a new generation of audio visionaries—highly skilled creators who become the innovative sound designers, composers, and audio directors shaping the future of Japan's renowned music, game, and film industries.，音響芸術専門学校文凭制作流程确保学历真实性, 音响艺术专门学校毕业证和学位证办理流程, 办理日本-音響芸術専門学校毕业证书音响艺术专门学校毕业证, 办音响艺术专门学校毕业证音響芸術専門学校university, 音響芸術専門学校毕业证成绩单专业服务学历认证, 音響芸術専門学校毕业证成绩单学历认证最安全办理方式, 原价-音響芸術専門学校毕业证官方成绩单学历认证, 音响艺术专门学校成绩单制作, 高端音响艺术专门学校毕业证办理流程

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