A Quote by Bruce Beresford
When the music and the characters are flawlessly synchronized, the opera develops an emotional force that movies and plays cannot match.
Related Quotes
I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.
When I saw 'Baahubali' Part 1 and 2, the benchmark was really high. To match up to Ramya, who plays Sivagami in the movies, was a challenge.
That was my way, and I also use the music after five years, I started hearing opera, opera, it was very good instrument to keep the spirit very strong because you feel like you are yourself singing opera, and I used to hear a lot of opera, they send me tapes.
I've always felt that the comic strip medium stands equally beside all the other story telling mediums: novels, movies, stage plays, opera, you know, you name it.
I always used to put on plays when I was younger for my family to watch, when I was 10 or something. I used to force older members of my family to watch the plays and younger members of my family to be characters in the plays - and my personal favorite was Batman.
I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.
One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.
It takes about a year to write an opera for me, but not a really a year of writing. I'm touring at the same time, and I'm playing, sometimes doing smaller projects.[The opera] Akhnaten fits in with Gandhi and Einstein, so that forms a trilogy in a way.I picked people who were these kind of larger than life characters, who kind of changed the world they lived in by almost the force of their personality and their inventiveness. People that I think not only do I admire but I think they're admirable people.
I have always loved music and singing, and I am open to listen to any type of music. Regardless of my mood, my heart is always set racing when I listen to opera. When I decide which music I want to hear, my choice is almost invariably an opera recording.
An opera singer is like an athlete before a match. An athlete cannot overdo anything. In order to perform at the highest possible level, you need to refrain from activities so as to be able to express this power.
I've been singing my whole life, since I was a kid; but never formally as a career. I did it in plays when I was younger, and I sang all styles of music: everything from Italian opera to blues.
I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.
Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.
Oh, I was completely hooked on movies and plays and theater from the time I was a day old; I was very, very early on in love with movies and I loved plays.
Oh, I was completely hooked on movies and plays and theater from the time I was a day old - I was very, very early on in love with movies and I loved plays.
Sometime during the 1990s, when I was teaching philosophy at UCSD, my friend, colleague, and music teacher, Carol Plantamura, discussed the possibility of teaching a course together looking at ways in which various literary works (plays, stories, novels) had been treated as operas, and how different themes emerged in the opera and in its original. One of the pairings we planned to use was Mann's great novella and Britten's opera. Unfortunately, the course was never taught, but the idea remained with me.
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