A Quote by Vidyasagar

In all the background scores I do, I take care to see that the theme enriches the storyline and does not deviate from the mood of the scenes, context, characters and the entire movie.
If you tried to make a 'Game of Thrones' movie, you'd have to eliminate two-thirds of the characters, and there'd have to be one storyline, but on TV, you can really get to know the characters in a way that there just isn't time to do in a movie.
The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.
So if you want to have a great video game-based movie you have to keep the mood of the game, use the normal character setup - but you have to flesh out the story and provide more background for the characters.
I always create book soundtracks to capture the overall mood I'm going for and listen to them as I write. Those songs and scores really fuse with the scenes in my mind.
If I like a movie, I'm definitely advocating for it, but it's not "you should see this" or "you shouldn't see this." I try to take a longer view about what the movie is doing and where it fits in the context of other things, in the way that certain good literary criticism tries to do the same thing.
I love the supporting characters because you get to do more, to be totally honest. It's been sort of a theme with me. In Son of No One, I think I might have seven lines in the entire movie because everything is happening to my character.
The idea of having different characters is really just to get the storyline across, you know? Coming from one particular character makes, to me, the story boring. I get that mainly from novels and that style of writing or movies where there's multiple characters who carry the storyline.
When religion is good, it will take care of itself. When it is not able to take care of itself, and God does not see fit to take care of it, so that it has to appeal to the civil power for support, it is evidence to my mind that its cause is a bad one.
My interest in music tends toward being orchestral music. And the repertoire of music that exists is, to me, far more emotive than what is standardly used in movie scores. That isn't always. I think there've been some excellent movie scores by excellent directors. But for the most part, watching a film, one of today's movies, I think that the emotional undertone of movie scores is pretty poor.
One of my favourites on Instagram is @dublin_zoetrope. He does these musical theatre/Meryl Streep/Glenn Close memes that are truly hysterical. He'll take a regular photo of them and create an entire storyline, and it makes me cackle out loud.
If a movie makes it really big, they do the obvious thing, right? They make an amusement park ride out of it. ... The connection is obvious. You get off, "Man, that was just like the movie! Only the movie had a storyline and characters, and that was a little more like a roller coaster."
I don't think that you necessarily need a certain type of background to take on roles. You see actors from very, very privileged backgrounds playing working class characters and vice-versa. I don't think your background limits you as to what you can do.
I like to shoot scenes where I can see the beginning, middle and end of the entire scene. But, when you edit a movie together, you can just cut right into the middle. You don't need to see them walk into the room and put their jacket on the chair. There's always a lot of shoe leather that you can remove.
I do listen to music. Movie scores, exclusively, because it's all about mood and nonspecificity. I love the way modern movie scoring is all about nonspecificity. You know, if I shuffled the tracks from 'Inception,' I challenge you to tell me which is which.
An actor doesn't change thought, theme, or mood unless the character does, and the character only does it within the words of the play.
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