A Quote by Yorgos Lanthimos
If you use music boldly at the front of a scene, it creates another level.
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Music is pretty intimate stuff and I can only work with very few people: Gonzalez being one, Mocky being another and, on a completely different level, Broken Social Scene. With Broken Social Scene its not one-on-one, its a one-on-12. Its very healthy, very comfortable, like a big pot luck supper among old friends.
Music is pretty intimate stuff and I can only work with very few people: Gonzalez being one, Mocky being another and, on a completely different level, Broken Social Scene. With Broken Social Scene it's not one-on-one, it's a one-on-12. It's very healthy, very comfortable, like a big pot luck supper among old friends.
I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.
So many guys come onto the scene who aren't supposed to be there. You pull for one, and then you see there's another and another and another, and you start to say, 'Who cares where a player was drafted? He can play football, and he can play at this level.'
I look at it scene-by-scene. Whether it's a historical character or not, whatever, on the page is one thing and delving into the history or somebody is one thing, but making something work for an audience in front of a camera is another exercise and you bring whatever authenticity you can to it.
For example, if it's a sad scene, I need to feel that way, at least to a slight degree and for a short while, to get it right. Which is why I sometimes listen to music when I'm revising. Music creates moods for me quicker than any other medium.
My dream is to take the Indian independent music scene to an international level. People like Alisha Chinai, Baba Sehgal and Daler Mehndi took it to a very high level. My ultimate target is to win a Grammy. I don't want to primarily be a Bollywood playback singer.
It's not hard to connect with the music on an emotional level and get inside the songs. It's odd, very vulnerable, and slightly embarrassing to be standing and singing and playing music in front of a bunch of strangers.
A famous violinist once said. Music transcends words. By exchanging notes, you get to know one another, to understand one another. As if your souls were connected and your hearts were overlapping. It's a conversation through instruments. A miracle that creates harmony. In that moment, music transcends words.
A market is not politically neutral; its existence creates economic power which one actor can use against another.
In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.
I think we at the faculty level have to model this behavior of having people that really truly disagree with one another be able to discuss those beliefs with one another at the level of discussion and argument and not at the level of, you know, personal attack so that our students can learn how to do that, too.
I use the music almost as a compass in some kind of quasi-romantic way. I try and go to places that I'm intrigued by, and I take this music with me, using my name at the front.
Darren Aronofsky is on another level. You get lost in a scene, and he'll come over and whisper something in your ear, and suddenly everything makes sense.
At the structural level, when the primary is all that matters, the incentives change for politicians. And, when you can earn media coverage with bombast and vitriol, that creates another incentive for politicians to light things on fire.
Scene study is isolated. I suppose its interesting, but I dont think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.
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