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Collateral (2004) Michael Mann on using music to reveal character. "As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest... something very aggressive within his or her own mind—this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene—but as I shoot the scene, as I direct the actors, and finally, as I edit the scene. One specific example comes to mind in Collateral, when the coyotes cross in front of the cab. For me, that was a watershed in the story's progression. Each of the two principle characters is submerging into his own perspective of what life is: a retrospective moment; a prelude to a violent confrontation. The song "Shadow on the Sun" by Audioslave nailed that moment for me. It became an indelible part of planning, sustaining, and executing that scene."show more

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This scene was inspired by Egyptian civilization 🇪🇬!! The Director: As for the scene where Derrick walks out of the morgue and climbs the small staircase in the City of Silver, the inspiration came from my trip to Egypt in October last year. While standing beneath the massive pillars of a temple, I suddenly thought about incorporating this style into the music. It would give the scene the feeling of witnessing a civilization that has endured for thousands of years. At the time, I immediately sent a message to Music Director Sun, asking him to create a piece of music with that kind of atmosphere and style.

This scene was inspired by Egyptian civilization 🇪🇬!! The Director: As for the scene where Derrick walks out of the morgue and climbs the small staircase in the City of Silver, the inspiration came from my trip to Egypt in October last year. While standing beneath the massive pillars of a temple, I suddenly thought about incorporating this style into the music. It would give the scene the feeling of witnessing a civilization that has endured for thousands of years. At the time, I immediately sent a message to Music Director Sun, asking him to create a piece of music with that kind of atmosphere and style.

Mysteries

27,697 görüntüleme • 1 ay önce

Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

Bernard Herrmann on the importance of music in movies: "Interviewer: You once said that music is called upon to supplement what the technicians have done, and mostly what they have been unable to do. Herrmann: The real reason for music is that a piece of film, by its nature, lacks a certain ability to convey emotional overtones. Many times in many films, dialogue may not give a clue to the feelings of a character. It’s the music or the lighting or camera movement. When a film is well made, the music’s function is to fuse a piece of film so that it has an inevitable beginning and end. When you cut a piece of film you can do it perhaps a dozen ways, but once you put music to it, that becomes the absolutely final way. Until recently, it was never considered a virtue for an audience to be aware of the cunning of the camera and the art of making seamless cuts. It was like a wonderful piece of tailoring; you didn’t see the stitches. But today all that has changed, and any mechanical or technical failure or ineptitude is considered ‘with it’. Music essentially provides an unconscious series of anchors for the viewer. It isn’t always apparent and you don’t have to know, but it serves its function. I think Cocteau said that a good film score should create the feeling that one is not aware whether the music is making the film go forward or whether the film is pushing the music forward. Interviewer: Is the composer, in a sense, an actor with a greater range of ‘voices off’? Herrmann: I always think that film music expresses what the actor can’t show or tell. For example, when Janet Leigh is driving her car in 'Psycho' (1960), all we see is a pleasant young girl driving in the rain with the windscreen wipers going back and forth. From what you see, she might have been going to the supermarket or visiting a friend, but it’s the music that tells you that she has embarked on a very dangerous, horrifying experience. In the very opening of 'Citizen Kane' (1941), the music really tells you what ‘Rosebud’ is. When Kane is dying, all the musical motifs and atmospheres of his childhood are presented and the search for ‘Rosebud’ has really been told to the audience right away. At the end of the film, before the camera discovers the sled, the theme is given out again. And of course it also recurs at key moments of conversation between Kane and all the leading characters." (Bernard Herrmann's interview with Ted Gilling, Sight and Sound, 1971) P.S: Remembering the legendary American composer Bernard Herrmann on his 115th birthday!

DepressedBergman

10,525 görüntüleme • 1 ay önce

“The inspirational significance that I found for this piece represents the band’s impactful 60 year journey. The band’s music and live concerts represent many decades of sunshine filled positive light and energy, that the music has given to so many people. This logo is meant to pull from GD lore, yet be a contemporary interpretation for where we are now… As an artist I went on my own musical journey while I was creating this piece, that is reflected in the art.” - Chris Benchetler

Grateful Dead

16,603 görüntüleme • 1 yıl önce

Music Director B.I #HANBIN #비아이 #김한빈 #보이 Reporter: B.I joined as the music director, right? I felt that in scenes where the music was laid in, even when someone is k*lled, there were times fast-tempo, bright songs, or music that feels more like mainstream pop come out. I was wondering if that was influenced by B.I, and also what kind of discussions you went through to place that kind of music in each scene. Director: Music Director B.I actually already has a personal connection with Actor Jo (Byeong-kyu), which I mentioned earlier, they worked on a music together. I was introduced to him. When I first met him, he was already someone who had created many works with a distinct personal world of his own. He also has deep understanding of film and the script. When I showed him early edits where I had already laid in some music, he would take in my opinions while also bringing out his own style. Overall, I wanted the music in “Boy” to include a wide variety of genres, techno, pop songs. Having that kind of mix not only makes it more fun to watch, but I also felt that it matched the emotional tone of “Boy” very well.

Music Director B.I #HANBIN #비아이 #김한빈 #보이 Reporter: B.I joined as the music director, right? I felt that in scenes where the music was laid in, even when someone is k*lled, there were times fast-tempo, bright songs, or music that feels more like mainstream pop come out. I was wondering if that was influenced by B.I, and also what kind of discussions you went through to place that kind of music in each scene. Director: Music Director B.I actually already has a personal connection with Actor Jo (Byeong-kyu), which I mentioned earlier, they worked on a music together. I was introduced to him. When I first met him, he was already someone who had created many works with a distinct personal world of his own. He also has deep understanding of film and the script. When I showed him early edits where I had already laid in some music, he would take in my opinions while also bringing out his own style. Overall, I wanted the music in “Boy” to include a wide variety of genres, techno, pop songs. Having that kind of mix not only makes it more fun to watch, but I also felt that it matched the emotional tone of “Boy” very well.

🆔 𝐭𝐭𝐭𝐨𝐩𝟏𝟑𝟏 🌕

47,850 görüntüleme • 7 ay önce

Are movies or books better? Each have strengths. Below is a great example of a scene that (for me) was much better in the film. In the book it basically says, "They are in a boat and see some big statues." Yes I know it's more than that, but actually SEEING the big statues, hearing the hushed voices of the characters, the spiritual choir of the background music - all done in reverence is a thing that a movie can pull off, and the book can't as easily. 1/2

Are movies or books better? Each have strengths. Below is a great example of a scene that (for me) was much better in the film. In the book it basically says, "They are in a boat and see some big statues." Yes I know it's more than that, but actually SEEING the big statues, hearing the hushed voices of the characters, the spiritual choir of the background music - all done in reverence is a thing that a movie can pull off, and the book can't as easily. 1/2

Sandy Petersen 🪔

19,937 görüntüleme • 2 ay önce

People who follow along will know that from time to time I feature what I call Truth Matters Musical Moments. It’s a nod to my passion for music and two decades of working in recording studios in what I like to call mr reckless years. As a musician I miss those days as I reflect from time to time, but this clip reminded me of the joy of composition and scoring music. It’s an inspiring language that evokes a wide range of emotions, and I miss that. This piece just brought all the joy flooding back, not least not least because of my admiration of fellow Brit Jacob Collier, who is a talent beyond my ability to articulate. I hope you enjoy this as much as I did. Just watch the joy on the faces of the musicians and the audience alike. Jacob is a unique talent indeed. 🎥 TikTok -

People who follow along will know that from time to time I feature what I call Truth Matters Musical Moments. It’s a nod to my passion for music and two decades of working in recording studios in what I like to call mr reckless years. As a musician I miss those days as I reflect from time to time, but this clip reminded me of the joy of composition and scoring music. It’s an inspiring language that evokes a wide range of emotions, and I miss that. This piece just brought all the joy flooding back, not least not least because of my admiration of fellow Brit Jacob Collier, who is a talent beyond my ability to articulate. I hope you enjoy this as much as I did. Just watch the joy on the faces of the musicians and the audience alike. Jacob is a unique talent indeed. 🎥 TikTok -

𝔗𝔯𝔲𝔱𝔥 𝔐𝔞𝔱𝔱𝔢𝔯𝔰

37,146 görüntüleme • 5 ay önce

👤You are so careful with your solo music. You have a lot of songs that you make, and then you don’t put out or you delete. What did it mean to get Layover out into the world? 🧸Layover came to me at a time when I felt the need to look back on my journey so far as V of BTS. The word "layover" can mean a stop between destinations, but to me, it’s expressing that my life is not a straight path. I want to say: I can make this kind of music, but I also like many other styles. I love jazz, classical music, and even more alternative music, so I wanted to share that with ARMY and our listeners. I genuinely love music with all my heart, and Layover is that representation of me. 🧸If layover hadn't come out, I think V, as an artist, would have been stuck as a hardcore dancer and singer, unable to share all the different vibrant colours within. I wanted to explore one of those colors a bit more, so I crafted that album with a lot of care.

👤You are so careful with your solo music. You have a lot of songs that you make, and then you don’t put out or you delete. What did it mean to get Layover out into the world? 🧸Layover came to me at a time when I felt the need to look back on my journey so far as V of BTS. The word "layover" can mean a stop between destinations, but to me, it’s expressing that my life is not a straight path. I want to say: I can make this kind of music, but I also like many other styles. I love jazz, classical music, and even more alternative music, so I wanted to share that with ARMY and our listeners. I genuinely love music with all my heart, and Layover is that representation of me. 🧸If layover hadn't come out, I think V, as an artist, would have been stuck as a hardcore dancer and singer, unable to share all the different vibrant colours within. I wanted to explore one of those colors a bit more, so I crafted that album with a lot of care.

ً

84,928 görüntüleme • 3 ay önce

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Jimmy Stewart's reaction to his “Prayer” scene in “It's a Wonderful Life” (1946) on Michael Parkinson's chat show in 1973. Michael Parkinson: “Of all the movies you made, that's still remembered [the prayer scene in “It's a Wonderful Life”]. Why is that?” Jimmy Stewart: “I don't know. A lot of reasons. I just noticed that scene there. That scene ... I remember when I first read the first draft of the script and that scene, the little prayer, affected me, and when I read it, when I did it in the movie, it did, and it did the same to me right now.” “And this is a theory that I've always had. That creating moments in movies, this I think is the important thing. Nobody knows exactly how it happens. But what you should do is to prepare yourself as best you can to make these moments happen. Because in a movie, it's really not so much the performance, it's really not. But there are moments. They're moments just like there, I think.”

Hollywood Golden Age of Cinema

198,315 görüntüleme • 7 ay önce

Yves names ‘DIORAMA’ as the song that best represents her as an artist “So I work on a lot of my own music with IOAH, a producer I collaborate with often. We both have a favorite song, and that song is ‘DIORAMA’. I would choose ‘DIORAMA’ to introduce someone to who Yves is because it shows a lot of range. The song starts in a lower register and goes all the way up to a very high note, and it also has a lot of heavy beats that are fun to move along to. The choreography is another reason I would choose it. I was heavily involved in creating it and helped co-choreograph the song, so it carries a lot of my own personal touch. Because of that, there are many personal elements in ‘DIORAMA’, and I think it’s a good example of who Yves is as an artist”

Yves names ‘DIORAMA’ as the song that best represents her as an artist “So I work on a lot of my own music with IOAH, a producer I collaborate with often. We both have a favorite song, and that song is ‘DIORAMA’. I would choose ‘DIORAMA’ to introduce someone to who Yves is because it shows a lot of range. The song starts in a lower register and goes all the way up to a very high note, and it also has a lot of heavy beats that are fun to move along to. The choreography is another reason I would choose it. I was heavily involved in creating it and helped co-choreograph the song, so it carries a lot of my own personal touch. Because of that, there are many personal elements in ‘DIORAMA’, and I think it’s a good example of who Yves is as an artist”

Yves Support

20,958 görüntüleme • 1 ay önce

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

ANATOMY OF A SCENE: Shaka humanized scene On the first episode of Season 2 of #ShakaiLembeS2, this was my favourite scene. This scene while at face value is about showing Shaka's strategic forward thinking and some modicum of "umusa". Oh, but it does so much more. In a country where the viewers like melodrama, in its quietness this scene drives the story forward. It is setting up the character flaws and qualities that will be exhibited by Shaka later in his lifestory. When Shaka cuts Sompisi's ear later in the episode, it is a seed that is planted in this scene of his character as a person — HE can be merciful in his brutality. PERFORMANCE... For me, this is the best scene when it comes to performance in this episode. As a viewer, I feel like I'm invading the privacy of these two actors / characters. The actor playing opposite Shaka is performing ... I believe him. He is in it! If you catch my drift. I feel his pain and understand his anger towards Shaka. You can see the emotions simmering and bubbling inside the actor. Lemo also plays it perfectly in this moment by flattening his delivery. You are not supposed to read Shaka beyond his words here. Wrong director and performances, this scene would have been played for shock value. But, thankfully, this team gave us a measured but intentionally layered scene.

Kgopolo

53,561 görüntüleme • 1 yıl önce

‘i see the music scene and the internet in general as kind of like a city street. everyone’s rushing by and shouting shit. as an artist you just want to be sitting on that street, writing your music, to find out if anyone rushing by is compelled enough to stop’ jack on Zane Lowe

‘i see the music scene and the internet in general as kind of like a city street. everyone’s rushing by and shouting shit. as an artist you just want to be sitting on that street, writing your music, to find out if anyone rushing by is compelled enough to stop’ jack on Zane Lowe

bleachers

15,422 görüntüleme • 2 ay önce

$Today's snow full moon heralds the arrival of Put the Bucket Down, the second track from the forthcoming album o\i. “As a side project, I am working on a show with the brain as the central core and there are a number of songs, some on i/o and some on o\i that will be part of that. This is one of those and it's a point in the narrative where we can both read and write thoughts and the person singing is not sure whether he has his own thoughts or not. Is he inside his own mind or inside someone else's?"$

Today's snow full moon heralds the arrival of Put the Bucket Down, the second track from the forthcoming album o\i. “As a side project, I am working on a show with the brain as the central core and there are a number of songs, some on i/o and some on o\i that will be part of that. This is one of those and it's a point in the narrative where we can both read and write thoughts and the person singing is not sure whether he has his own thoughts or not. Is he inside his own mind or inside someone else's?"

Peter Gabriel

16,556 görüntüleme • 6 ay önce

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.

Not every memorable moment in cinema wins over audiences through cinematography, choreography, or music alone. Some moments endure because they touch something deeply rooted in human nature. Gene Kelly singing and dancing in the rain in Singin’ in the Rain (1952) is one such moment. At first glance, it is simply the image of a joyful man walking through the rain. He sings, spins his umbrella, steps through puddles, swings around a lamppost, and smiles in the middle of an empty street. But what allows this scene to remain in the memory of audiences is not only its visual beauty. Beneath the surface, it reflects a very special state of human existence: the moment when inner joy and outward expression become one unified whole. Perhaps this is the deepest source of beauty within this scene. From a Dance Scene to the Unity Between Inner Emotion and Outer Form What the audience first feels is a very simple sense of joy. Don Lockwood has just experienced a moment of happiness with Kathy. The emotion is so powerful that when he steps outside into the rain, he no longer sees the weather as an obstacle. He sings. He dances. He plays with the falling drops of water. The rain, which could normally be uncomfortable, becomes part of his happiness. But if we stop here, we are only seeing the surface of the scene. The deeper meaning lies in the way all elements come together in harmony. The music does not exist separately from the movement. The rhythm of the song becomes the rhythm of the body. Every step, every turn, every movement of the umbrella seems to come directly from the emotion within. The rain is no longer merely a background. The street is no longer just a setting. The entire world around him becomes part of his inner state. This reflects an idea often emphasized in Western aesthetics: beauty emerges when different elements achieve an organic unity. The outer form is no longer separated from the inner meaning. The Smallest Moment Can Contain the Greatest Spirit The entire scene can be condensed into one very small action: Gene Kelly steps into a puddle. This is not simply a humorous gesture. It is a symbol of the way human beings perceive the world. An ordinary person might avoid a puddle out of concern for dirty shoes, wet clothes, or losing a sense of neatness and control. But Don Lockwood deliberately steps into it. He transforms something that would normally be avoided into a source of happiness. In that moment, he is no longer controlled by hesitation or excessive awareness of himself. He is not trying to create the image of a happy person. He is simply living within that happiness. This is what makes the scene so special. The audience feels that they are not watching a performance about joy, but witnessing joy itself finding its own natural form of expression. Why Does This Touch the Human Heart? The deeper question is: Why does the unity between inner feeling and outer expression move us? Perhaps because, in everyday life, human beings often experience separation. We may think one thing but say another. We may feel something but have to hide it. We may want to act naturally but become limited by layers of worry and calculation. Yet sometimes, we encounter a moment when all those distances disappear. A child’s natural laughter is an example that closely reflects the spirit of Gene Kelly’s performance. When a child is truly happy, that happiness does not remain only within the mind. It appears through the whole person: The eyes brighten. The expression changes. The voice becomes clear and pure. The body moves together with the emotion. A child does not need to learn how to express happiness. Happiness naturally finds its way outward. This is exactly what Gene Kelly evokes in the rain. Although Don Lockwood is an adult, in that moment he returns to a very fundamental human state: when the soul and the body are no longer separated, when genuine emotion can freely express itself through every movement. This Principle Exists in Nature What is interesting is that this principle does not exist only in art. A similar pattern can be found in the natural world. A seed grows into a tree. The shape of the tree is not something added from the outside, but the expression of an inner process of life. A flower blooms not because it tries to become beautiful, but because the life within it has reached a form that naturally expresses itself. A river does not create beauty by resisting the landscape. It flows around rocks, adapts to the shape of the earth, and through this harmony creates its own unique form. The same is true within the human body. A genuine smile is not only found in the movement of the lips. It is the coordination of the eyes, facial expression, voice, and inner emotional state. A highly skilled athlete or artist often creates a similar impression: technique is no longer separated from emotion. The body becomes a natural instrument for expressing an idea from within. The Scene and the Beauty of Wholeness From an aesthetic perspective, what makes Singin’ in the Rain special is not simply that Gene Kelly dances beautifully. More importantly, the scene reveals a profound image of humanity: A person who is no longer divided between emotion and action. A person whose inner world and outer expression move toward the same direction. A person who encounters the world not as an obstacle, but as a part of life unfolding naturally. This is also why the scene continues to connect with generations of viewers. Regardless of the era, people can still recognize the beauty of a familiar state of being: the moment when a living being is able to exist in harmony with its own nature.

🎼🌺Music Love♥️

16,948 görüntüleme • 27 gün önce

#zhanglinghe's new interview with CCTV Dramas for #Overdo 🔥💬 I had never acted in a Republican drama before, so of course, one of the things that attracted me most to the script at the time was that I could experience the charm of Republican era dramas through this role. This script was different from the scripts I had encountered before. Its pace was very fast, and behind every story, or rather, every plot point, there was a hook. It would hook me and make me want to keep watching. As for my character, all of his relationships with the other characters were very complete, and every relationship would become one of the reasons that shaped his personality. I wanted to dig deeper into this character, so I chose him. Actually, love and hate are not a pair of antonyms. If there is a direction, both my love and my hate are directed vertically toward her (Susu). So can we say they are antonyms? No. They are just two ways of expressing one kind of emotion. In fact, in my view, the opposite of love should be indifference. Yes, only the direction of indifference is facing backward. My understanding is that hate is actually an emotional expression of love after it has fallen short. So when you say Murong Qingyi both loves and hates Susu, it is all because he cares about her. Ultimately, it is because she occupies a very, very large place in my heart. Everyone has seen love and hate intertwined in many dramas, but there are also different circumstances. Some people's love is very selfless and great. Although it is rare in real life nowadays, they don't ask for anything in return. But for some people's love, when your expectations fall short, they feel, "I'm in so much pain." But there is another kind of love: when my expectations fall short, I feel, "You owe me." These three are actually different feelings. In many of my previous roles, although everyone had deeply devoted characters who loved the other person very much, if you examine closely the moments when their hatred arose, you will find that their emotions were different. This drama also taught me two things. One is that, when it comes to emotions, sometimes you don't need to be too logical, because many emotional things don't have very rigorous logic. They simply arise naturally, are expressed naturally, and continue to happen naturally. This is the uncertainty of emotions. Another lesson is that drama originates from life but is greater than life. You can't demand that a fictional Republican drama, or what is essentially an idol drama, have emotions that are exactly the same as those in real life. That's impossible. In an idol drama, there can be the kind of love I just mentioned: "I love selflessly. I don't need you to give me anything in return." But how many people in real life can actually do that? It's impossible. A sudden flash of inspiration, I get that kind of sudden moment when it feels really exhilarating. Suddenly, in that instant, you have completely, 100% entered the character. It's that feeling of the emotion surging all the way to the top of your head. It's not Zhang Linghe in my mind anymore, but the feeling of that character being in my mind. After that feeling passes, when you look back and recall it, the shock and happiness it brought you feel different.

#zhanglinghe's new interview with CCTV Dramas for #Overdo 🔥💬 I had never acted in a Republican drama before, so of course, one of the things that attracted me most to the script at the time was that I could experience the charm of Republican era dramas through this role. This script was different from the scripts I had encountered before. Its pace was very fast, and behind every story, or rather, every plot point, there was a hook. It would hook me and make me want to keep watching. As for my character, all of his relationships with the other characters were very complete, and every relationship would become one of the reasons that shaped his personality. I wanted to dig deeper into this character, so I chose him. Actually, love and hate are not a pair of antonyms. If there is a direction, both my love and my hate are directed vertically toward her (Susu). So can we say they are antonyms? No. They are just two ways of expressing one kind of emotion. In fact, in my view, the opposite of love should be indifference. Yes, only the direction of indifference is facing backward. My understanding is that hate is actually an emotional expression of love after it has fallen short. So when you say Murong Qingyi both loves and hates Susu, it is all because he cares about her. Ultimately, it is because she occupies a very, very large place in my heart. Everyone has seen love and hate intertwined in many dramas, but there are also different circumstances. Some people's love is very selfless and great. Although it is rare in real life nowadays, they don't ask for anything in return. But for some people's love, when your expectations fall short, they feel, "I'm in so much pain." But there is another kind of love: when my expectations fall short, I feel, "You owe me." These three are actually different feelings. In many of my previous roles, although everyone had deeply devoted characters who loved the other person very much, if you examine closely the moments when their hatred arose, you will find that their emotions were different. This drama also taught me two things. One is that, when it comes to emotions, sometimes you don't need to be too logical, because many emotional things don't have very rigorous logic. They simply arise naturally, are expressed naturally, and continue to happen naturally. This is the uncertainty of emotions. Another lesson is that drama originates from life but is greater than life. You can't demand that a fictional Republican drama, or what is essentially an idol drama, have emotions that are exactly the same as those in real life. That's impossible. In an idol drama, there can be the kind of love I just mentioned: "I love selflessly. I don't need you to give me anything in return." But how many people in real life can actually do that? It's impossible. A sudden flash of inspiration, I get that kind of sudden moment when it feels really exhilarating. Suddenly, in that instant, you have completely, 100% entered the character. It's that feeling of the emotion surging all the way to the top of your head. It's not Zhang Linghe in my mind anymore, but the feeling of that character being in my mind. After that feeling passes, when you look back and recall it, the shock and happiness it brought you feel different.

张凌赫的小核桃𖹭

20,144 görüntüleme • 20 saat önce

For an artist this is one of the most powerful experiences of a career. You absolutely can, perhaps for just a moment, know that you have become timeless. It is the reflection of your music that is the perspective…

For an artist this is one of the most powerful experiences of a career. You absolutely can, perhaps for just a moment, know that you have become timeless. It is the reflection of your music that is the perspective…

Brian Roemmele

17,510 görüntüleme • 3 ay önce

Happy Birthday To Me 🥳!!!! 🎁 🎉 🎂 I thank God for my life and the ability today to be able to write and perform this beautiful piece, inspired by the legendary Ofori Amponsah’s “Damabi”. It has always been my dream to have a song that fits that progression, and I believe it is a gate way to find myself in that league of Legends . May this music live in your hearts for days as you’ve supported good music from Me . #ladiesandgentlemen #OdoAsem .

Happy Birthday To Me 🥳!!!! 🎁 🎉 🎂 I thank God for my life and the ability today to be able to write and perform this beautiful piece, inspired by the legendary Ofori Amponsah’s “Damabi”. It has always been my dream to have a song that fits that progression, and I believe it is a gate way to find myself in that league of Legends . May this music live in your hearts for days as you’ve supported good music from Me . #ladiesandgentlemen #OdoAsem .

Kuami Eugene

230,737 görüntüleme • 1 yıl önce

Heat (1995) Dir. Michael Mann Mann on the how he prepared the coffee shop scene. "We did two things: We discussed the scene. Then we did some rehearsals, but I was wary because the entire movie is a dialectic that works backward from its last moment... Both men recognize that their next encounter will mean certain death for one of them. Gaining an edge is why they've chosen to meet. So we read the scene a number of times before shooting—not a lot—just looking at it on the page. I didn't want it memorized. My goal was to get them past the unfamiliarity of it. But of course these two already knew it impeccably. We shot that scene with three cameras, two over-the-shoulders and one profile shot, but I found when editing that every time we cut to the profile, the scene lost its one-on-one intensity. I'll often work with multiple cameras, if they're needed. In this case, I knew ahead of time that Pacino and De Niro were so highly attuned to each other that each take would have its own organic unity. Whatever one said, and the specific way he'd say it, would spark a specific reaction in the other. I needed to shoot in such a way that I could use the same take from both angles. What's in the finished film is almost all of take 11—because that has an entirely different integrity and tonality from takes 10, or 9, or 8. All of this begins and ends with scene analysis. It doesn't matter if it's two people in a room or two opposing forces taking over a street. Action comes from drama, and drama is conflict: What's the conflict?"

Gangster Cinema Central

52,284 görüntüleme • 5 ay önce