Garnet Sigma http://garnetsigma.com/ Tue, 12 Oct 2021 16:53:57 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://garnetsigma.com/wp-content/uploads/2021/10/icon-55-120x120.png Garnet Sigma http://garnetsigma.com/ 32 32 The Blazing World’s Carlson Young Talks About Another World’s Cinematic Experience https://garnetsigma.com/the-blazing-worlds-carlson-young-talks-about-another-worlds-cinematic-experience/ https://garnetsigma.com/the-blazing-worlds-carlson-young-talks-about-another-worlds-cinematic-experience/#respond Mon, 11 Oct 2021 20:24:00 +0000 https://garnetsigma.com/the-blazing-worlds-carlson-young-talks-about-another-worlds-cinematic-experience/

To call The flamboyant world an ambitious endeavor for Carlson Young would be an understatement, as the surreal adventure saw Young fulfilling a triple duty, having acted, directed and co-wrote the mixture of horror and fantasy. With an audience probably more familiar with her work as an actress, having starred in projects like Scream: The TV Series and Emilie in Paris, The flamboyant world marked Young’s directorial debut. Thankfully, Young knew how ambitious an undertaking would bring the story to life would be if they initially delivered a short to audiences to prove the potential of the longer narrative, with that 2018 short ultimately paving the way for this feature film. . The flamboyant world hits theaters and On Demand Friday, October 15.

Decades after her twin sister accidentally drowned, a self-destructive young woman (Young) returns to her family home, finding herself drawn to another dimension where her sister may still be alive. Through an epic journey through the darkest corridors of her imagination, she attempts to exorcise the demons that push her closer and closer to the edge.

ComicBook.com caught up with Young to discuss her love of surreal horror, the feature film’s biggest challenges, and the only hope she still has for the Scream franchise.

(Photo: Vertical Entertainment)

ComicBook.com: I know that not only with The flamboyant world and the inspirations while doing it, but just you personally as a horror fan, that you are great in Dario Argento and the Italian giallos. Do you have a favorite Dario Argento movie or, if you can’t narrow it down to just one, if there was a reboot going on, one you’d like to get involved in?

Carlson Young: Oh man, this is hard. I would never restart an Argento movie. It’s a sacrilege, I think. Corn Hell I think it touches me a lot, that’s the first thing that came to my mind. So I’ll stick to that.

We can start, just throw you a bunch of cats. I think in 2021 there might be a more human way to shoot this movie.

I don’t know if you know, but I’m extremely methodical so I would just prefer cats, normal cats.

Speaking more about your film and your interest in surrealism and nightmare logic, as a fan and as a filmmaker, what is it about this world, this aesthetic, this storytelling that really appeals to you? much more than a cut-and-straightforward experience?

Surrealism is just an art that speaks to the subconscious and this dream logic space is really powerful for me because I’m a lucid dreamer, quite often. [Alejandro] Jodorowsky and those filmmakers who … When I saw El Topo and The Holy Mountain for the first time i was like, this is the first time i see a movie that, it talks to that other part of my brain that needs content. I knew this really situates the dream logic in waking life, and it really is a powerful and magical spell that is cast because of it. I think just because I have such a rich dream life, it really speaks to me deeply.

While you are making this movie or developing it or directing the short film, has the directing process come into your dreams? Did you take things directly from your dreams in the story?

Oh, my God, I can’t even … I could talk about this for hours. Yes, yes, absolutely. I just wrote an essay for Talkhouse about it he describes this. But yes, I love horror and the genre, but more particularly fantasy, and I just realized that I was writing my inner child’s interpretation of a traumatic event and this space where classic fantasy motifs influence. and speak to the inner child and invite the inner child to this cinematic space and let them lead. It was a really, really fascinating way to get into the scripting process.

Do you find that, as an artist, is this useful or can it sometimes be–

Unhealthy?

Unhealthy, you might say, that your brain is so attached to the story that you bring it to life. Obviously, some movies, some TV shows that you do, they’re more, “Oh, that’s a funny thing.” But when it’s a consuming experience, what is it? How can you even let go of that?

Oh, man, I don’t know. I tried to let go and get over it for months, but I think, just with the first one, it was obviously an ambitious story and an ambitious storyline to do from the start, but I just ran on this battlefield, just a battle cry, like, “I can do it, I can do it.” I was really brave, but at the same time there were a lot of … zero boundaries between me and work, and everything was blurry and bleeding between those spaces. I am really excited to continue on the film path and do my second and third and fourth and fifth, because I will always seek this experience for both its healthy parts and its unhealthy parts, and for learning and setting healthy boundaries. between myself. and the work.

With these surreal, nightmarish horror movies, as opposed to the simpler ones, you really have to be very specific about the tone, with the writing, the performers, the music, the cinematography, because if you lean too far into a sense, it might lose gravity, or if you go too far the other way, you lose that charm of that dreamlike state. For you as a filmmaker and as a performer, how did you find that tone? Was it literally tweaking every part of the process on set? Did you find it more in the edition?

I think the answer is somewhere in the middle. Much of it was in the editing, but just on set and being honest I was fortunate enough to have an amazing assistant, Sarah Kirby, who really kept me in balance in terms of being Margaret’s character and then measuring. the other actors and making sure … I swear I asked him to master an energy map, so it didn’t matter where we were – we were obviously shooting out of sequence – but no matter where we were, I had this main energy map to refer to, then each character has an energy map and they all fall into that larger liminal space where time doesn’t exist, and they all reflect different aspects of the initial trauma. So I prepared him for Heaven and had plenty of tools to help me stay on track and keep the tone in this campy dream space.

When you bring in cast members and feed them these really compelling ideas in the runaway descriptions, with Vinessa (Shaw) and Dermot (Mulroney), it was just like, “Okay, sure, we trust you “, or was there just a cumbersome process to acclimate them to the ambitions you were attempting?

I would say it was an acclimatization process of, “Let’s just make sure you understand this character, because what I’m interested in is your take on the character. The tone is really in the writing and it’s okay. being in the edit, I just want to make sure it lands in reality for you, so that I can put it in unreality. ” It was a really collaborative process considering we didn’t have rehearsal time or anything like that. It was just a “Let’s all be on the same page and understand where we are at in the story.”

It started out as a short as a proof of concept on the material and to build excitement for the project, so what was the biggest challenge for you to translate it from the short to a feature film? Or was you having the feature film ready, you knew exactly what you wanted, and the short was just reverse engineered from that?

The answer is somewhere in the middle. I knew it was a bigger story, but I wanted to show the seed to others. I knew no one would let me direct it unless I had this, “Here’s my tenability as a director” and the bigger picture. The short was meant to be a vignette into the character’s life, and I had an idea, a preview, and a beginning, a middle, and an end, and then fleshed it out from there with my co-writer. Pierce Brown, who obviously operates in fantasy space, and so we had this great tongue between the two of us. I knew it was a story about reframing childhood trauma, but I wanted to make it this psychological and fantasy experience. It was great to have the short, but it was definitely an uphill battle to make it from there.

I think the music and the soundscape are just as essential to the visualscape and the performance. Since you have control over the staging, the writing and your performance, what was this collaboration like for music and score?

Well my husband [Isom Innis] made the score, so once again, no boundaries. We laughed so hard about “Can you imagine a composer / director talking to each other like that?” But it was amazing because my husband is an amazing producer and musician, and so I knew he would just kill a movie score and he was obviously extremely close to every part of that process. So there were a few ideas that he started working on for the script that were done when we were working on the short, he had a front row seat for every part of the process that was going on, so he had a very intimate to score the film and I think it really shows.

Now that theaters are starting to reopen, for fans who might not fully understand the tone of the film ahead of time, if you could screen a triple feature film from The flamboyant world along with two other films, what would you choose to help audiences get themselves into the right mind?

Oh, my God, I need to think about it. I do not know. Yes, I have to think about it.

Well, let’s say, is there a filmmaker who, if you were doing a screening, would like to see your Q&A animated?

It would be really cool if [director] Lars von Trier moderated the Q&A with [star] You do [Kier].

A Carlson Young, Udo Kier, Lars von Trier sign. I have a feeling you might end up saying, “I’m just going to sit down and watch what happens.”

Oh yeah, “I don’t wanna have nothing to do with that, I just wanna look at you guys.”

After your work on Scream: The TV Series, I know you just wanted those characters from the first two seasons to be killed, and to have a clean break and a clean slate. So when you heard of the new Scream movie, was there at least a part of you that was like, “Okay, now we’re talking about another beast, I could clear some room to maybe make an appearance to help bridge the gap between the series and the movie ”, or was it“ No, clean break, I’m fine ”?

I was like, “No. Clean break, I’m fine.” But also, no one told us about doing something like that, of course I’m always ready to get killed onscreen, still think it’s a good idea. But no, I was very excited to sit down and watch the development of the films, because the show and the film were so separate.

If there is Scream 6, you should get killed in the opening.

Like, come on, can you just give me… I just wanna get slashed by Ghostface, is that too much to ask?


The flamboyant world hits theaters and On Demand October 15.

This interview has been edited for length and clarity. You can contact Patrick Cavanaugh directly on Twitter.



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The stunning “Dune” posters and Mondo vinyl soundtrack will transport you to another planet https://garnetsigma.com/the-stunning-dune-posters-and-mondo-vinyl-soundtrack-will-transport-you-to-another-planet/ https://garnetsigma.com/the-stunning-dune-posters-and-mondo-vinyl-soundtrack-will-transport-you-to-another-planet/#respond Mon, 11 Oct 2021 16:10:51 +0000 https://garnetsigma.com/the-stunning-dune-posters-and-mondo-vinyl-soundtrack-will-transport-you-to-another-planet/

Dune fans, hold on tight. MondoAustin’s art gallery and online store specializing in geek collectibles, releases three gorgeous Dune posters, as well as an exclusive vinyl of the music from the film’s soundtrack.

The posters – each by a different artist – feature iconic images from Frank Herbert’s novel and Denis Villeneuve’s upcoming film adaptation. All posters are 24 “x 36” silkscreen prints and cost $ 60 each.

The planet Arrakis comes to life in three different (but equally beautiful) ways in the works of Greg Ruth, Tradd Moore, and Akiko Stehrenberger. Check out their views of the Sandworms, Paul Atreides (Timothée Chalamet), and the Arrakeen Desert below.

There will be 175 editions of the Ruth poster.
Credit: Mondo / Greg Ruth

There will be 175 editions of Moore's poster.

There will be 175 editions of Moore’s poster.
Credit: Mondo / Tradd Moore

There will be 220 editions of the Stehrenberger poster.

There will be 220 editions of the Stehrenberger poster.
Credit: mondo / Akiko Stehrenberger

In addition to these posters, Mondo is teaming up with Watertower Records to release an exclusive vinyl presentation of The dunes sketchbook by Hans Zimmer. This is a one-time press of just 3000 units on 3XLP, priced at $ 45.

The dunes sketchbook 100-minute clocks over nine extended suites, each featuring the epic flair of Zimmer’s trademark. The score is spread over three colorful vinyl records, each color representing a key planet in the Dune universe: Caladan, Giedi Prime and, of course, Arrakis.

Take a look at Mondo’s vinyl presentation The dunes sketchbook, with illustrations by Ruth and a stamped tri-fold jacket:

The front and back covers of "The dunes sketchbook"

The front and back covers of “The Dune Sketchbook”
Credit: mondo / greg ruth

The colors represent the planets of Caladan, Arrakis and Giedi Prime

The colors represent the planets of Caladan, Arrakis and Giedi Prime
Credit: mondo / greg ruth

Mondo Dunes sketchbook the vinyl will go on sale Wednesday October 13 and all three posters will go on sale Thursday Thursday October 14.


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Listen to the soundtrack of The New World composed by Ramin Djawadi and Brandon Campbell https://garnetsigma.com/listen-to-the-soundtrack-of-the-new-world-composed-by-ramin-djawadi-and-brandon-campbell/ https://garnetsigma.com/listen-to-the-soundtrack-of-the-new-world-composed-by-ramin-djawadi-and-brandon-campbell/#respond Sun, 10 Oct 2021 10:04:21 +0000 https://garnetsigma.com/listen-to-the-soundtrack-of-the-new-world-composed-by-ramin-djawadi-and-brandon-campbell/

Game Of Thrones was one of the biggest shows of the past decade. Due to its huge success, the series gets a prequel series, Dragon house. While a spinoff show is good, a movie based on the fantasy epic would be even better, don’t you think? Well, the director of Game of Thrones Alain taylor does not share this opinion.

Director Alan Taylor was behind some of the biggest and best episodes of Game of Thrones while the series aired. His latest big project is a prequel to HBO’s other hit series. The Sopranos, and is called The Many Saints of Newark. In an interview with JOE, he revealed why he thinks making a Game of Thrones movie isn’t such a great idea.

“I almost did the Deadwood movie and it was heartbreaking not to do it. I had to give up the Deadwood movie to make the Sopranos movie!

“Sure, there could be a Game of Thrones movie, but somehow there was already a Game Of Thrones movie because the show was so big, so I’m not sure the move to the big screen would be. so different. ”

“I’m going to have to think of something more quirky, like a Bored To Death movie. I did the pilot for Bored To Death and it was a very unique tone and I just loved it. So it would be hilarious to see it made like a movie.

Do you agree with the director? Tell us in the comments below!


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Happy Birthday SS Rajamouli: 5 Filming Tips From The Director Of RRR https://garnetsigma.com/happy-birthday-ss-rajamouli-5-filming-tips-from-the-director-of-rrr/ https://garnetsigma.com/happy-birthday-ss-rajamouli-5-filming-tips-from-the-director-of-rrr/#respond Sun, 10 Oct 2021 04:46:18 +0000 https://garnetsigma.com/happy-birthday-ss-rajamouli-5-filming-tips-from-the-director-of-rrr/ SS Rajamouli today celebrates its 48 years. In 20 years, he made 11 films. And all of them have become the biggest commercial successes of their time. They say the true depths of a filmmaker’s genius and tenacity may not be known unless that director flops and makes a comeback with a blockbuster that dazzles both critics and audiences alike.

However, that might not happen in Rajamouli’s career. After having delivered 11 big hits, including the two biggest incomes of India in the world (Baahubali 1 and 2), the director shows no sign of misstep. As his next RRR film is set to hit screens, it is set to take the box office by storm again.

His films so far have proven that he has a deep understanding of the pulse of Indian moviegoers. And in that sense, it is second to none. So how does Rajamouli make one blockbuster after another?

Read. Read. Read.

Rajamouli’s most ambitious goal is to make a film about the Indian epic Mahabharat. And his vision for this film is so huge that he considers himself underqualified at the time to direct it. And he considers all films, including Baahubali, as just his training films so to speak to achieve his ultimate goal, the Mahabharat. Rajamouli’s fascination with our epics was instilled in him from an early age. He grew up on a steady diet of Amar Chitra Katha books. He noted that his mother Raja Nandini had encouraged him to read a lot of story books instead of forcing him to read his textbooks. And the comics filled with colorful images of epic characters from India widened the imagination of young Rajamouli and shaped his sense of storytelling. “Amar Chitra Katha, Ramayanam, Mahabharat, Bala Ramayanam, these are my foundation. I appreciate the education they gave me more than anything I have done in my career, ”Rajamouli recalled.

Find the right team

Cinema is a democratic process. Even filmmakers who fall into the category of writers are influenced by the team they work with. Putting together a team of people who understand your vision and your shortcomings and help you achieve your vision is half a battle won. “I have a certain sense of drama. But to bring this drama to the audience, I need great technicians, who can find flaws in my storytelling, correct me, polish me, and project my idea appropriately to the audience. I am a very good storyteller but not a great filmmaker. In order for me to become a good filmmaker, I need the right technicians, who can understand my shortcomings, cover them and improve my storytelling skills, ”said Rajamouli.

Difference between script and story

What’s the point in creating a good story if you can’t tell it in an engaging way? And who knows it better than Rajamouli, the creator, who turned a simple house fly into a superhero (Eega). “A story is made up of a series of emotional scenes. A storyline is something when distributors complain that the second half storytelling is a bit slow. The story and the scenario do not like each other. We must join them with force. Say, 10 minutes after the movie starts, you’ve got to hook the audience with some emotion. This is what distributors want. And distributors don’t care how or why it is needed in this story. All he cares about is whether or not you hook audiences emotionally within 10 minutes of starting the movie or not. So you should be able to tell the story with that kind of pace, ”Rajamouli explained.

Don’t make films for the markets

Making a film is a very personal process. And if you don’t believe in something you’re doing, you better not do it at all. Because that is how Rajamouli works. “The size of the market does not inspire me to make a film. History does. A character or an incident that makes you go, ah, there is a story here that needs to be told. If a story is like Baahubali, which is a Pan Indian film, fine. Or it could be a story about a simple guy (Maryada Ramanna), I’ll do it. Or it could just be a story about a house fly (Eega). After I finish making a film, I look at the economy of it, ”noted Rajamouli.

History, history, history.

When it comes to cinema, your story is king. You can get the dates of the biggest star of the day and spend a lot of money on promotions to get audiences to theaters. And once you get the audience to the movies, nothing but the story matters. “What is a star’s USP?” He can bring audiences to theaters. Once they enter the theater, the story has to take over and run the show. The star cannot direct the show, ”explained Rajamouli.


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RTE viewer had a hilarious experience after waking up to Nicky Byrne’s soundtrack for my life https://garnetsigma.com/rte-viewer-had-a-hilarious-experience-after-waking-up-to-nicky-byrnes-soundtrack-for-my-life/ https://garnetsigma.com/rte-viewer-had-a-hilarious-experience-after-waking-up-to-nicky-byrnes-soundtrack-for-my-life/#respond Sat, 09 Oct 2021 22:14:49 +0000 https://garnetsigma.com/rte-viewer-had-a-hilarious-experience-after-waking-up-to-nicky-byrnes-soundtrack-for-my-life/

One RTE viewer shared his hilarious experience after waking up to Nicky Byrne’s Soundtrack to My Life show.

On the program, the RTÉ Concert Orchestra plays a selection of crisp hits and familiar ground pieces every weekend.

This week has seen special guests Kodaline and some incredibly incredible appearances from musical legends such as Jack L, Loah and others.

The show is presented by Nicky Byrne of Westlife as he interviews his guests about their musical inspirations, the meanings behind the band’s successes and their favorite songs over the years.

In tonight’s episode, the band Kodaline shared how they wrote the song The One.

After trying to find a gift for his companion’s wedding, singer Steve Garrigan said in passing that he would write them a song.

However, after forgetting his promise, the groom called him on the eve of the big day to ask him about the evolution of the melody.

Quickly, Steve composed one of the group’s greatest hits.

The band also opened up about their European tour with The Cranberries and how two fans started to get fed up with hearing the band’s five songs.

They commemorated Doroles O’Riordan by reprising Zombie with the guitarist of the Cranberries.

Swipe the screen to see inside Nicky Byrne’s wedding to wife Georgina

However, it was a fan moment at the start of the show that had everyone spellbound.

James McCarthy took to Twitter to share his terrifying but hilarious moment after waking up from a nap on the couch.

He said: “Dosed on the couch to be woken up by @ NickyByrne announcing Happy New Years Eve on the RTÈ soundtrack for my life…

“I had to check the calendar to make sure I hadn’t just woken up from a coma…”

Many others were in love with Kodaline’s performance and enjoyed the conversations around their music.

One RTE viewer wrote: “@Kodaline is STILL showing the sparkle that is becoming the norm with Irish music and bands showcasing their extraordinary talent… love this new show”.

Another joked, “Weirdest @rte rehearsal show ever !! Watch New Years Eve 2020, host in 2021 with @Kodaline and @NickyByrne.”


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Denis Villeneuve de Dune thought Blade Runner 2049 would end his directorial career https://garnetsigma.com/denis-villeneuve-de-dune-thought-blade-runner-2049-would-end-his-directorial-career/ https://garnetsigma.com/denis-villeneuve-de-dune-thought-blade-runner-2049-would-end-his-directorial-career/#respond Sat, 09 Oct 2021 15:40:00 +0000 https://garnetsigma.com/denis-villeneuve-de-dune-thought-blade-runner-2049-would-end-his-directorial-career/

In a few weeks, Dune will finally be released in theaters in North America. Director-screenwriter Denis Villeneuve knows how lucky he is to adapt Frank Herbert’s sci-fi epic, mainly because he didn’t think he would still be a director afterwards. Blade Runner 2049.

During an episode of MTV’s “Happy Sad Confused” podcast earlier this week, Villeneuve opened up about how the 2017 film affected his outlook on his career. “I knew when I made this movie, I flirted with disaster,” he admitted. Although critically acclaimed, he was financially a non-starter, earning $ 259.3 million ($ 355) worldwide, and was basically a dud in the United States. For him, making the movie starring Ryan Gosling put him in “artistic danger” and he feared he wouldn’t make any more films after that. “At least I wasn’t banned from the filmmaking community,” he joked. “I still make movies and you always talk to me.”

Yet regardless of the lack of financial success Blade Runner 2049 eu, it doesn’t seem to have mattered in the long run. In the four years since its release, the Blade runner the franchise has seen several comic book releases that have broadened its world, not to mention Adult Swim and Crunchyroll’s Black lotus the anime is coming next month. The franchise seems to be doing well now, as most franchises are doing after a few years on the ice, and it’s likely we’ll see another movie eventually … but maybe not with another 40-year gap.

Given how much beloved properties love Dune and Blade runner are in pop culture, we understand the pressure that would put on the Canadian director. While this helps provide some context for her clear desire to do this second Dune film and getting involved in its spinoff series, that doesn’t let him completely get away with being so insistent on seeing the film in theaters. Even if the movie explodes and he dumps cinema altogether, all of his work will eventually reach the breast tube.

Dune arrives in Australian theaters on December 2.


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Special: All About Darshan Thoogudeepa’s Directing Style | Kannada movie news https://garnetsigma.com/special-all-about-darshan-thoogudeepas-directing-style-kannada-movie-news/ https://garnetsigma.com/special-all-about-darshan-thoogudeepas-directing-style-kannada-movie-news/#respond Sat, 09 Oct 2021 09:15:00 +0000 https://garnetsigma.com/special-all-about-darshan-thoogudeepas-directing-style-kannada-movie-news/ We take a look at some of the candid comments sandalwood wrestling star Darshan Thoogudeepa gave us in interviews, as he recently completed 24 years in the film industry. This special compilation gets him talking about his script choices, his box office thoughts and his Company D guys … about what draws him to a script.

I need the script to please me right now, that’s all it takes. However, I do not keep any parameters in my working model. The only thing I’m rigid about is saying no when something doesn’t appeal to my sensitivity. I have no hesitation in saying that this would not suit my taste

On balancing roles both

I keep saying, I have two faces – good and bad. Ditto for the cinema too, I assume the roles according to the requirements

Why he is discreet during promotions

When there are expectations, the audience builds their own story in their heads, which can work to their own detriment. This is one of the reasons why I now prefer to keep advertising low now. Viewers have reportedly already built a story with expectations in their heads, which might not always match

At the box office

My box office draw can draw a crowd for just three days, after which it’s purely content-based. Whoever the star is, its face value is only worth three days – Friday, Saturday and Sunday

On his fans and Company D

I myself am one of the boys from Company D. I am really grateful for the love they give me, both on social media and from these. We might not meet every day, but they respect my decisions not to talk too much about anything or share too much information. All they do is leave a message wanting to talk about anything and I get back to them.


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Chaitanya Tamhane wins Best Screenplay for “The Disciple” at Asian Film Awards https://garnetsigma.com/chaitanya-tamhane-wins-best-screenplay-for-the-disciple-at-asian-film-awards/ https://garnetsigma.com/chaitanya-tamhane-wins-best-screenplay-for-the-disciple-at-asian-film-awards/#respond Sat, 09 Oct 2021 05:19:00 +0000 https://garnetsigma.com/chaitanya-tamhane-wins-best-screenplay-for-the-disciple-at-asian-film-awards/ MUMBAI: Director Chatainya Tamhane won Best Screenplay for his Marathi feature film “The Disciple” at the 15th Asian Film Awards. The winners in 18 categories were announced Friday at a ceremony hosted by the Asian Film Awards Academy (AFAA) in conjunction with the Busan International Film Festival (BIFF) and the Asian Contents & Film Market (ACFM) at Paradise Hotel Busan .

The ceremony, which was also streamed live on YouTube, took place in a hybrid format with a total of 80 nominees in attendance or participating online.

Tamhane, who is currently in Mumbai, said he was delighted the film was recognized around the world.

“It is a great honor to be nominated and then to win was like a double surprise. I am very happy that the film is recognized internationally,” said Tamhane.
PTI.

“Vivek (Gomber – producer) is filming in South Africa and I really miss him. The lead actor recently became a father so he’s busy with his responsibilities. I’m going to celebrate this moment with my friends and family. It is indeed a great honor, “he added.

‘The Disciple’ follows Sharad Nerulkar (Aditya Modak), an Indian classical singer trying to achieve purity in his work as he was raised on his father’s and guru’s stories of the masters of the past.

The film also features actors Arun Dravid, Sumitra Bhave, Deepika Bhide Bhagwat and Kiran Yadnyopavit.

Last year Tamhane won the Best Screenplay Award for “The Disciple” at the Venice Film Festival, where the film had its world premiere. The film also won the FIPRESCI International Critics’ Award and received the Amplify Voices Award at the Toronto International Film Festival.

“The Disciple” is the 34-year-old director’s second feature film after his acclaimed 2014 film “Short”, in which Gomber was also an actor and producer.

The other big winners of the Asian Film Awards were Kurosawa Kiyoshi’s war drama “Wife of a Spy” (Japan), which received the award for best film, the award for best actress for Aoi Yu and the award for the best costume design for Koketsu Haruki.

Zhang Yimou won the Best Director Award for “One Second” (Mainland China), which also won the Best Newcomer Award for actress Liu Haocun. Korean Yoo Ah-in, who played the silent protagonist in “Voice of Silence” (Korea), won the award for best actor, while Kim Hyun-bin won the award for best supporting actor for his role in deaf schoolboy in “The Silent Forest” (Taiwan).

Lee Byung-hun received the Award for Excellence in Asian Cinema, which celebrated his distinguished acting career spanning three years.


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Madonna releases “Madame X” soundtrack, reveals acting regrets on “The Tonight Show” https://garnetsigma.com/madonna-releases-madame-x-soundtrack-reveals-acting-regrets-on-the-tonight-show/ https://garnetsigma.com/madonna-releases-madame-x-soundtrack-reveals-acting-regrets-on-the-tonight-show/#respond Fri, 08 Oct 2021 16:24:16 +0000 https://garnetsigma.com/madonna-releases-madame-x-soundtrack-reveals-acting-regrets-on-the-tonight-show/
Sean Gallagher / NBC

MadonnaThe new documentary of Who Captures Her Madame X Tour is now airing on Paramount +. But if you don’t have Paramount +, you can still experience it with your ears.

Madame X – Music from the Xperience Theater, a soundtrack to the film, is now available on all digital download and streaming platforms. The soundtrack and the film were both recorded in January 2020 in Lisbon, Portugal. In addition to live performances of Madonna songs Madame X album, the soundtrack features live versions of hits like “Like a Prayer”, “Frozen” and “Vogue”.

Here is the full list of tracks:

“Introduction”
“Control of God”
“Black ballet”
“Human nature”
“Vogue”
“I do not look, I find”
“American life”
“Batuka”
“Fado Pechincha” (with Gaspar Varela)
“Killers who party”
“Crazy”
“Welcome to my fado club”
“Medellín”
“Far West”
“Breathwork”
“Frozen”
“Relive”
“Future”
“Like a prayer”
“I’m getting up”

In other Madonna news, when she appeared on Tonight’s Show with Jimmy Fallon Thursday night she spoke on his next biopic, explaining, “The reason I do this is that a bunch of people have tried to write movies about me, but they’re still men… there’s no one on this planet who can write, direct or write. make a movie about me better than me. and that’s just the truth!

Madonna too revealed that she turned down the chance to play the role of Catwoman in Batman Returns – that she says she regretted – and lead in Showgirls, that she did not regret. His biggest regret, however, was turning down a role in The matrix, which she calls “one of the best films ever made”.

“I wanted to kill myself! she told Jimmy of the choice.

Copyright © 2021, ABC Audio. All rights reserved.


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San Antonio native Marcella Ochoa writes Madres screenplay, which airs October 8 | Movies | San Antonio https://garnetsigma.com/san-antonio-native-marcella-ochoa-writes-madres-screenplay-which-airs-october-8-movies-san-antonio/ https://garnetsigma.com/san-antonio-native-marcella-ochoa-writes-madres-screenplay-which-airs-october-8-movies-san-antonio/#respond Fri, 08 Oct 2021 16:18:00 +0000 https://garnetsigma.com/san-antonio-native-marcella-ochoa-writes-madres-screenplay-which-airs-october-8-movies-san-antonio/

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  • Amazon prime
  • Madres premieres on Amazon Prime on October 8 as part of Welcome to the Blumhouse.

A fan of horror films since the age of 4, screenwriter and native of San Antonio Marcella Ochoa has long wanted to write a horror film featuring Latinos.

Ochoa’s grandparents, aunts and uncles were migrant farm workers, and she felt connected to their stories. When she started doing more research into the lives of people who worked on the farm in the 1970s, she came across an article that troubled her. We’ll spare the details to hold back spoilers, but she knew right away that the story could be the basis of the horror film she wanted to write.

“I thought the story had to be told,” Ochoa told the Running during a recent interview. “That was my motivation – to educate an audience that didn’t know it had happened. I think horror is a great way to tell these social justice stories. ”

Ochoa’s film Madres is one of the four features that make up the anthology series Welcome to the Blumhouse. It tells the story of Beto (Tenoch Huerta) and Diana (Ariana Guerra), a young Mexican-American couple who are expecting their first child. They moved to a small California town in the 1970s after Beto landed a job running a farm. However, the community is not what Diana expects, and she soon realizes that the dark secrets the city hides could have dire consequences for the family.

In an interview with the Running, Ochoa, who attended St. George Episcopal and Locke Hill Elementary as a child, spoke about her obsession with the horror genre and what she thinks makes a great horror movie. Madres premieres on Amazon Prime on October 8 as part of Welcome to the Blumhouse.

Why was it important for you to write a horror movie with Latino characters?

Being Mexican Americans, our stories are never told to us, especially in the horror genre. It’s something really important to me in everything I do. I wanna tell our stories where it’s not stereotypical [and] where we are the main characters and the heroes. I want to show our community and change the narrative of how we are viewed.

What do you think of horror movies that contain social posts like Candy and Get out?

The first time I saw Get out, I liked it. Horror is great because it’s so versatile. You can have monster movies where you just want to be scared, but you can have these kinds of movies as well. I think there is room for everything in this genre.

Whether we’re talking about a monster movie or a movie with a message, is there one element that a horror movie has to be good?

I love stories where you’re really invested in the characters and you’re scared for them. If I’m not connected to the characters, I don’t care if they’re taken by a creature or if a ghost is haunting them. Character is so important. Then you build the scares around it. One of my favorite movies is A quiet place because I was invested in the family. It makes him a lot scarier.

What is your first memory as a child watching horror movies?

Growing up my parents loved movies and they watched everything. They let me watch everything too. When I was 4 years old, I saw Jaws. I liked the feeling of being afraid. I didn’t even want to go to our local pool anymore. I was sort of obsessed with this feeling.

Is Latin folklore something that you also remember as a child?

Yes, we grew up with legends and scary stories like La Llorona and El Cucuy at a very young age. Horror is in our blood. We were surrounded by these scary legends when we were children. It also attributed to my love for horror, supernatural and magical realism. It was part of my culture.

Do you think a change has happened in Hollywood and that studios are now more interested in telling Latin American stories?

I think [studios] are starting to see that we are such a big audience. We introduce ourselves to horror movies and superhero movies. There has been a change where they look for our films – but also have us in front of and behind the camera. I saw the change just from having meetings with the studios. The word everyone uses is “genuine”.

Give me some advice on how to convince my wife to let our 5 and 10 year old kids watch more spooky movies. i showed them Gremlins, but that’s as far as she’ll let me go.

(Laughs.) This is the same argument I have with my sister, whose children are 6 and 12 years old. I say, “Look, I saw horror movies at a very young age, and that really shaped me. So maybe you can get your wife on board if you tell her it will feed their imaginations.

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