Tamil cinema seriously needs directors with a fresh visual language again. Nowadays many filmmakers rely too much on nostalgia stuff either stuffing scenes with references from actor's old movies or reusing the same mannerisms, dialgs, and mass moments we've already seen a hundred times before.Oru padam na paravala ,Release aagra maximum padam ellam ippdi than iruku.
A reference scene works only when it comes naturally and supports the story ,Like in Thaai kezhavi that interval scene worked too good with viswaroopam song , But If every 10 minutes feels like a callback compilation, the film loses its own identity. Directors 10-15 years back created iconic moments from scratch instead of constantly reminding us of older ones. Style without substance may give temporary whistles, but strong staging and screenplay are what make scenes or movies memorable for years.
#Kollywood
#Indiancinema
The cinema obsessed morons who can’t tell the difference between movies n real life will finally realise their stupidity but by then it’ll be far too late. They have handed over TN one of India’s most developed n educated states, to a cinema dancer with zero governance knowledge
Daniel Day-Lewis on how he selects his movie roles:
"I was deeply unsettled by the script of "There Will Be Blood" (2007), for me, that is a sure sign. If you remain unsettled by a piece of writing, it means you are not watching the story from the outside; you’ve already taken a step toward it. When I’m drawn to something, I take a resolute step backward, and I ask myself if I can really serve this story as well as it needs to be served.
If I don’t think I can do that, no matter how appealing, I will decline. What finally takes over, what took over with this movie, is an illusion of inevitability. I think: Can this really be true? Is this happening to me again? Is there no way to avoid this?"
("The New Frontier’s Man", Lynn Hirschberg, The New York Times, 2007)
P.S: Happy 69th birthday, Daniel Day-Lewis!
A los 95 años, Clint Eastwood habló de la vejez de manera directa, sin tratar de endulzar nada.
Durante una intervención reciente, describió lo que le sucede al cuerpo con el paso del tiempo.
Los huesos pierden elasticidad, los movimientos se vuelven más lentos. La luz cansa la vista y también respirar puede requerir un esfuerzo mayor. Luego llegó el resto.
Explicó que la parte más pesada no es solo física. Superados los noventa años, muchas de las personas queridas ya no están. Las presencias se reducen, los días cambian de ritmo. Y sucede que ya no encuentras a alguien dispuesto a escuchar de verdad.
En ese contexto, volver con la memoria al pasado se vuelve casi natural. Contar episodios ya vividos, retomarlos varias veces, añadir detalles. No para convencer a quien escucha, sino porque hacerlo da aún un sentido de continuidad.
Ha comparado este gesto con el de un abuelo que habla a sus nietos, eligiendo qué transmitir, incluso cuando del otro lado el interés no es el mismo.
La conversación se centra en este punto: cosa queda cuando pasa el tiempo y las personas alrededor disminuyen.
The performance of Jack Nicholson in One Flew Over the Cuckoo's Nest is one of the most iconic in cinema history.
He doesn’t begin with tragedy, but instead uses humor, a sly gaze, and almost wild energy to make McMurphy feel alive and unpredictable. That playfulness makes the later tragedy even more painful—when we realize he isn’t “crazy” at all, but the most lucid person in an inhumane system.
This role also earned Nicholson the Academy Award for Best Actor and cemented McMurphy as one of the greatest characters of all time.
One Flew Over the Cuckoo's Nest (1975) achieved the impossible. It became the first film in 41 years to win the "Big Five" Academy Awards: Best Picture, Director, Actor, Actress, and Screenplay, a feat that had not been accomplished since 1934.