yes producer. Sequel to 28 days later
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yes producer. Sequel to 28 days later
slumdog 'million'aire?
Free screening of 127 Hours (Washington DC & Dallas)
If you're in DC (Oct 12) or Dallas (Oct 20) then go to Fox Searchlight's page for 127 Hours, click on Attend a Free Screening and print out a pass.
http://www.foxsearchlight.com/127hours/
-arryg
http://www.dreadcentral.com/news/402...s-later-sequelQuote:
Originally Posted by sathya_1979
AB, any idea if this is releasing in India on 5th Nov?
I dont think such offbeat movies wud have a simultaneous release in India. :-(
BTW, Audio releasing on Nov 22nd. :-)
http://www.amazon.com/127-Hours-Musi...7283675&sr=1-1
Gud! Namma oorula kedaikkaNum, illenna torrentE gadhi!
it will be a good birthday gift for me :D
A few thoughts on the score of 127 hours by a fan
Thanks to Ramesh R of our group, I managed to watch a private screening of 127 hours with Danny Boyle in the audience yesterday. It is both riveting and motivational and bound to attract a few Academy Award nominations. It’s a highly challenging
subject to handle and Danny Boyle showcased his directorial talents with aplomb.
Coming to the soundtrack, AR did a fabulous job in what I consider his most non-Indian score to date. (Even Couples Retreat had a few Eastern cues) What makes the music so special is that he left no traces of his musical roots which is quite an extraordinary task for an artist to accomplish.
The score flirts with at least four different genres – Rock, Ambient, Symphonic and Techno making it hard to pigeon hole in any one category. AR extensively used Guitars in both uplifting and melancholic hues. Strings naturally came in during grandiose moments. Drums dominated a few heavy sections. The use of
Continuum after Delhi 6 and Phir Mile Sur was a definite highlight moment to me.
I thought the mix was just right - neither too in-your-face nor too subtle.
I am very excited about this score because it demonstrates AR’s versatility outside of Bollywood and would act as a great demo for other Hollywood Directors, opening up new doors to mainstream cinema. (He shared credits in LOTR and The Golden Age, Couples Retreat was light in its treatment befitting the movie)
I am not sure if it can fetch AR another Academy nomination but then thankfully I was completely off in my prediction about SDM.
AB, audio release aayiduchaa?
Quote:
Originally Posted by ajaybaskar
127 Hours Track List [samples]
http://www.amazon.com/gp/product/B00491ICJW
Play 1. Never Hear Surf Music Again Free Blood 5:52 Album Only
Play 2. The Canyon A.R. Rahman 3:01 Not Available
Play 3. Liberation Begins A.R. Rahman 2:14 Not Available
Play 4. Touch Of The Sun A.R. Rahman 4:39 Not Available
Play 5. Lovely Day Bill Withers 4:16 Album Only
Play 6. Nocturne No.2 in E flat, Op.9 No.2 Vladimir Ashkenazy 4:01 Album Only
Play 7. Ca Plane Pour Moi Plastic Bertrand 3:00 Album Only
Play 8. Liberation In A Dream A.R. Rahman 4:06 Not Available
Play 9. If You Love Me (Really Love Me) Esther Phillips 3:27 Album Only
Play 10. Acid Darbari A.R. Rahman 4:21 Not Available
Play 11. R.I.P. A.R. Rahman 5:11 Not Available
Play 12. Liberation A.R. Rahman 3:11 Not Available
Play 13. Festival Sigur Ros 9:26 Album Only
Play 14. If I Rise Dido 4:38 Not Available
127 HOURS PROMOS GOOD QUALITY PROMOS DOWNLOAD
http://www.mediafire.com/?ufdzujxmdi97g
127 HOURS: MUSIC FROM THE MOTION PICTURE Soundtrack Album to Be Released Digitally on November 2nd and in Physical Format on November 22 on Interscope, Featuring New Original Music by Oscar-Winning Film Composer A.R. Rahman
NEW SONG, "IF I RISE" FIRST COLLABORATION BY RAHMAN AND DIDO
127 HOURS is being released in U.S. select cities on November 5th by FOX Searchlight Pictures, reuniting the Slumdog Millionaire team of A.R. Rahman, director Danny Boyle, writer Simon Beaufoy, and producer Christian Colson.
Soundtrack includes a collaboration with composer A.R. Rahman and Dido as well as other instrumental score themes by Rahman, plus classics by Esther Phillips, Plastic Bertrand, and Bill Withers, plus new music from Sigur Ros and Free Blood
NEW YORK, Oct. 28 /PRNewswire/ -- The atmospheric and transcendent music score of Academy Award-winning composer A.R. Rahman is at the heart and soul of the inspiring new 127 Hours (FOX Searchlight Pictures), the true story of Aron Ralston, a trapped mountain climber and his ordeal in the Utah wilderness, opening in the U.S. in limited release on November 5th in New York and Los Angeles.
On November 2nd, three days before the film's opening, Interscope Records will release 127 HOURS: MUSIC FROM THE MOTION PICTURE, featuring the song "If I Rise," the first collaboration between internationally renowned Grammy, Golden Globe and Oscar winner A.R. Rahman and Dido, the mega-platinum two-time Grammy Award-nominated and 4-time BRIT Award-winning British singer and songwriter.
In addition to "If I Rise," the soundtrack for 127 HOURS will also feature several original score written for the movie by Rahman. Titles include "Canyon," "Liberation Begins," "Touch of Sun," "Liberation In A Dream," "R.I.P.," "Acid Darbari," and "Liberation."
127 HOURS marks the second collaboration for A.R. Rahman and Danny Boyle. In a 180-degree turn, they went from capturing the sounds and propulsive rhythms of the "Maximum City" Mumbai, India in Slumdog Millionaire to shooting in a claustrophobic canyon in the middle of nowhere, barely large enough to squeeze in just one man. Boyle needed the right music to capture the film's exploration of one man's extraordinary triumph over incomparable circumstances. For that, he turned to A.R. Rahman to inhabit the unique world of '127 Hours' and to capture the transcendent beauty of Aron Ralston's escape. Rahman's superbly eclectic score succeeds by balancing ambient sound, silence and driving rhythms that deliver an emotionally powerful and uplifting score. As Peter Travers notes in his review of the film for Rolling Stone "Like the A.R. Rahman score that drives the movie, the triumphant, enthralling 127 Hours pays fitting tribute to Aron by being thrillingly alive."
The 127 HOURS soundtrack will also include a number of eclectic tracks ranging from soul-jazz singer Esther Phillips' version of the Edith Piaf gem "If You Love Me" to Plastic Bertrand's new wave anthem, "Ca Plane Pour Moi," and Bill Withers' "Lovely Day." From Iceland's Sigur Ros comes "Festival," while Brooklyn dance-punk duo Free Blood contributes "Never Hear Surf Music Again." The album is rounded out by Chopin's Nocturnes – No. 2 in E flat.
127 HOURS reunites the Slumdog Millionaire team of Oscar winners A.R. Rahman (Best Original Score and Best Original Song), Danny Boyle (Best Director), producer Christian Colson (Best Picture), writer Simon Beaufoy (Best Adapted Screenplay), and Anthony Dod Mantle (Best Cinematography). An official Selection at the London Film Festival, Toronto Film Festival, and Telluride Film Festival, the movie tells the remarkable adventure of mountain climber Aron Ralston (James Franco), who saves himself after a boulder falls on his arm and traps him in an isolated Utah canyon. For five days he examines his life, recalling friends, lovers (Clemence Poesy), family, and two hikers (Amber Tamblyn and Kate Mara), the last people he met before his accident. Ralston ultimately survives the elements, discovering he has the courage and wherewithal to extricate himself by any means necessary, overcoming obstacles until he is finally rescued.
source: http://www.prnewswire.com/news-relea...105986908.html
Composer A.R. Rahman Interview 127 HOURS
For his new drama-thriller, 127 Hours, director Danny Boyle re-teams with innovative Indian film composer A.R. Rahman who won two Academy Awards for his work on Slumdog Millionaire. Rahman has created an awesome score to convey the 127-hour ordeal of American mountaineer Aron Ralston when his arm is pinned by a boulder deep inside a Utah canyon and he must resort to desperate measures in order to survive.
We sat down for a round table interview with Rahman to talk about his new film. He told us about his collaboration with Danny Boyle, why he chose a personal and intimate score with Western influences to help bring to life the director’s unique vision, and how much he enjoyed once again being part of the Oscar-winning team behind Slumdog Millionaire. Rahman also liked our suggestion that he consider working with Ryan Murphy on a Bollywood version of Glee. Hit the jump to read what he had to say:
Q: How do you go about putting together a score and tracks for a guy stuck under a boulder?
A.R. Rahman: Since I worked with Danny Boyle before on Slumdog Millionaire, we have great success and everything. So, when I first got the script and the screenplay of Simon (Beaufoy) and I was reading it, even before the shoot, some kind of sounds came into my mind and I put some stuff [down] and sent it to Danny when he was cutting the movie. How we approached this was I wanted this to be personal in a way. It’s not a big, epic Hollywood score but really personal and intimate, and we thought guitar would be the perfect instrument for him because he’s young and he has an undying spirit and all that stuff and we went on that feeling totally.
Q: The music plays a huge role and almost from the beginning you feel like you’re inside his iPod. What were the sounds that you heard when you first started reading the script? What sort of musical emotions did you get?
A.R. Rahman: Certain things are done intentionally opposite — like there’s no sound at the end or synthesizers or all that stuff. Anything that drowns the movie, no. Anything that makes you sit up and watch it, yes. So, some are expecting a very sad theme going on. We didn’t want to do that. It would have been a beautiful moment in the movie but it would have brought the movie down. So Danny’s vision was perfect I think when he wanted it to be driven at the same time having this new emotion about this boy coming as a hallucination or like a déjà vu and as the future kid. That was a very different emotion and I felt Dido’s words would be good and I had a template with my voice in it. Then, when he heard it, he wanted both our voices together in it and that’s the scene when he sees the boy and then he gets charged to go on that final cutting effort.
Q: In that scene, there’s a string that he hits. I associate that noise with that scene so strongly. How did you create that sound?
A.R. Rahman: That’s a sound design thing but then we wanted to do music that would not disturb it and at the same time drive it.
Q: I thought they were all one thing.
A.R. Rahman: No. That’s the sound design. I watched it sixty times because we were constantly tweaking. The same thing comes twice, right? Once it comes in the beginning when he’s about to discover that he needs to come out and one is the dream where he’s flattered (??) and then he comes out. The last one, instead of going bigger, we made it smaller. We removed elements and thinned it out. So it doesn’t drive him. He drives the music rather than the other way around.
Q: Do you hear music constantly in your head?
A.R. Rahman: Yes and no. Sometimes I intentionally cut it off. I just want to be in silence, especially when I’m traveling. I watch movies without sound.
Q: What was the degree of difficulty for this particular movie? Was it something that flowed right out of you when you saw what was going on or what did you have to do?
A.R. Rahman: I had an initial 3 days before coming for this trip. I went to London to do the stuff. I was like “What am I going to do? What’s going to happen?” But then once you start working, you forget all that and you start enjoying what you’re doing. Once you enjoy the process, you know that people are going to do the same thing. If you don’t enjoy it and just do it like a job, then it’s going to be feel that way. That’s my theory of doing a movie.
Q: Can you talk about how you collaborated with Danny Boyle and what that process was like?
A.R. Rahman: It’s a very simple process. He comes in the tube (subway) and then he sits with me for 3 hours every evening and then I work on something. Then later, if he likes something, I put it even more perfectly. I tweak stuff. So this happened for 3 or 4 weeks and the music was done. When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie.
Q: Everybody else went to the exact location in the canyon, did you also go there?
A.R. Rahman: I missed that because I was rehearsing for my tour in Los Angeles, and by the time I could go, it was done.
Q: Having worked on this project, would you like to go see the location in the future?
A.R. Rahman: Yes, of course.
Q: In this film, there’s one piece that reminds me of an Indian movie song?
A.R. Rahman: In this?
Q: Yes. Was that Danny’s request or your idea?
A.R. Rahman: It had a language. It’s a very emotional language that only exists in India, that part of [inaudible] so we wanted to use that. I had two versions — one with my voice and one with the girl’s voice. But he preferred the girl’s voice and he preferred my voice with an [inaudible].
Q: Who had different themes? I felt like the raven had a theme, the streets and the sky had a theme.
A.R. Rahman: There were basically three themes. One was the sun theme which is the guitar when he’d get sun on his leg and it comes again in the end. And there’s of course the lullaby which Dido sang, “If I Rise.” And then there’s this driving guitar which is the motivation theme.
Q: How did you come up with the sun theme?
A.R. Rahman: I played a couple of ideas and then had this unusual texture underneath which was like this little granulated kind of pipe organ almost like a scratchy record which he started [inaudible] brilliantly. “Oh I love that song.” And when things go fine, it’s good. So he started loving that song and that song was used quite a lot in the movie which is very granulated stuff on the guitar.
Q: You won two Oscars for Slumdog Millionaire, one for score and one for best song, where do you keep your Oscars?
A.R. Rahman: I don’t know. I don’t even know where mine is. My mother has hidden it because everybody who comes in wants to take a photograph of it. So what she’s done is she put it inside a suitcase somewhere.
Q: What if it’s lost?
A.R. Rahman: No, it’ll be inside somewhere.
Q: You don’t want to look at it?
A.R. Rahman: No, maybe I’ll look at it later. (Laughs)
Q: How radically different is your life as a result of that experience and did you even see that coming?
A.R. Rahman: I didn’t see it coming at all. I just wanted to have this new experience with this team of Danny Boyle, Christian (Colson) and Simon (Beaufoy). It was like an excursion for me from my normal routine and the Indian movies I do and that helped. Because when you work with a different team, the expectations are different and then you deliver in a very different way. You look back at it and you’re proud of yourself. And when the same people come in and you do the same thing, it’s boring. You could re-envision it again and again but when the new chemistry of ideas comes in, something happens as a team.
Q: When you’re not working on something, what do you like to listen to?
A.R. Rahman: I listen to everything. As I told you, sometimes I just want to shut off from music and be silent. Then I play a song and it’s refreshing. It’s almost like initializing yourself. Recently I was in South Africa doing a press day for my tour. I listened to this band called “Freshly Ground.” They were doing a live gig there so that’s the last thing I’ve heard.
Q: Is there a genre you’d like to experiment with?
A.R. Rahman: Yes, it’d probably be somebody like Danny having a vision of a musical which I thought would be a brilliant idea but not the old way of doing it but rather the Danny way. The last time I think he tried to do a musical but it didn’t take off, I guess. Four or five years back I think.
Q: Do you think Indian music is more accepted and listened to around the world now as a result of Slumdog Millionnaire?
A.R. Rahman: What is good is what it’s going to lead to, like the song “Jai Ho.” If good numbers are going to come in the future, it bodes well for a lot of things. But then, who’s going to maintain that. That’s the question. So far they could never lead to an Indian song, like a normal film song in this that they can relate to. There are a lot of firsts in that thing. That’s the reason I was doing this tour for them to see my backlog of work and what I’ve done for the past 20 years. We’re going 17 places including South Africa, Singapore and all those places. It is stressful and exhausting, but I think when you see the joy of people, it’s very nice.
Q: You’re the founder of the A.R. Rahman Foundation. Can you talk a little bit about what the foundation is, how it came to be, where it’s based and who it helps?
A.R. Rahman: I’ve been doing music for almost 20 years and after a point what is the motivation that drives you to compose and to do stuff? I did this song for the U.N., a fighting for poverty anthem. That’s when I realized that I could do a foundation. And when I started the foundation, it was basically to fight poverty and to help — that kind of stuff. The best way would be education and kids and all that stuff and then education and working education comes through. Then I started a music school and the music school now teaches kids to play the violin and the viola. These are the Rad (?) instruments that are dying out in India. So, it’s going well and I think now we are increasing the number of kids we have taught and of course we are helping out with other things too. It’s based in India now. [The idea is to] perfect it in one place and then we’ll expand.
Q: What do you think of the success of somebody like M.I.A. who had a song on the Slumdog Millionaire soundtrack (“O…Saya”) that really broadened her appeal and made her far more successful than she was?
A.R. Rahman: Actually it was the reverse. She catapulted. Her song, “Paper Planes,” is very popular. And then, sometime later, the soundtrack through her… “That Little Face,” she was helpful in doing that. “O…Saya” was a collaboration between her and me and she wrote good stuff.
Q: What genre besides Indian music would you like to see pushed more to the forefront with the work that you do?
A.R. Rahman: I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it’s Indian or it’s Western. But in India, I think it’s limited to filler ?? music unfortunately. That’s one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.
Q: Have you ever played at the Hollywood Bowl?
A.R. Rahman: Yes, I did in 2006.
Q: You should do it again.
A.R. Rahman: (laughs) Do it again?
Q: Do something for their new season especially since you have another movie coming out. You should do it with the L.A. Philharmonic because that seems like it would fit right in your wheelhouse.
A.R. Rahman: That’s a good idea. I just finished a concert in March with the London Philharmonic playing all the themes of my stuff.
Q: What do you think about (Gustavo) Dudamel?
A.R. Rahman: Dudamel? I love him and his music.
Q: Do you think people like him just because he flips his hair a lot?
A.R. Rahman: At least that’s a charming thing. (Laughs) Why do you have to be critical about
everything?
Q: I love him. I think he’s fantastic, but I think people like him more because he is so quirky.
A.R. Rahman: Full package, isn’t it? (Laughs)
Q: He makes it more interactive for an audience.
A.R. Rahman: Yes, that’s good.
Q: Where haven’t you been to play that you’d love to go and perform?
A.R. Rahman: My list would be Russia, Morocco, Turkey, and South Africa I’m doing which is somewhere I’ve wanted to go, Australia, Japan maybe, and China, if I have the energy to go and play at all those places.
Q: Is there any chance we’ll see Danny bringing you along for the Olympic Opening Ceremony?
A.R. Rahman: He’s briefly asked me but then there are other things (considerations). I think it’s good for a team where a lot of people can put all their energies together. But he said “You’re so busy here. How can you do all three? You need to give two years of a lifetime. I don’t think you can give.” He both asked the question and answered it.
Q: Are there other filmmakers you’re collaborating with aside from Danny?
A.R. Rahman: Right now I’m taking a break. I’m just finishing up here. It’s been a stressful year with this tour and all the scores and stuff.
Q: Especially since winning the Oscar, do you have a lot of people in Hollywood clamoring to work with you?
A.R. Rahman: Not as much, but the thing is I don’t want to be in a studio situation where you’re forced to think. I love the second stuff. This stuff is perfect for me. This is what I want to do. I wanted to work on a movie that is intimate and yet have the music ?? I did, of course, a movie called Couple’s Retreat with Vince Vaughn. This came even before the Oscars. He wanted me to do the music. I’m doing a complete U-turn. (Laughs)
Q: You mentioned you liked classic music. What are your favorites?
A.R. Rahman: I grew up on Bach and Beethoven and now I’m listening to more modern composers who I can’t even name. But since I’m constantly doing music, it’s difficult to have that quality time to listen to music and do classical stuff. That’s the only reason I’m thinking of going on.
Q: So what are you going to do with all this time off now?
A.R. Rahman: Spend time with my family. Then, my studio is getting completed here in Hollywood.
Q: Are you going to come to L.A. and be based here now?
A.R. Rahman: I’m already based half.
Q: Half? That’s not based. That’s half based. You have your foundation in India. There are lots of kids here who need musical educations. It’s dead in America now.
A.R. Rahman: Maybe I should do that very soon. But I’d like to perfect it in one place. My ideology is to do one thing perfect first.
Q: At one point I think I suggested to Ryan Murphy that they do a Bollywood Glee and he was kind of interested in that. Is that something you might enjoy seeing – something mainstream on television in America?
A.R. Rahman: That would be awesome.
Q: Has Ryan spoken to you about it?
A.R. Rahman: Has he said he wanted to do something with us? I’d be interested. I think it brings a lot of excitement and joy. That whole style which was there before has been forgotten for years now in Hollywood. My recent DVD which I loved was Rob Marshall’s Tony Bennett: An American Classic. Have you listened to that stuff? It was beautiful. It was Tony Bennett’s movie, a documentary. Nobody knows but it’s a beautiful piece of work — a lot of collaborations in it and all that stuff.
Q: What about a big band Bollywood?
A.R. Rahman: There is a band in London that does that. It’s called Rahmania, strangely.
Q: If you did a musical, what sort of things would you want to do?
A.R. Rahman: I think I would like to discover a new root where people don’t get bored with people singing boring lines but something exciting. That’d be interesting.
Q: In a classical style or the rock opera style?
A.R. Rahman: I think it should be a mix of stuff.
Q: Do you see yourself teaming up with Alan Mencken anytime soon in a Disney animated film?
A.R. Rahman: I’d love to. That’s a very exciting thing. It’s so exciting. But again, it has to be discovered. It shouldn’t be the same old thing. Boring.
Q: You keep mentioning Danny’s team — Christian, Simon — and now you’re part of it.
A.R. Rahman: (laughs) Hopefully. At least in this movie I’m part of it.
Q: You don’t think you are?
A.R. Rahman: Well I think nobody should be pressurized like a tag on. And, of course, I’d love to be in another movie but nobody should have the pressure of “Oh he’s wants to be in my movie? How do we get rid of him?” It shouldn’t be like that. But it should complement it.
Q: I’m pretty sure he doesn’t want to get rid of you.
A.R. Rahman: No, no, I’m just saying. That’s my philosophy of life always. The film gives you even more joy to work with rather than…
Q: When I was watching this film, I felt the same kind of emotion and energy as in Trainspotting. Was that Danny’s idea?
A.R. Rahman: I’ve never watched Trainspotting. I just know it’s a very critically acclaimed film. In fact, I’ve never watched any of Danny’s movies [means before he met him]. I just worked with him and felt the energy of what he is about initially before I do something. In a way, I think that’s why we have discovered each other rather than replicate something else.
Q: You’ve seen the movies you’ve done with him though?
A.R. Rahman: Yes. Of course.
Q: You said you’d never seen any of them?
A.R. Rahman: Danny’s movies I’ve not seen any except for the Hollywood movie with Cameron Diaz, A Life Less Ordinary.
Q: So you have?
A.R. Rahman: Only that one which is not a typical Danny Boyle movie.
Q: How do you think the audience reaction to 127 Days compares to Slumdog Millionaire? Have you been watching the audience?
A.R. Rahman: I haven’t watched the audience yet because I just came in two days ago and I missed the screening yesterday.
Q: Are you looking forward to seeing it with an audience?
A.R. Rahman: Yes, I’m going to see it in London. It’s going to happen in two days.
Q: Do you get nervous about those sorts of things or do you just feel the excitement?
A.R. Rahman: I do get nervous.
Q: Can you feel the audience sort of swelling with the score?
A.R. Rahman: My first experience of that was with my first movie which I did in India. And it was so different from other people. I find that “Oh my God.” Every time the music is slow I feel that people are going to get up and go out. You get this nervousness. But, to my surprise, people starting singing the song even before it came in. They started singing along a week later, after release, which was very cool.
Q: How do they know the song?
A.R. Rahman: In India, the music releases at least 15 days before.
Q: Who’s doing film scores that get you really excited?
A.R. Rahman: I like Tan Dun, the Chinese composer. I like some of Hans Zimmer’s stuff. (Ennio) Morricone is my favorite and John Williams. As a sound, I think Gustavo. But this is all four or five years back. Now I just want to cleanse my mind. I’d like to discover something new or a new part of something. And anybody that’s coming to you, they want a fresh sound. They want more of me which I’m discovering myself every day.
Q: Where do you see yourself 10 years from now with your music?
.R. Rahman: Ten years from now? I don’t know. Because a mind is like a monkey, isn’t it? Suddenly it says “Work hard” and suddenly it says “Quit.” And for me, the second one is the one that keeps sounding off. “That’s enough. Let’s go.” If something comes along that’s exciting, it motivates me to work harder. But I guess that’s a burden to have. Ten years of good music. I want to feel light inside.
127 Days opens in theaters on November 5th.
source: http://www.collider.com/2010/10/28/c...iew-127-hours/
Great read..
Good one, Sunil.
:shock: :notworthy: :redjump:Quote:
Originally Posted by Sunil_M88
I wish I could hear more of If I Rise! All the liberation tracks sound interesting. Very ominous sounding guitars!Quote:
Originally Posted by A.ANAND
Glad to see Bill Withers Lovely Day on there too. 'Ain't No Sunshine' by him is one of my fave tracks.
More Tweets from Shekhar Kapur
shekharkapur Shekhar Kapur
rahman's score adds depth to danny boyle's deft and energetic direction in 127 hours
7 hours ago
»
shekharkapur Shekhar Kapur
rahman certainly deserves another oscar for 127 hours, danny boyle and rahman are proving to be a great combination
-ARRYG
A.R.Rahman Talks about Composing for "127 hours"
http://www.youtube.com/watch?v=sGTcpVY-MYU
127 Hours review - The Metro
Shot in Boyle¡¯s punchy, colourful and visceral style, he puts us straight into the thumping heart of the action with claustrophobic close up shots, split screens and a brilliantly effective score from Bollywood great AR Rahman
.
http://www.metro.co.uk/film/845593-d...estival-review
Time Out review - 127 Hours - 4 / 5
Shot by Anthony Dod Mantle on a plethora of digital cameras, and with a euphoric electro-beat score by AR Rahman, ¡®127 Hours¡¯ crash-cuts between the highs and lows of a young man on his last legs, refusing to succumb. Deliriously ranging between the past and the present, fantasy and reality, the macro and the micro ¨C the movie is a total rush, building towards a wrenching climax you won¡¯t soon forget.
http://www.timeout.com/film/reviews/...tml?print=true
Newshopper - 127 Hours review
But while director Kevin Macdonald¡¯s movie took the form of a documentary, mixing dramatisations with commentary from the two climbers, Boyle¡¯s film plays like a slick, fast-paced thriller, complete with a thumping soundtrack and stylish split screen montages
http://www.newsshopper.co.uk/leisure..._Film_Festival
LFF 2010: 127 Hours Review
Franco and Boyle combine to convey a sense of love for the moments when hope is rekindled, likewise in the darkest of the 127 hours Franco¡¯s hosting of his own morning TV show breaks the tension and heightens the tragedy of the events. I wanted to listen to A. R. Rahman¡¯s score all the way home, it¡¯s yet another powerful Danny Boyle soundtrack with a neat touch of irony.
http://www.heyuguys.co.uk/2010/10/28...-hours-review/
nomination for another oscar uruthi! :D
Already 3 nominations. Count 2 more?
for music??
Yes.. Best song and best score?
woooooooow! :bluejump: :redjump: :boo: :happydance:Quote:
Originally Posted by ajaybaskar
Ennanga, edho awardeh koduththutta maadhiri feel panreenga?
nomination ponale award kedacha mathiri-than!athukkuthan intha emotion :lol:
who said that he got nominated ???
Can Hollywood, usually creating things for entertainment purposes only, create art? To create something of this nature, a director must approach it in a most meticulous manner, due to the delicacy of the process. Such a daunting task requires an extremely capable artist with an undeniable managerial capacity and an acutely developed awareness of each element of art in their films, the most prominent; music, visuals, script, and acting. These elements, each equally important, must succeed independently, yet still form a harmonious union, because this mixture determines the fate of the artist's opus. Though already well known amongst his colleagues for his notable skills at writing and directing, Danny Boyle emerges with his feature film directorial effort, 127 Hours. Proving himself already a master of the craft, Boyle managed to create one of the most recognizable independent releases in the history of Hollywood. 127 Hours defines a genre, defies the odds, compels the emotions, and brings an era of artistically influential films back to Hollywood.
The story begins when a mountain climber becomes trapped under a boulder while canyoneering alone near Moab, Utah and must resort to desperate measures in order to survive.
By creating the film's firm foundation, the meticulously chiseled screenplay paved the way for this film's success. Boyle outdoes himself with the phenomenal adaptation of the equally noteworthy true story. In which Providence itself demonstrates that we are susceptible to wayward mishaps. Though the film mirrors the real life ordeal in many ways, Boyle illustrates a focused objective of improving upon the areas where true events come up short, resulting in one of the best film transitions ever.
While maintaining some of the poetic and moving dialogue of the novella, Boyle also proves that a film's score can generate a great deal of emotional response from its audience, as dialogue does. He employs the cunning A.R. Rahman, son of the legendary Bollywood composer, Alfred Yash Rahman. Boyle shows recognition for the film's needs by employing Rahman, who makes the gentle piano chords whisper softly to the viewer, as if a part of the scripted dialogue. Rahman lends himself to individualism and tends to drive more towards the unique in the realm of score composition. His effort in 127 Hours did not go unnoticed, as his score received an Berlin Silver Bear nomination in 2010. While unique and independent, Rahman's score never once intrudes on your concentration or distracts from the film.
With work from vast array of talented scene designers, costume designers, composers, cinematographers, and various other Hollywood artists, the cast of 127 Hours had a strong foundation to work with. The marvelous cast of this film will dazzle you with some of the most convincing performances you will witness in a film. While James Franco shines as Aron Ralston, the true spectacle of acting lies within the plethora of amazing supporting actors who easily disappear into their roles. Most noticeable of these, the veteran film star Treat Williams, who portrays the elderly father figure. Williams, a man torn apart by hisown inner demons for so long that he finds himself attached to the past and the daily life he has lead. Each of these actors show a true dedication to their art, and a focused purpose in their motivations, creating a convincing setting that never once caters to anything unbelievable.
With all of the aesthetic touches and attention to cinematic detail, the most beautiful part of the film lies within its thematic material, such as its focus on the human desires for the most abstract concepts, like hope and freedom. These themes, which concern things the human spirit undoubtedly yearns for, seem so intricately woven into the plot that it easily draws its audience in to its story. Though full of twists of unrelenting Fate, your heart will go out to these men as they display the most basic of human emotions, and deliver some of the most quotable lines in a film to date. Like a great novel, this film manages to succeed at greater things than simply entertaining an audience. Boyle tells his story most masterfully, illustrating principles and inspiring his audience to think. He leaves us a poignant film with a powerful message of hope, and redemption, something we all seek.
This film manages to redeem Hollywood in the eyes of people who feared it long lost in a dark sea of clichés and predictability. Boyle shows us that artists still work in the Hollywood studios and production facilities. These artists show their capability to produce art; real art that inspires you to look at the deeper aspects of life and the world around you. 127 Hours delivers much-needed breath of fresh air for anyone who realizes the capability of film. It proves that masters of the craft still live on this earth, and still bless us with timeless masterpieces that we will never forget.
http://www.imdb.com/title/tt1542344/
8-)Quote:
Originally Posted by A.ANAND
Alfred Yash Rahman! :banghead:
Epdi ellaam peru vekraanga pa :sigh2:
hehe. i noticed that. however, since his review was really good, i decided not to make an issue of it. :)Quote:
Originally Posted by Benny Lava
:lol: :lol: :lol:Quote:
Originally Posted by Benny Lava
Combination of Alfred Newman, Yash Chopra, and AR Rahman!
"R" eppadi Yash-ukku vandhuchu?
http://www.filmmusicmag.com/?p=6418
:notworthy:
"Though the composer has never quite done a score like this, it would be a huge mistake to think of Rahman as a musician only good for handling “Indian” soundtracks. For the dozens of scores he’s composed for his equally prolific native cinema, Rahman’s also given contemporary flair to such pictures as the battle-ready England of Elizabeth The Golden Age and the Chinese action of Warriors of Heaven and Earth. So it isn’t too much of a stretch to throw him into the recesses of a California canyon to see what he digs out of it."Quote:
Originally Posted by satissh_r
:notworthy: :notworthy: