Maestro ilaiyaraaja news & titbits

[venkkiram]

Mr Alfred

Very nice the camera shots.. especially the ones without the faces.. Raja's scores elevated your vision.

[sloshed]

Thanks venki.. The truth is I picked raaja's score first (I don't know if everyone will immediately identify the bgms used ) then I wrote the story around it .. Now I see how guys like r.sunderrajjan just hangs in raaja's room to grab the songs and then write a story around it ... The folks in the movie has never acted before .. The girl was just so moved by the music that I didn't have say much .. The music pretty much directed this short film ... Thanks for your feedback

[svaisn]

Folks...
Here after a long time. My small tribute to the man who defined my musical tastes. I know I wont get to work him, but I wanted to use his music for my first short film. I hope you guys like it and share it.
Thanks

OMG... this is simply mind blowing.... Awesome Bro....Loved the film and the BGM ..... Way to go... All the Best..!!!

[svaisn]

Thanks venki.. The truth is I picked raaja's score first (I don't know if everyone will immediately identify the bgms used ) then I wrote the story around it ..

There are few which I am still not able to identify.... Can u share pleasee.....

[sloshed]

Thanks svaisn... The bgms I chose were something that stuck with me for years .. Some weren't even that popular ... I'm going to try list the bgms in the same order
Nandhalala
Mahanadhi
Unnakagave vazhkiren (amazing title score)
nayakan
Idhayam
Nadodi thendral
Marupadiyum
Paneer pushpangal
Idayathai thirudathey ( the flute piece mesmerizes even after so many years )
Thanks ..

[sloshed]

I missed out Valli title score before the last bgm

[senthilv.com]

Folks...
Here after a long time. My small tribute to the man who defined my musical tastes. I know I wont get to work him, but I wanted to use his music for my first short film. I hope you guys like it and share it.
Thanks

.

Very well done. You are telling story through character point of view and clearly make us understand what your characters are feeling throughout the movie. Shows are you are a storyteller. I like the usage of Raja's score to enhance the movie. Mood, framing, composition, color, costume selections are very good.

Some feedback.
1. You are violating 180 degree rule (eye line) in lot of places. If you frame them right, you would get even better emotions. (http://en.wikipedia.org/wiki/180-degree_rule)
2. The eye line axis between two characters has to be clearly established & maintained by camera position and angle.
3. Watch for camera angles from character perspective (irrespective of subjective or objective shot) The angles b/w both characters have to match by eyeline axis. Example, when the guy character looks up to the character in the balcony, it will give a realistic feel, if you tilt up the camera. And tilt the camera down when girl looks at him from balcony. (You could do neutral shot like you did but only after clearly establishing spatial relation b/w characters) May be in simple words, I was bit confused about the geography of where those characters are in the real world and their position from each other.

If you fix #1, #2, #3 you will get better result. btw, the angle @ 3:40 is right composition & angle.

Anyway, this is basic stuff, camera choreography is bit more complex. Don't be discouraged by it, you learn better angles by doing more. If you are interested more start with the book "The Five C's of Cinematography"

4. While I know you wanted to use all great Raja scores. You have to treat his scores thematically in the film. Once you have established musical color and tone, you have to continue that throughout the film. Like Raja always does, we have to put the film first, music has to support and serve it. You have put Raja's music first in your film I'm sure you will be loved for that in this forum though.

5. Lastly, don't be afraid to delay or completely remove music in some critical moments. One could create emotions by adding music or create emotions by stopping the music that was playing. Basically, score could disturb the mood and silence is as important as the score.

Anyway, you have just grabbed the camera and made it happen and pretty bravely put it out to the whole world to see. Kudos to that. I don't have the courage to put out my early works like you!

Congrats again. All the best.

[senthilv.com]

Senthil and MumbaiRamki...Well said!

Just wanted to point out from a different perspective. Ramana Maharshi uses this screen analogy in a different context many times to questions when devotees try to under stand on what the whole world is about. (See http://acfip.org/analogy.html). That is in a different context.

Thanks for the comment. In a way, I just paraphrased -- "Do your duty but without concern for the results" Hence, I called him IsaiYogi just to drive home that point. Don't know if Raja would even see or agree with that. Expectations are part of artistic work and one can't escape it but Raja has just better managed expectation than most other artists is a very true statement.

Screen analogy is extremely interesting. You could very well be right because we don't know how our subconscious mind works. Thanks for sharing.

[rajaramsgi]

விஸ்வரூபம் ஆடியோ ரிலீஸ் போடோஸ்..ராஜா சார் தான் ஆடியோ ரிலீஸ் பண்ணாராம். வேற இசை அமைப்பாளர் இசை அமைத்த ஆடியோவை முதன் முதலா ராஜா சார் வெளியடரார்னு நினைக்கிறேன். பொம்மலாட்டம் ஆடியோ ரிலீசுக்கும் போனார்.

http://www.kollytalk.com/stills/visw...hennai-photos/

[rajaramsgi]

விஸ்வரூபம் படத்தில் ஒரு பாடலை கமலஹாசன் எழுத மற்ற பாடல்களை அண்ணன் வைரமுத்து எழுதி இருக்கிறார். ஆடியோ ரிலீஸ் போட்டோக்களில் அண்ணனை காணோம். ராஜா சார் வருகிறார் என்று தவிர்த்து விட்டாரா அல்லது வர முடியாத சூழ்நிலையா? யார் கண்டார்கள். அது இருக்கட்டும். இந்த வார ஆனந்த விகடனில் அண்ணன் ஒரு கேள்விக்கு பதில் சொல்லி இருக்கார் பாருங்கள்..

இதோ.. உலக மகா யோக்கியரின் பதில்.

ரங்க கோபாலன், வந்தவாசி: ''எழுத்தாளர் ஜெயகாந்தனிடம் நீங்கள் ரசிப்பது?''

வைரமுத்து: ''அவரது அறச் சீற்றம். ஒரு நாள் காலையில் என் வீட்டுத் தொலைபேசி ஒலித்தது.
'நான் ஜெயகாந்தன் பேசுகிறேன்.’
'வணக்கம்; வைரமுத்து பேசுகிறேன்.’
'என் மகள் திருமண வரவேற்புக்கு உங்கள் மண்டபம் தேவைப்படுகிறது.’
'அது உங்கள் மண்டபம்; எடுத்துக்கொள்ளுங்கள்.’

'பொன்மணி மாளிகை’ பெயரிட்டுத் திருமண அழைப்பிதழ் அச்சிட்டவர், ஓர் இசையமைப் பாளரைச் சந்தித்து அழைப்பிதழ் தந்தாராம்.
'கட்டாயம் வருகிறேன்’ என்ற உறுதிமொழி தந்து அழைப்பிதழைப் பிரித்த இசையமைப்பாளர், திருமண மண்டபத்தின் பெயரைப் பார்த்ததும் திகைத்துப்போனாராம். 'நான் அங்கு வர முடியாதே’ என்று நெளிந்தாராம்.
விசுக்கென்று எழுந்து வாசல் வரை சென்ற ஜெயகாந்தன் விறுவிறுவென்று திரும்பிவந்து, 'நீதான் திருமணத்திற்கு வரப்போவதில்லையே! உனக்கெதற்கு அழைப்பிதழ்?’ என்று அழைப் பிதழைப் பறித்துக்கொண்டு வெளியேறிவிட்டா ராம்.
இந்தச் சம்பவத்தை ஒரு நண்பரின் வாய்மொழியாக அறிந்தேன்.
கண்ணதாசன் வரியைப் பொருத்தி ஜெயகாந் தனை நினைத்துக்கொண்டேன்.
சிங்கத்தின் கால்கள் பழுதுபட்டாலும்
சீற்றம் குறைவதுண்டோ?’ ''