हम कलाकारों को ध्यान में रखकर लिखते हैं और फिल्म के छोटे से छोटे किरदार को भी, उन सबका अपना पल होता है। आप उसे लेते हैं और एक ऐसी कहानी में पिरोते हैं जो बिल्कुल आपके सामने घटती है और जिसमें भरपूर एक्शन, नग्नता और सब कुछ होता है, लेकिन साथ ही उसमें एक सच्ची कहानी भी होती है। उसमें भावनाएं होती हैं और फिल्म के अंत में दर्शक उसे महसूस करेंगे। इसलिए मुझे उम्मीद है कि वे अपने दोस्तों को बताएंगे और इसे और अधिक देखना चाहेंगे।
We write for actors and even down to the smallest character in the film, they all have their moment. You take that and you put it in a story that's in your face and there's tons of hardcore R action, nudity and you name it, but at the same time there really is a story there. It's got heart and at the end of the movie people will feel it. So I hope they'll their friends and want to see more.
We write for actors and even down to the smallest character in the film, they all have their moment. You take that and you put it in a story that's in your face and there's tons of hardcore R action, nudity and you name it, but at the same time there really is a story there. It's got heart and at the end of the movie people will feel it. So I hope they'll their friends and want to see more.
मुझे लगता है कि आप जितनी देर किसी पटकथा पर बैठे रहेंगे, बात उतनी ही बिगड़ेगी। मैं इस बात का पक्का समर्थक हूँ कि आप किसी फिल्म या पटकथा से उसका जादू ही गायब कर सकते हैं। मैं यह नहीं कह रहा कि पहला ड्राफ्ट हमेशा सबसे अच्छा होता है, लेकिन कई बार असली जादू शुरुआती कुछ ड्राफ्ट्स में ही होता है।
I think longer that you sit on a screenplay the longer you sit. I'm a firm believer that you can write the magic out of a movie, out of a screenplay. I'm not saying that the first draft is always the best draft but a lot of times the magic is in the first couple of drafts. T
I think longer that you sit on a screenplay the longer you sit. I'm a firm believer that you can write the magic out of a movie, out of a screenplay. I'm not saying that the first draft is always the best draft but a lot of times the magic is in the first couple of drafts. T
निक [केज] सिर्फ एक शानदार अभिनेता से बढ़कर हैं। वह आपकी फिल्म को पर्दे पर उतार कर ही दम लेंगे। हमने सबसे पहले यही किया कि हम कई बेहतरीन निर्माताओं के पास गए।
Nic [Cage] is more than just a fantastic actor. He will get your movie made. The first thing that we did is that we went to producers and there were a lot of great producers.
Nic [Cage] is more than just a fantastic actor. He will get your movie made. The first thing that we did is that we went to producers and there were a lot of great producers.
यह वाकई एक वरदान साबित हुआ है क्योंकि आप स्टूडियो सिस्टम के तहत बनाई गई हमारी अन्य फिल्मों को देख सकते हैं। हमें वैसी फिल्म बनाने का मौका नहीं मिला जैसी हम बनाना चाहते थे। हमने वह फिल्म बनाई जो कोई और हमसे बनवाना चाहता था। यह थोड़ा नहीं, बल्कि बहुत ज़्यादा निराशाजनक हो सकता है। भले ही कई संघर्ष आए हों, इससे कोई फर्क नहीं पड़ता कि आप किस मेज पर बैठे हैं क्योंकि मुश्किलें तो हर जगह आएंगी, लेकिन मुझे अपनी पसंद की फिल्म खुद बनाने की आज़ादी मिलना ज्यादा पसंद है।
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
कहने का मतलब है कि अगर आप चार्जर को देखें और दूसरी गाड़ियों से तुलना करें, तो उसकी बनावट की रेखाएं, टायर, 3-D में बहुत खूबसूरत लगते हैं। एक बात जो हमने महसूस की, वह यह थी कि इसकी चमकने वाली सतह थोड़ी अजीब है। 3-D में यह अजीब असर पैदा करती है। इसलिए आपको इस बात का ध्यान रखना पड़ता है।
I mean if you look at the Charger and you compare it to other cars, the way the lines work, the tires, in 3-D it's gorgeous. One thing that we found was that the reflective surface was weird. It does funny things in 3-D. So you have to deal with that.
I mean if you look at the Charger and you compare it to other cars, the way the lines work, the tires, in 3-D it's gorgeous. One thing that we found was that the reflective surface was weird. It does funny things in 3-D. So you have to deal with that.
निक निश्चित रूप से गाड़ियों के बहुत शौकीन हैं क्योंकि निक और [विलियम] फिचटन और बिली, ये लोग गाड़ियों के बारे में बातें करते-करते थकते नहीं हैं। इसलिए हमारे पास अपनी रिसर्च पूरी करने और हर चीज़ को सही ढंग से करने के अलावा कोई चारा नहीं था, क्योंकि अगर हम ऐसा नहीं करते तो वे हमें आड़े हाथों लेते।
Nic is definitely a car guy because Nic and [William] Fichtner and Billy, these guys go on and on about the cars. So we had no choice but to do our research and get everything right because they were going to nail us if we didn't.
Nic is definitely a car guy because Nic and [William] Fichtner and Billy, these guys go on and on about the cars. So we had no choice but to do our research and get everything right because they were going to nail us if we didn't.
यह एक रोड ट्रिप फिल्म है [वैलेंटाइन]। मेरा मतलब है, हाँ। हम इसकी शूटिंग यहीं करते हैं और यह कहानी मूल रूप से कोलोराडो से लुइसियाना तक की है। यही वह रोड ट्रिप है। इसलिए हम हर जगह घूमते हैं। हम टेक्सस के कुछ हिस्सों और ओक्लाहोमा के कुछ हिस्सों से गुजरते हैं।
It's a road movie [Valentine]. I mean, yes. We film it here and it takes place from basically Colorado to Louisiana. That's the road trip. So we're all over the place. We go through bits of Texas and bits of Oklahoma.
It's a road movie [Valentine]. I mean, yes. We film it here and it takes place from basically Colorado to Louisiana. That's the road trip. So we're all over the place. We go through bits of Texas and bits of Oklahoma.
जब तक हम बजट के दायरे में रहकर जिम्मेदारी से काम करते हैं, और वैसे यह हैरानी की बात है कि कितने सारे लोग ऐसा नहीं करते लेकिन हम करते हैं। हमने बजट के भीतर काम किया है। हमने तय समय के भीतर काम किया है और हम वही फिल्म बना रहे हैं जो हम चाहते हैं। यही हमारा पुरस्कार है और मैं इससे ज्यादा खुश नहीं हो सकता।
As long as we work within the budget and are responsible, which by the way it's amazing how many people aren't but we are. We've worked within the budget. We've worked within the time and we're making the movie that we want. That's the reward and I couldn't be happier.
As long as we work within the budget and are responsible, which by the way it's amazing how many people aren't but we are. We've worked within the budget. We've worked within the time and we're making the movie that we want. That's the reward and I couldn't be happier.
यह उतनी ही सख्त 'R-रेटेड' फिल्म है जितनी हमने शुरुआत में लिखी थी। यह सब बहुत तेजी से हुआ। मुख्य रूप से डी लुका की वजह से यह बहुत जल्दी हो गया। हम डी लुका के साथ आए थे। मुझे लगता है कि निक का मिलेनियम के साथ कोई समझौता था, इसलिए हम जल्दी ही मिलेनियम के साथ जुड़ गए और उन्होंने कहा, 'जाओ अपनी मनपसंद फिल्म बनाओ। मूल रूप से, नियम ये हैं; बजट के भीतर रहो, समय सीमा का पालन करो और अपनी फिल्म बनाओ।'
This as hard an R as we wrote in the beginning. It was fast. It was fast mainly because of De Luca. We came in with De Luca. Nic I think had a deal with Millennium and so we ended up with Millennium quickly and they said, 'Go make the movie that you want to make. Basically, here are the ground rules; stay within the budget, stay within the time and go make your movie.'
This as hard an R as we wrote in the beginning. It was fast. It was fast mainly because of De Luca. We came in with De Luca. Nic I think had a deal with Millennium and so we ended up with Millennium quickly and they said, 'Go make the movie that you want to make. Basically, here are the ground rules; stay within the budget, stay within the time and go make your movie.'
जब हम पटकथा लिख रहे थे तो हम अधिक रॉक संगीत सुनते थे। 'रेनेगेड'। स्टिक्स के सभी गाने। 70 और 80 के दशक के पुराने गाने, जब हम ये सब काम कर रहे थे तो बैकग्राउंड में यही सब बज रहा होता था। यह उन फिल्मों का एक हिस्सा है।
We played more rock music when we were writing the script. 'Renegade'. All of the Styx songs. All of the old '70's and '80's music, that's the stuff that's pounding in the background while we were doing this stuff. It's a part of those movies.
We played more rock music when we were writing the script. 'Renegade'. All of the Styx songs. All of the old '70's and '80's music, that's the stuff that's pounding in the background while we were doing this stuff. It's a part of those movies.
मैं यहाँ इसलिए हूँ क्योंकि पैट्रिक और मैं पार्टनर हैं, और जब भी हमारे सामने कोई अजीब स्थिति आती है, तो हम बैठकर उस पर गहराई से सोचते हैं और विचार-विमर्श करते हैं, बिल्कुल वैसे ही जैसे हम किसी दृश्य को लेकर करते हैं। इसलिए, हो सकता है कि स्टूडियो के बड़े अधिकारियों को मेरा यहाँ होना समझ न आया हो, या कम से कम शुरुआत में तो नहीं आया था, लेकिन अब वे समझ गए हैं क्योंकि हम सच में एक पार्टनरशिप में हैं। अगर वह सेट पर है, तो मैं भी सेट पर हूँ।
The reason that I'm here is that Patrick and I are partners and when crazy stuff comes our way we'll sit down and brainstorm and think around it just like we do when we're thinking about a scene. So, while the masters might not understand my being here, or at least they didn't at first, but they do now because we really are a partnership. If he's on set I'm on set.
The reason that I'm here is that Patrick and I are partners and when crazy stuff comes our way we'll sit down and brainstorm and think around it just like we do when we're thinking about a scene. So, while the masters might not understand my being here, or at least they didn't at first, but they do now because we really are a partnership. If he's on set I'm on set.
किसी भी दूसरी फिल्म की तरह, हमें भी शूटिंग के दौरान गाड़ी से जुड़ी परेशानियाँ आईं। मौसम की दिक्कतें हुईं, और ऐसी तमाम मुश्किलें आईं जिनका आप नाम ले सकते हैं। आप इन मुश्किलों का अंदाज़ा नहीं लगा सकते, लेकिन जब तक आप इस सोच के साथ आगे बढ़ते हैं कि चाहे कुछ भी हो जाए, हम इसका कोई न कोई हल निकाल ही लेंगे — बस यही वजह है कि मैं यहाँ हूँ।
Just like in any other movie, too, we've had car troubles. We've had issues with weather. We've had issues with you name it. You can't predict this tough but as long as you go at it with the mindset that it doesn't matter what happens, we'll just figure out a way around it - that's the reason that I'm here.
Just like in any other movie, too, we've had car troubles. We've had issues with weather. We've had issues with you name it. You can't predict this tough but as long as you go at it with the mindset that it doesn't matter what happens, we'll just figure out a way around it - that's the reason that I'm here.
ऐसा नहीं है कि हमें कुछ ऐसा करने के लिए मजबूर किया गया जो हम नहीं करना चाहते थे। मेरा मतलब है, जब आप वह दृश्य देखेंगे तो आपको अहसास होगा कि हम वाकई बहुत भाग्यशाली थे कि मौसम ने हमारे खिलाफ रुख अपनाया, क्योंकि अब उस दृश्य में एक ऐसा गहरा अर्थ जुड़ गया है जो शायद अपने आप नहीं आता। उसमें कुछ ऐसे छिपे हुए भाव उभर कर आए हैं जो बाहर शूटिंग करने पर कभी नहीं आते। तो इस मामले में हमारी किस्मत अच्छी रही, और हम हमेशा यही कोशिश करते हैं कि रास्ते में आने वाली हर रुकावट को अपने पक्ष में कैसे ढाला जाए।
It's not like we were forced to do something we didn't want to do. I mean, when you see that scene you'll realize that we're really lucky that the weather came at us because now it has a lot more meaning that wasn't automatically there. There's some sort of undertones that wouldn't have existed had we shot it outside. So we got lucky on that and what we try to do is take whatever obstacles come our way and make them work in our favor.
It's not like we were forced to do something we didn't want to do. I mean, when you see that scene you'll realize that we're really lucky that the weather came at us because now it has a lot more meaning that wasn't automatically there. There's some sort of undertones that wouldn't have existed had we shot it outside. So we got lucky on that and what we try to do is take whatever obstacles come our way and make them work in our favor.
कलाकार जब आते हैं तो वे किरदारों को पूरी तरह से अपना लेते हैं, इसलिए पैट्रिक और मैं कभी ऐसे नहीं रहे जो यह सोचते हों कि हमारी स्क्रिप्ट कोई पवित्र ग्रंथ (बाइबल) है। हम यह सुनिश्चित करना चाहते हैं कि कहानी सही से बयां हो, आप कहानी से बंधे रहें, लेकिन अगर किरदार में कुछ बदलाव करने की जरूरत पड़े तो कोई हर्ज नहीं है। कई बार कुछ मजेदार वन-लाइनर्स और ऐसी अजीबोगरीब मजेदार चीजें सामने आ जाती हैं जो आम नहीं होतीं। मुझे यह सब बहुत पसंद है।
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.
कुछ पल ऐसे होते हैं जो बड़े मजेदार होते हैं, लेकिन इसका मतलब यह नहीं कि उनमें कोई जानबूझकर दिया गया इशारा हो। यह बस दिलचस्प, अजीब और पागलपन से भरा होता है, ठीक वैसे ही जैसे हमारी इस दुनिया में कई बार अजीब चीजें हो जाती हैं। इसलिए हम ऐसी चीजों से पीछे नहीं हटते। हम थोड़े साधारण किरदारों को लेते हैं — भले ही उनके पास अपनी कुछ खास योग्यताएँ हों — और उन्हें असाधारण परिस्थितियों में झोंक देते हैं, और फिर देखते हैं कि वे उससे कैसे बाहर निकलते हैं।
There are moments, moments of fun but it's never necessarily a wink/wink. It's just interesting and odd and crazy things happen inside the world just like a crazy thing happened inside our world. So we don't shy away from that stuff. We take semi-ordinary characters, even though they have their own skill sets, we take those guys and we drop them into extraordinary situations and watch how the get out of them.
There are moments, moments of fun but it's never necessarily a wink/wink. It's just interesting and odd and crazy things happen inside the world just like a crazy thing happened inside our world. So we don't shy away from that stuff. We take semi-ordinary characters, even though they have their own skill sets, we take those guys and we drop them into extraordinary situations and watch how the get out of them.
ग्राफिक नॉवल? मुझे कॉमिक्स बहुत पसंद हैं, तो हाँ। मुझे नहीं लगता कि हमने इस बारे में पहले बात की थी। ऐसा नहीं है कि हम किसी ग्राफिक नॉवल से बहुत ज्यादा प्रभावित थे, लेकिन हाँ, जब पटकथा (स्क्रीनप्ले) तैयार हो गई, तो हमने इस विचार पर जरूर बात की कि आप चाहें तो कहानी को आगे बढ़ा सकते हैं, पुरानी पृष्ठभूमि (बैकस्टोरी) दिखा सकते हैं, और ग्राफिक नॉवल की दुनिया की तरह चीजें कर सकते हैं, बस इसलिए क्योंकि हमें वह दुनिया पसंद है।
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
मैंने कॉमिक्स की दुनिया में थॉमस जेन और टिम ब्रैडस्ट्रीट के साथ कुछ काम किया है और मेरे लिए यह देखना दिलचस्प था कि एक कॉमिक स्क्रिप्ट के कितनी करीब हो सकती है। वाकई, चार हिस्सों वाली एक कॉमिक चार-अंकों (फोर-एक्ट) वाली संरचित पटकथा जैसी हो सकती है, इसलिए मैं इसके पूरी तरह पक्ष में हूँ।
I've done some stuff with Thomas Jane and Tim Bradstreet in the comic world and it was interesting to me how close to a screenplay a comic can be. Certainly a four issue comic can be a four act structured screenplay and so I would totally be for that.
I've done some stuff with Thomas Jane and Tim Bradstreet in the comic world and it was interesting to me how close to a screenplay a comic can be. Certainly a four issue comic can be a four act structured screenplay and so I would totally be for that.
'सिज़रमैन' वाकई डरावना है। उस समय स्टूडियो वाले सिज़रमैन को नहीं रखना चाहते थे क्योंकि उन्हें डर था कि वह बेतुका लगेगा, जिस पर मेरा जवाब था, "तो फिर आपने इसे खरीदा ही क्यों, क्योंकि खेल में तो यही है।" पर मैं वह बहस हार गया।
'Scissorman' is terrifying. The studio at the time didn't want Scissorman because they were afraid that he'd look silly to which my response was, 'Well, then why did buy this because that's what the game is.' But I lost that battle.
'Scissorman' is terrifying. The studio at the time didn't want Scissorman because they were afraid that he'd look silly to which my response was, 'Well, then why did buy this because that's what the game is.' But I lost that battle.
मुझे 3-D बहुत पसंद है। मैं उन लोगों में से नहीं हूँ जो इससे बहुत ज्यादा डरते हैं और सोचते हैं कि यह हर चीज पर हावी हो जाएगा। मुझे वह 3-D पसंद है जो आपको पूरी तरह उस दुनिया में डुबो देती है, वह भी जो एक दर्शक की नजर से सब कुछ दिखाती है, और वह भी जो सीधे आपके चेहरे पर आकर थोड़े बहुत हथकंडे अपनाती है — और हम ये दोनों ही चीजें करने वाले हैं। मुझे लगता है कि दोनों के लिए अपनी-अपनी जगह है।
I love the 3-D. I'm not one of those guys who's scared to death of it and think that it's going to take over everything. I love the fact that you have the immersive 3-D and the voyeuristic 3-D and then you have the in your face gimmicky 3-D and we're going to do both. I think there's a place for both.
I love the 3-D. I'm not one of those guys who's scared to death of it and think that it's going to take over everything. I love the fact that you have the immersive 3-D and the voyeuristic 3-D and then you have the in your face gimmicky 3-D and we're going to do both. I think there's a place for both.
तो हमारे पास ऐसा भी है जहाँ कुछ पल ऐसे होते हैं कि निक केज और एम्बर हर्ड साथ हैं, आप कार में उनके साथ बैठे हैं, और कोई चीज आपके चेहरे पर नहीं उड़ रही है, बल्कि आप सचमुच पिछली सीट पर बैठे हैं। आप वहाँ बैठे होते हैं और वह सब बहुत दिलचस्प लगता है। साथ ही, हम आपके चेहरे पर कारें, बंदूकें, गोलियाँ, मेंढक और नग्न लोग भी फेंकने वाले हैं क्योंकि यह मजेदार है और यही इस रोलर-कोस्टर राइड का मजा है। हम सचमुच कुछ चीजें 3-D को ध्यान में रखकर ही लिखते हैं।
So we have that, where there are moments where it's just Nic Cage and Amber Heard and you're in the car with them and it's not stuff flying at your face but you're literally sitting in the backseat. You're sitting there and it's just sort of interesting. At the same time we're going to throw cars and guns and bullets and frogs and naked people at your face because it's fun and that's the roller coaster. We do write some things for 3-D.
So we have that, where there are moments where it's just Nic Cage and Amber Heard and you're in the car with them and it's not stuff flying at your face but you're literally sitting in the backseat. You're sitting there and it's just sort of interesting. At the same time we're going to throw cars and guns and bullets and frogs and naked people at your face because it's fun and that's the roller coaster. We do write some things for 3-D.
यह आज के दौर की कहानी है। बिल्कुल आज के दौर की। भले ही कुछ कारें पुरानी हैं, लेकिन यह पूरी तरह से आधुनिक समय की कहानी है। इसमें आधुनिक कारें हैं, आधुनिक लोग हैं, आधुनिक कपड़े हैं और आधुनिक बोलचाल है। हमने 'वेलेंटाइन' को उन पुरानी स्लैशर फिल्मों को श्रद्धांजलि देने के लिए लिखा था जिनके बीच हम बड़े हुए हैं, और मुझे लगता है कि हमने वह बखूबी किया।
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
एक तरह से यह आधुनिक कहानी थी, लेकिन इसका अंदाज 1980 के दशक की उन स्लैशर फिल्मों जैसा था। हमने इस फिल्म के साथ भी ऐसा ही किया है। पैट्रिक 1970 के दशक की रोड मूवी बनाना चाहते थे, और अगर आप देखेंगे, तो यह कहानी आधुनिक है लेकिन इसमें 1970 के दशक का वह बेबाक अहसास साफ झलकता है। तो मकसद यही था कि बचपन में जिन चीजों से हमें प्यार था, उन्हें आज के दौर के हिसाब से पेश किया जाए। मुझे लगता है कि हमने यह कर दिखाया है। बाकी, देखते हैं क्या होता है।
In a way it was a modern story but it played to all those 1980 slasher movies. We did the same thing with this. Patrick wanted to do a 1970's road movie and if you'll see, this is a modern story but it's got so much 1970's in your face feel to it. So that was the point, to take that stuff that we loved growing up and sort of do it for today. I think we accomplished it. We'll see.
In a way it was a modern story but it played to all those 1980 slasher movies. We did the same thing with this. Patrick wanted to do a 1970's road movie and if you'll see, this is a modern story but it's got so much 1970's in your face feel to it. So that was the point, to take that stuff that we loved growing up and sort of do it for today. I think we accomplished it. We'll see.
मैं कभी 1970 के दशक की कोई रोड मूवी नहीं बनाता। यह बात कभी मेरे दिमाग में आती ही नहीं। इसलिए जब उसने इस बारे में बात करनी शुरू की और तमाम फिल्मों का जिक्र किया — और वह आप लोगों के सामने भी ऐसा ही करेगा — तो जब आप उसकी बताई हुई कहानी को महसूस करना शुरू करेंगे, तो आपके रोंगटे खड़े हो जाएंगे।
I would've never done a 1970's road movie. It just wouldn't have occurred to me. So when he started talking about it he brought up all these movies and he'll do that with you guys and you'll feel the Goosebumps as you start realizing the story that he wanted to tell.
I would've never done a 1970's road movie. It just wouldn't have occurred to me. So when he started talking about it he brought up all these movies and he'll do that with you guys and you'll feel the Goosebumps as you start realizing the story that he wanted to tell.
असली प्रेरणा वहीं से मिलती है, और ऐसे में जब आप बार-बार पटकथा में सुधार करते हैं और तरह-तरह के नासमझ लोग आकर अपनी सलाह देने लगते हैं, तो आपके सामने उतनी ही ज्यादा मुश्किलें खड़ी हो जाती हैं। फिर अचानक फिल्म वह नहीं रह जाती जो वह थी; उसकी कहानी और किरदार बदले हुए और फीके लगने लगते हैं — लेकिन हमारी फिल्म के साथ ऐसा बिल्कुल नहीं हुआ।
That's where the inspiration was and so the more that you rewrite and the more you rewrite and the more the numbnuts are coming in to give you notes then the more problems you run into and the more it suddenly doesn't seem like the movie, the story, the characters changed, watered down and we don't have that with this.
That's where the inspiration was and so the more that you rewrite and the more you rewrite and the more the numbnuts are coming in to give you notes then the more problems you run into and the more it suddenly doesn't seem like the movie, the story, the characters changed, watered down and we don't have that with this.
यह मजेदार है, अगर आप पीछे मुड़कर उन पुरानी फिल्मों को देखें तो कई बार उनके पास संगीत के लिए बजट ही नहीं होता था। यहाँ का हर दृश्य एक अलग समय को ध्यान में लिखकर तैयार किया गया था, चाहे वह 'ब्रेकफास्ट इन अमेरिका' हो या फिल्म के अलग-अलग हिस्सों के लिए हमारे पास मौजूद अलग साउंडट्रैक। मैं यह देखने के लिए उत्सुक हूँ कि जब यह सब एक साथ जुड़ जाएगा तो इसका असर कैसा होगा।
It's funny, if you go back and look at all those old movies a lot of times they didn't have the budget for music. Each scene here was written to a different time, whether that be 'Breakfast in America' or just different soundtracks that we had for different parts of the movie. I'm interested to see how it all plays once it's all put together.
It's funny, if you go back and look at all those old movies a lot of times they didn't have the budget for music. Each scene here was written to a different time, whether that be 'Breakfast in America' or just different soundtracks that we had for different parts of the movie. I'm interested to see how it all plays once it's all put together.