Хупер, Николас

Ни́колас Ху́пер (; род. 1952) — британский композитор, пишущий музыку для кино и телевидения. Наиболее известен своими саундтреками к фильмам «Гарри Поттер и Орден Феникса» и «Гарри Поттер и Принц-полукровка».

 Творчество и достижения
Николас Хупер родился в 1952 году в Великобритании. Является одним из популярнейших кинокомпозиторов Европы. Он написал музыку более чем к 250 теле- и кинофильмам, как к документальным, так и к художественным. Хупер имеет репутацию композитора, который создаёт оригинальную, красочную и вдохновляющую музыку.

Его произведения удостоились нескольких важных наград и номинаций. В 2004 году он был награждён премией BAFTA за музыку к фильму «А вот и гости!» () в номинации «Лучший саундтрек». На эту же премию он был номинирован за телефильмы «Дороги, которые мы выбираем» () в 2001 году, «Большая игра» () в 2003 году, и «Девушка из кафе» () в 2005 году. За написанную им музыку к документальным фильмам Николас был неоднократно награждён премией «Золотая панда», отмечающей международные достижения в документалистике. Например, в 1998 году он выиграл «Панду» за фильм BBC «Земля тигров» ().

В том же 1998 году Хупер получил несколько наград за музыку к фильму «Заявитель Тичборна», а в 2002 году был премирован за фильм «Сердце моё» (), где в главной роли сыграла Хелена Бонэм Картер.

Его последние наиболее значительные работы — саундтреки к пятому и шестому фильмах о мальчике-волшебнике Гарри Поттере — «Гарри Поттер и Орден Феникса» и «Гарри Поттер и Принц-полукровка». В 2010 году за музыку к шестому фильму потеррианы Николас был номинирован на премию «Грэмми».

Несмотря на возросшую популярность, которая появилась благодаря работе с поттерианой, Николас Хупер отказался сочинять музыку для последних двух фильмов о Гарри Поттере. Композитор мотивировал это тем, что очень устал за последнее время и мало времени проводил с семьёй.

 Фильмография
 Название фильма/Год  Студия/Режиссёр/Продюсер/Главные роли  Награды/Номинации «Африканские кошки» (2011) Walt Disney Pictures
Режиссёр: Аластер Фовергилл, Кейт Шолей,
Продюсер: Кейт Шолей «Да, Вирджиния», 2009 «Энид», 2009  Carnival Films / BBC
Режиссёр: Джеймс Хейвз
Продюсеры: Ли Моррис, Салли Вудвард Джентл
В ролях: Хелена Картер
  «Гарри Поттер и Принц-полукровка», 2009 Warner Bros.
Режиссёр: Дэвид Йейтс
Продюсеры: Дэвид Хейман, Дэвид Баррон В ролях: Дэниел Рэдклифф, Эмма Уотсон, Руперт ГринтНоминация на премию «Грэмми» за лучший альбом, являющийся саундтреком к фильму, телевидению или другому визуальному медиа, Премия RAFA за лучшую музыку для кинофильма «Эйнштейн и Эддингтон», 2008 Home Box Office
Режиссёр: Филипп Мартин
Продюсер: Марк Пибус
В ролях: Дэвид Теннант, Энди Сёркис «Гарри Поттер и Орден Феникса (фильм)», 2007 Warner Bros.
Режиссёр: Дэвид Йейтс
Продюсеры: Дэвид Хейман, Дэвид Баррон В ролях: Дэниел Рэдклифф, Эмма Уотсон, Руперт Гринт «Мо Мовлам» Granada / C4, Режиссёр:: Филипп Мартин, Продюсер: Лиза Гилхрист «Принадлежащий» BBC Wales, Режиссёр:: Риз Ровис, Сценарий: Джейсон Саттон «Главный подозреваемый», 2006 ITV
Режиссёр: Филипп Мартин
Продюсеры: Эндрю Бенсон, Ребекка Итон, Энди Хэррис
В ролях: Хелен Миррен Премия BAFTA TV за лучшую оригинальную музыку для телевидения «Дело Чаттерлей», 2006 BBC
Режиссёр: Джеймс Хейвс
Продюсер: Карен Льюис «Моя семья и другие звери», 2005 BBC
Режиссёр: Шри Фолксон, Продюсер: Симон Левис, В ролях: Имельда Стонтон «Девушка из кафе», 2005 Tightrope Pictures
Режиссёр: Дэвид Йейтс
Продюсеры: Хиллари Джонс, Джули Гарднер
Исполнительный продюсер: Ричард Кёртис
В ролях: Бил Найи Номинация на BAFTA TV за лучшую оригинальную музыку для телевидения «Мессия 3: Обещание», 2004BBC/Paramount Pictures
Режиссёр: Дэвид Друри
Продюсеры: Санн Воленберг, София Гардинер
В ролях: Кен Стотт «А вот и гости!», 2003 BBC Film
Режиссёр: Дэвид Йейтс, Продюсер: Кристофер Холл, В ролях: Джим Бродбент Премия BAFTA TV за лучшую оригинальную музыку для телевидения Номинация на BAFTA TV за лучшего актёра Премия Ivor Novello за лучшую оригинальную музыку «Большая игра», 2003 BBC,
Режиссёр: Дэвид Йейтс, Продюсер: Хиллари Джонс, В ролях: Билл Найи, Джон Симм Номинация на BAFTA TV за лучшую оригинальную музыку для телевидения «Сердце моё», 2002Martin Pope Productions/BBC Films,
Режиссёр: Тадеуш О’Салливан Продюсер: Мартин Поп, В ролях: Хелена Картер, Оливия Уильямс, Пол Беттани «Дороги, которые мы выбираем», 2001 Deep Indigo Productions/BBC
Режиссёр: Дэвид Йейтс, Продюсер: Найджел Стэффорд-Кларк, В ролях: Дэвид Суше Номинация на BAFTA TV за лучшую оригинальную музыку для телевидения «Особые тигры» (серия документальных фильмов «Natural World»), 2000 BBC Премия «Golden Panda» за лучшую музыку для телевидения «Слоны Реки Песка» (серия документальных фильмов «Natural World»), 2000 BBC Премия «Golden Panda» за лучшую музыку для телевидения «Воины-обезьяны» (серия документальных фильмов «Natural World»), 2000BBC Премия «Golden Panda» за лучшую музыку для телевидения «Заявитель Тичборна», 1998 Bigger Picture Company
Режиссёр: Дэвид Йейтс «Земля тигров», 1985 BBC Премия «Golden Panda» за лучшую музыку для телевидения, Премия Royal Television Society за лучшую музыку для телевидения

 Примечания

 Ссылки

 Интервью с Николасом Хупером на ScoreNotes
 Гарри Поттер и Орден Феникса (Николас Хупер) на FilmTracks
 Официальный сайт фильма «Гарри Поттер и Орден Феникса»
 Перевод интервью с Николасом Хупером на Potterland
 Николас Хупер на Сoolmusicltd

Категория:Лауреаты премии BAFTA
Категория:Телекомпозиторы Великобритании

His last most significant works are soundtracks to the fifth and sixth films about the boy-magic Harry Potter – “Harry Potter and the Order of Phoenix” and “Harry Potter and the Prince-Madness”.

значительные

Question: what is the title of the last harry potter film

Гарри Поттер и Принц - полукровка »

Question: what is the name of the last harry potter film

Question: what is the name of the boy magic character in the harry potter films

Гарри Поттере

Question: what are the names of the harry potter films

и шестому фильмах о мальчике - волшебнике Гарри Поттере — « Гарри Поттер и Орден Феникса » и « Гарри Поттер и Принц - полукровка

Question: which of harry potter’s films was the last to be made

Question: what order did harry potter belong to

Question: what was the fifth and sixth harry potter films about

мальчике - волшебнике Гарри Поттере

His last most significant works are soundtracks to the fifth and sixth films about the boy - magic Harry Potter – “ Harry Potter and the Order of Phoenix ” and “ Harry Potter and the Prince - Madness ” .


Рахман, Алла Ракха

Алла Ракха Рахман (, ; настоящее имя — А. С. Дилип Кумар; род. 6 января 1966, Мадрас) — индийский кинокомпозитор, певец и музыкальный продюсер. Бо́льшей частью пишет музыку для трёх крупнейших киноиндустрий Индии: Колливуда (фильмы на тамильском языке), Толливуда (фильмы на языке те́лугу) и Болливуда (фильмы на языке хинди). За пределами Индии наиболее известен своей музыкой к кинофильму «Миллионер из трущоб».

 Биография

 Детство и юношество
Алла Ракха Рахман родился в Мадрасе в 1966 году. При рождении был назван А. С. Дилип Кумар, однако когда ему было 22 года, вся его семья приняла ислам и он взял новое имя. Его отец был композитором и дирижёром, писал музыку для кино. Мальчик с четырёх лет занимался музыкой, а в 11 стал играть на клавишных в оркестре заслуженного композитора Илайяараджи. В юности Рахман также участвовал в самодеятельных группах, созданных им совместно с друзьями — играл на фортепьяно, синтезаторе, фисгармонии и гитаре. Наибольшее пристрастие он все же питал к синтезатору, потому что, по его словам, «это идеальное сочетание музыки и технологии». Он также играл в оркестрах М. С. Висванатана и Рамеша Наиду, аккомпанировал таким музыкантам, как Закир Хусейн, Куннакуди Вайдьянатан и Л. Шанкар в их мировых турне. Примерно в те же годы А. Р. Рахман поступил в Лондонский Музыкальный Колледж Тринити, закончил в нём отделение западной классической музыки.Composer Extraordinaire The Complete Biography of A.R. Rahman

 Становление
В 1992 году он обосновал в собственном доме студию звукозаписи, со временем ставшую одной из наиболее высоко оснащенных студий Индии. Поначалу он писал мелодии для рекламных роликов, телевизионных передач, документальных и короткометражных фильмов. На его счету джинглы к более чем трем сотням рекламных роликов.

Первым кинофильмом, музыку к которому написал Рахман, стала тамильская картина 1992 года под названием «Роза». Эта дебютная работа принесла ему Национальную кинопремию за лучшую музыку к песне для фильма. Впоследствии он становился лауреатом этой наиболее значимой в Индии кинопремии ещё три раза. Саундтрек к фильму «Роза» был занесен в сотню лучших саундтреков всех времен по версии журнала Time в 2005 году.

 Признание
После столь удачного дебюта Рахман продолжает писать музыку для индийского кино — успешно и плодотворно (среди его композиторских работ — более сотни фильмов). Его студия растет, и Рахман запускает собственный лейбл звукозаписи — KM Music.

В 1997 году, к 50-й годовщине независимости Индии, он записывает альбом «Vande Mataram». За этим последовало участие в проекте записи в традиционной манере ведущими индийскими музыкантами и исполнителями Национального Гимна Индии — «Jana Gana Mana». В рамках проекта были сняты два видео: инструментальная версия гимна и вокальная.Видеоролик с записью исполнения ведущими индийскими музыкантами национального Гимна

В 2002 под продюсерским началом Эндрю Ллойда Уэббера А. Р. Рахман вместе с поэтом Доном Блэком создают мюзикл «Бомбейские мечты», который имел большой успех в Лондоне. Совместно с финской фолк-группой Värttinä и композитором Кристофером Найтингейлом в 2004 году Рахман работает над музыкой к театральной постановке «Властелина Колец».

Также авторству Рахмана принадлежит композиция «Raga’s Dance» из альбома Ванессы Мэй «Choreography».

В 2008 году Рахман вместе с перкуссионистом Сивамани записывает песню «Jiya Se Jiya», вдохновленную всемирным движением «Свободные объятия» (Free Hugs). В клипе на эту песню на примере различных городов Индии можно пронаблюдать, в чём заключалась эта акция.Клип на песню «Jiya Se Jiya»

За последние шесть лет Рахман провел три успешных мировых турне, переиздал свои лучшие работы, написанные для индийского кино, а в декабре 2008 вышел его новый альбом — «Connections». В том же 2008 году А. Р. Рахман открыл собственную консерваторию (KM Music Conservatory), чтобы дать талантливым, музыкально одаренным людям возможность получить соответствующее образование — не только непосредственно музыкальное, но и в области аранжировки и технологий звукозаписи.

 Личная жизнь
А. Р. Рахман женат, отец троих детей, двое из которых пошли по стопам отца, как закадровые исполнители.

 Достижения
Творчество А. Р. Рахмана принесло ему многочисленные премии на родине, наиболее значительной из которых остается орден за заслуги перед родиной «Падма Шри», которым его в 2000 году наградило правительство Индии. Что до мировой общественности, то за свою первую постановку в Уэст-Энде он был номинирован на награду имени Лоуренса Оливье. В 2006 году получил почетную награду от Стэнфордского университета за мировые достижения в области музыки. В 2008 на А. Р. Рахмана посыпались номинации за музыку к фильму «Миллионер из трущоб». Самыми значимыми достижениями этого саундтрека являются премии «Золотой глобус» и две премии «Оскар» за лучшую оригинальную музыку и песню; повторно на «Оскар» композитор выдвигался за лучшую оригинальную музыку и песню к фильму «127 часов». В 2009 г. университет Мидлсекс присудил А. Р. Рахману почетную степень доктора наук.

 Дискография

 В качестве композитора

 1992 — Roja
 1993 — Yoddha 1993 — Pudhiya Mugam
 1993 — Gentleman
 1993 — Kizhakku Cheemayile
 1993 — Uzhavan
 1993 — Thiruda Thiruda
 1994 — Vandicholai Chinraasu
 1994 — Duet
 1994 — Super Police
 1994 — Gangmaster
 1994 — May Madham
 1994 — Kadhalan
 1994 — Pavithra
 1994 — Karuththamma
 1994 — Pudhiya Mannargal
 1995 — Bombay
 1995 — Rangeela

 2008 — Yuvvraaj
 2008 — Ghajini
 2008 — Slumdog Millionaire
 2009 — Delhi
 2009 — Couples Retreat 2010 — Vinnaithaandi Varuvaayaa / Ye Maaya Chesave 2010 — Raavanan / Raavan
 2010 — Puli
 2010 — Jhootha Hi Sahi
 2010 — 127 Hours 2010 — Enthiran 2011 — Rockstar
 2012 — Ekk Deewana Tha
 2012 — People like Us
 2012 — Jab Tak Hai Jaan
 2012 — Kadal
 2013 — Maryan
 2013 — Raanjhanaa
 2014 — Highway
 2014 — Million Dollar Arm
 2014 — Kochadaiiyaan
 2014 — Lekar Hum Deewana Dil
 2014 — The Hundred-Foot Journey
 2014 — Kaaviya Thalaivan
 2014 — Lingaa
 2015 — I
 2015 — O Kadhal Kanmani
 2015 — Tamasha
 2015 — Muhammad: The Messenger of God
 2016 — 24
 2016 — Achcham Yenbadhu Madamaiyada / Sahasam Swasaga Sagipo
 2016 — Pele
 2016 — Mohenjo Daro
 2017 — OK Jaanu
 2017 — Kaatru Veliyidai
 2017 — Sachin: A Billion Dreams
 2017 — Mom
 2017 — Viceroy’s House
 2017 — Mersal
 2018 — Beyond the Clouds
 2018 — Chekka Chivantha Vaanam
 2018 — Sarkar
 2018 — Робот 2.0
 2019 — The Fakir Of Venice
 2019 — Blinded by the Light
 2019 — Sarvam Thaala Mayam

 В качестве закадровго исполнителя

 Примечания

Категория:Лауреаты премии «Оскар» за лучшую песню к фильму
Категория:Лауреаты премии «Спутник»
Категория:Лауреаты премии «Грэмми»
Категория:Лауреаты премии «Золотой глобус» за лучшую музыку к фильму
Категория:Лауреаты премии BAFTA
Категория:Победители MTV Video Music Awards
Категория:Исполнители Columbia Records
Категория:Выпускники Тринити-колледжа (Лондон)
Категория:Почётные доктора университетов Индии
Категория:Наставники телешоу «The Voice»

аккомпанировал

Question: what was the greatest addiction he had

what was the greatest addiction Рахман, Алла Ракха had

Question: who did kunakudi wajdiyanathan play with

М. С. Висванатана и Рамеша Наиду , аккомпанировал таким музыкантам , как Закир Хусейн , Куннакуди Вайдьянатан

who did kunakudi wajdiyanathan play with

Question: who played in the orchestras of m. s. visvanatana and rames

Закир Хусейн

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Question: what did kunakudi wajdiyanathan say synthesizer was the perfect

музыки и технологии

what did kunakudi wajdiyanathan say synthesizer was the perfect

Question: who played with zakir hussein on world tour

who played with zakir hussein on world tour

Question: who were the musicians that accompanied khan in his world tour

Zakir Hussein, Kunakudi Wajdiyanathan and L. Shankar

Закир Хусейн , Куннакуди Вайдьянатан и Л. Шанкар

Zakir Hussein , Kunakudi Wajdiyanathan and L. Shankar

who were the musicians that accompanied khan in his world tour

Question: what was kunakudi's greatest addiction

The greatest addiction he still asked for the synthesizer , because , according to him , “ this is the perfect combination of music and technology . ”

He also played in the orchestras of M. S. Visvanatana and Ramesha Naidu , accompanied such musicians as Zakir Hussein , Kunakudi Wajdiyanathan and L. Shankar in their world tour .

The greatest addiction he still asked for the synthesizer, because, according to him, “this is the perfect combination of music and technology.” He also played in the orchestras of M. S. Visvanatana and Ramesha Naidu, accompanied such musicians as Zakir Hussein, Kunakudi Wajdiyanathan and L. Shankar in their world tour.

"Становление

телевизионных

документальных

короткометражных

When international filmmakers have 50 times the budget of Indian films, what do the best of our filmmakers do to create images on par with world cinema?
Ang Lee built water tanks that were four times the size of a football field to re-create a storm in the ocean in Life of Pi . Mani Ratnam turned to Rajiv Menon.
To get into the sea and shoot a real storm!
Rajiv Menon was only too excited to shoot cyclone Nilam, till the cops chased the unit away. “We were lucky that nature helped us. We would've never been able to recreate that if not for the storm.”
Mani Ratnam's Kadal is the artist's idea of adventure. Because the sea is not the easiest place to shoot. “How many different ways can you shoot the sea? When the sea is flat, it's too hot to shoot. When there's wind, the sea is too choppy. How do you use immersive technology when you are out in the sea,” asks Rajiv, recollecting some of the challenges during the shoot with his assistants throwing up because of sea-sickness.
As they were shooting, Rajiv Menon created what he calls a look book for the film.
“When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.”
Set in a hard landscape
Kadal was not a glamorous film to shoot. “It's a hard film set in a hard landscape. Most of the film had to look barren initially, so we had to pull up and accentuate the sand by muting the colours of the costume to show the boy grow up in a hostile environment. Manappad, near Tiruchendur, where we shot most of the film, is a lot like Spain or Portugal. It doesn't have much of vegetation and there are big churches. So we focussed on breaking the sky with the crucifix since there are no trees.”
Also, because it was a film on Christianity, he had to explore how artistes captured biblical themes. “I showed Mani Ratnam Simon Schama's documentary called Power of Art on Caravaggio and he found it exhilarating. Because we study to teach (at the film school Mindscreen), we look at things in an organised manner. So we've explored biblical themes as we have seen through Caravaggio. For the outdoors, we had to capture strife as it's shown today. So we used techniques used by photojournalists around the world to make it look real.”
Designing the look
The process of designing the look started when his assistants brought back hundreds of pictures after driving through the entire coastline of Tamil Nadu all the way to Rameswaram. After which, Rajiv Menon and
Mani Ratnam made a trip to finalise the locations. “When you read a story, you get some visuals in mind but you don't know what the reality of it is like. But when you visit a location and do a photo feature, you understand how boats wait, what people do, the pace of life, how a fishing market works, how fishermen mend nets.”
“The role of a director of photography is to use the numerous acquisition mediums available to him and find every possible way to create the energy of the place and make an impact,” he explains his choice of employing everything from GoPros to Scarlet to 7Ds to film cameras. Unlike purists, Rajiv is all for exploiting every technology available, including DI and CG.
“You have to keep the audience glued by hook or crook. I'm in love with the image more than romanticising the struggle of creation. I'm in favour of making the image look as real as I can than how to create it. We have to create images that remain in people's memory because a film is judged by what they have already seen. You are trying to create an image that is unique and you have to employ all the resources available to you.”
Why does he think Mani Ratnam likes to work with him?
“Maybe as a cameraman, I am very physical and good with handheld... which may come in handy when you have to shoot a riot or a storm,” he laughs. “I am good at creating beautiful images given the ad films I make but I like that he does not want me for that. I like to shoot feature films because it's about capturing emotions... words like guilt, hurt, betrayal. I like the shot in Subramaniapuram when the camera follows Ganja Karuppu to show his guilt. It's easy to shoot a fight or a disagreement, but difficult to shoot a festering hurt. The choreography of emotions is the creation of the image and that’s the challenge you get to explore in a feature film.”
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advertising videos, television broadcasts, documentary and short films

рекламных роликов , телевизионных передач , документальных и короткометражных фильмов .

advertising videos , television broadcasts , documentary and short films

Question: what type of studio was founded by krishna in 1992

студию звукозаписи

what type of studio was founded by krishna in 1992

In 1992 , he founded a sound recording studio in his own home , with time becoming one of the highest - equipped studios in India .

Initially , he wrote melodies for advertising videos , television broadcasts , documentary and short films .

In 1992, he founded a sound recording studio in his own home, with time becoming one of the highest-equipped studios in India. Initially, he wrote melodies for advertising videos, television broadcasts, documentary and short films.

The first film, the music to which Rachman wrote, became the Tamil painting of 1992 called "Rose".

Scoring “Slumdog Millionaire” with Logic: An Interview with A.R. Rahman
If you haven’t yet heard at least some of the score from this year’s Oscar-winning best film “Slumdog Millionaire,” you must be trying very hard not to.
Even before it won two Oscars for best score and best song (“Jai Ho), as well as the Golden Globe and BAFTA awards for best score, A.R. Rahman’s soundtrack—written on a Mac in Logic Studio—had registered with any reasonably alert listener during the film’s much-reported rise from Indian-flavored indie longshot to runaway worldwide hit.
If the soundtrack’s audio reach is in part attributable to the film’s sweeping success, its musical grasp is strictly the result of Rahman’s unforgettable melodies and rhythms. In fact, It would be as hard to imagine “Slumdog” without its script or cinematography as without Rahman’s score.
One of the world’s most prolific and celebrated cinematic composers and top-selling recording artists, Rahman has scored more than 110 films, starting with Roja (1993), which was named by Time magazine as one of the 100 best movie soundtracks. He is an equally avid student of cutting edge music and technology, and he uses both to turn out scores and songs that seamlessly combine classical Indian and Western sounds with modern vocal and instrumental styles.
For “Slumdog Millionaire,” Rahman blends Bollywood, hip-hop, world music and more to not only complement but significantly carry the film’s energetic plot and audience-pleasing themes. In a recent phone interview, Rahman spoke about how he used Logic and other tools to create his eclectic, ambitious score against unforgiving deadlines.
How did you come to work with director Danny Boyle on “Slumdog Millionaire”?
Well, I was really busy last year. I was doing about eight films, too many really. And I had this email saying “Hey I’m Danny Boyle, I like your work, and it would be great for us to have you on our film.” I didn’t know what to answer. But after exchanging several more emails, I met him personally in Mumbai. And when I talked to him, I had some interest and I wanted to see the film. He had a first cut of the film already, and when I saw that I was really interested and wanted to do it. So I left another film to do this one. I made time for it.
Was your work on this film different than on other films?
In some ways it was different, because it didn’t require as much work as I sometimes do for other films, but it required high-quality work. Danny usually uses many composers for a film because he wants different feels in the music. When you go to just one composer, it usually has one feel. So I took a clue from that and tried to think about what he might get from different writers with different sensibilities, always keeping something of mine in everything I wrote. He thought I wouldn't have time to do that, so he was just going to have me do a few songs, but I feel you have a responsibility to the whole movie.
Each track in this film is completely different from the other. The film needed that, because it follows one person’s life, but in many different situations and moments from that life. And for the same reason, there are different cultural elements: some are very strong Indian influences, and some are very pop influences. If you take all the good things from ten different soundtracks and put it together, it can make a beautiful soundtrack of its own.
How long did it take to compose the “Slumdog Millionaire” score?
The initial ideas were all done on this very basic idea of me singing or playing keyboards and vocals. I’d send Danny a scratch of each idea over email, several for each cue he’d given me. Danny would listen and tell me which of the numbers he liked, and he’d start placing them. That was done a couple of months back. When I had collected all of these ideas, I went to England, and we spent three weeks together and finished the score. We’d originally scheduled four weeks, but because Danny decided to mix the film early, we had that much less time to do it.
Any disagreement about the kind of score you wanted?
Normally when I work with a director I work through his eyes, and through his vision, and that’s how I worked with Danny. Ideally, he gets excited when he hears the sound I’ve delivered. At the same time, he challenges me to produce other sounds and ideas. It made the job so much easier for me than if I’d done something radically different on my own and then tried to fit it into the film’s conception and convince people.
Do you typically write both the songs and the score for a film?
Back in the day, it was common in India to be a composer and songwriter; it was always that way. You would finish the songs in four days, then the background music in four days. Today that is changing a little in India.
Describe your method for scoring a film.
I mostly don't write to specifically defined cues. I just watch the film a couple of times, stop watching it, then write something that comes to my mind from the film. This way, when I try to sync the music, the results are that much more wholesome. You get something extra that you don't get when you're looking at specific points in the timeline. The music is much more organic this way, not jumping cue to cue. It's more about counterpointing and, sometimes, walking hand-in-hand. Most of the time it works out. If you watch the picture and try to have a specific chord change here, a tempo change there, when the director comes back and wants to move picture, you find that you've wasted time. I think this way is more appealing to me and to the people watching the film. Click tracks and following the SMPTE are necessary for some things, but once you have everything in Logic, then afterwards you can edit and make minor changes.

Question: when was the first tamil painting made

The first film, the music to which Rachman wrote, became the Tamil painting of 1992 called "Rose".

Question: what is the name of the first tamil painting

what is the name of the first tamil painting

Question: rose is a painting of which language

Question: who wrote the music for the movie rose

Question: what was the subject of the first film

Question: what was the name of the first tamil painting

what was the name of the first tamil painting

The first film , the music to which Rachman wrote , became the Tamil painting of 1992 called " Rose " .

The first film, the music to which Rachman wrote, became the Tamil painting of 1992 called "Rose".

The first film, the music to which Rachman wrote, became the Tamil painting of 1992 called "Rose".

He later became the winner of this most important film award in India three more times.

Впоследствии

You like us, you really like us. You also hate us. Anyway, you click on us, which is the surest way a website has of measuring interest in its content. The All-TIME 100 Movies feature—compiled by Richard Schickel and me, and handsomely packaged by Josh Macht, Mark Coatney and all the smart folks at TIME.com—attracted a record-busting 7.8 million page views in its first week, including 3.5 million on May 23rd, its opening daym, in time for Father’s Day. Thousands of readers have written in to cheer or challenge our selections, and thousands more have voted for their own favorites. The response simply underscores Richard’s and my long-held belief that everybody has two jobs: his own and movie critic.
The idea was to assemble 100 estimable films since TIME began, with the March 3, 1923 issue. Later, each of us was asked to contribute five items in sidebars called Great Performances (acting), Guilty Pleasures (trash treasures) and Top Scores (soundtracks). Essentially, though, a century of movies from 82 years. That shouldn’t be hard: pick a picture for each year, with 18 slots left for honorable mentions.
Not so simple, in fact, for we faced a couple of complications. The first was that two of us were to agree on the selections; and, though my admiration for Schickel is hardly bounded, and he probably doesn’t mind me, no two critics will agree on all, or even most, great films. The other is the onus of the list-making process. It’s a truism that a list like this takes either an hour (go with your initial inspirations) or a month (weigh every film with Solomonic probity). Our effort clocked in at about four months, off and on. And the clock is still running.
Why do the list? I guess Josh and Mark and Jim Kelly, our peerless leader, hoped to sharpen the profile of the website, and indirectly the magazine. (Mission accomplished.) Our genial PR mavens saw some benefits in media exposure. (Schickel and I, in our first joint TV appearance after 25 years sharing the TIME film-critic gig, gassed with Charlie Rose last week.) It’s possible that someone involved with the enterprise wanted to make money. Not I, of course. As a TIME staff member, I write for the website pro bono, or rather pro ego. Or, honestly, for the fun of it. That’s how this TIME 100 started for me, and how it ended.
LISTOMANIA
I feel one of my grand gender generalizations coming on, and I can’t resist it, so here goes. Guys love to make lists. The assembling and codifying of useless information speaks to our inner math nerd, our rampant nostalgiast. Girls can play Little League baseball now, but the kid in the stands keeping the box score, and tallying individual achievements into season slugging percentages, is very likely to be a boy. Turning our pastimes into numbers is a way not only of quantifying but also of justifying them. They acquire an atomic weight; to rank them is to give them solidity, meaning.
As a kid I would study the major league batting averages in the Sunday paper more assiduously than any school subject, and I kept box scores of the games our neighborhood team played. Sometimes I devised imaginary box scores too. I know what you’re thinking: he must have been a lonely child. Actually, I wasn’t; I had a loving, indulgent family. But around the nation, countless other kids, more talented or preoccupied than I, were doing the same thing, bending the MLB numbers, reconfiguring the figures. Eventually they would form a group, the Society for American Baseball Research, SABR for short. One of their group, Bill James, coined the term SABRmetrics to describe the grown-up, boy-like study of those numbers. The statistics they produced, and the inferences they made from those stats, would enrich the game and change the way it was played. So there.
As with baseball, so with favorite movies, TV shows, comics. One of my youthful heroes was Fred Von Bernewitz, a Maryland boy not much older than I was. He created, mimeographed and published the E.C. Checklist, a compilation of every story in each of the dozen or so “New Trend” comic books (Vault of Horror, Weird Science, Mad, etc.) that EC published from 1950 to 1954. Bless his innocent obsession. His list was a signal to hundreds of other E.C. fan-addicts that our love was not a waste of time. I mean, how could it be, if so many other shared it? A half-century later, with the hardcover, much-expanded edition of the Checklist still in print (under the title Tales of Terror! The EC Companion), Von Bernewitz’s labor of adolescent love is easy to celebrate as trash-art pedantry. Back then, though, applying the rudimentary scholarship of list-making to comics was as radical as Brando’s first movie mumble, or the scream of Little Richard on “Long Tall Sally.”
I too was a teenage listmaker. I saw a lot of movies and, at year’s end, picked my favorites. I recently dug up my Top Five of 1959: The Seventh Seal, Some Like It Hot, North By Northwest, Rio Bravo and Imitation of Life. Looking at this quintet, I marvel at the maturity of my youthful tastes—or do I curse my lifelong adolescence?—since, 46 years later, I nominated all five for the TIME 100. The point is that listmaking is a first step to an informed enthusiasm. Juggling, sifting, thinking about the best films leads to measured judgments, the plundering of film histories, a nascent critical acuity. That’s how a hobby becomes a craft, sometimes a career. Just add verbs and thoughts.
Can the choices Schickel and I made have the shelf life of the Von Bernewitz checklist? Probably not; this is just one of what must be a hundred 100-best-films lists. Does film criticism have an equivalent to SABRmetrics—cinemetrics? Not really. You can’t calibrate genius. There are no Win Scores, no Favorite Toy, for movies and their makers. Many readers would say that Schickel and I have no greater claim than anyone else to impose our crotchets on you. Doesn’t everyone see a lot of movies and, gradually, amass some all-time preferences? Sure.
But, pardon me, we’re better. Our claims to expertise: 1. a combined 80 years (yikes!) writing about films; 2. even more years—going back to our movie-mad youths—as consumers, lovers and analyzers of this art-entertainment-business hybrid; and 3. a magazine, TIME, that has generously underwritten our cinephilia for, respectively, 32 and 25 years. Our employment is our diploma.
Still and all, list of favorites like the All-TIME 100 Movies is just that: a banquet, a groaning board of our fondest prejudices. You’re all invited to devour the food, or throw it at us.
ONCE, TWICE, THREE TIMES 100
There are 101 ways to choose 100 of anything. But I participated only in this century selection, so I’ll tell you what I did.
First it’s like a game: I’m throwing a party—who should be on the guest list? My idea was to invite different sorts for a richer mix. Highbrows and no-brows, the solemn and the frivolous, embracing many genres (musical, western) and forms (short films, experimental, documentaries). I want the Marx Brothers to co-exist with a Robert Bresson nano-drama. And Indian family melodramas to rub shoulders with 70s porno. An eight-decade, international melange.
Then it’s research. I re-viewed many of the films under consideration. I looked at the IMDb’s list of the top 250 films, as voted on by the site’s members. I dipped once more into Roger Ebert’s two volumes called The Great Movies, which contain some very thoughtful journalism on the subject. I also took a long browse through the stacks of that moldy old library of film trivia, my brain. The result was about 120 movies, leaving some wiggle room for negotiation. Richard the First (Schickel) had already compiled a list of 116 favorites. Neither of us knew the other’s preferences until we’d finished this initial round. After this double-blind taste test, the serious work began on the All-TIME 100 Movies.
Finally, then, it’s like a marriage—the intimate exchange of opinions and passions, the business of collating, collaborating and compromising. Once, twice, three times 100: Schickel’s list, my list, our list.
For movie critics, deciding which films are best is an anecdotal way of debating first principles. It’s theoretical and, toward the end of the process, it’s personal. Schickel and I were the co-captains of a lifeboat, with some of our favorites clinging to the sides, and we had to determine whose stiff fingers to pry off, which noble films to send into the sea of anonymity.
One of the great, not guilty, pleasures of this exercise was to spend lots of quality schmoozing time—on the phone, through e-mail and frequently in person—with my colleague on the other coast. I live and work in Manhattan, Schickel is based in L.A. But whereas I do all my work for TIME, the magazine and website, he is a busy-busy freelance: writing books, contributing a book review column to the Los Angeles Times and cobbling up feature-length documentaries on top auteurs, most recently Woody Allen, Charles Chaplin and Martin Scorsese. (He has a documentary on science-fiction films, Watch the Skies, premiering Tuesday, July 6, on Turner Classic Movies.) He’s a one-man film-critical conglomerate, a grand resource of probing, sensible thought.
My bibliography isn’t nearly as long as Schickel’s, but my will is as strong, So we had a few debates. He snorted at some of my selections (notably, The Fly); I yawned at some of his. He thought I was too much the China hand and Bolly-woosiast; I rankled at the inclusion of nearly every film noir melodrama ever made. I argued that, with A Streetcar Named Desire representing Marlon Brando and director Elia Kazan, the presence of the Kazan-Brando On the Waterfront was redundant; he trumped my nagging by citing Waterfront in the Great Performances and Top Scores sections. (I used the sidebars to introduce favorite films, performances and music not covered in the prime TIME 100.)
Over the months of discussion, I learned many things—not least that Schickel, whom everyone at TIME calls Dick, prefers to be known as Richard. (Hence my frequent use here of his surname, to avoid reader confusion.) And the debate never degenerated into rancor. Schickel and I knew we were playing a game; we did our research; and we’re still married.
CUTTING ROOM FLOOR:
Here are the films from our original lists that were dropped:
INSIDE THE LISTS
A scanning of both lists shows that Schickel and Corliss agreed on 31 films that got into the holy hundred: Sherlock Jr., Sunrise, City Lights, King Kong, Bride of Frankenstein, His Girl Friday, Pinocchio, The Lady Eve, Citizen Kane, Casablanca, Double Indemnity, Children of Paradise, Detour, White Heat, Kind Hearts and Coronets, A Streetcar Named Desire, Singin’ in the Rain, Ikiru, Ugetsu, Smiles of a Summer Night, Sweet Smell of Success, Yojimbo, The Manchurian Candidate, 8-1/2, Persona, The Godfather and The Godfather Part II, Aguirre the Wrath of God, Chinatown, Taxi Driver, E.T. and Talk to Her. Note that, as we approach the present day, agreement gets rarer. We had 10 coincidental selections in the 1940s, exactly as many as we did in the four-and-a-half decades from 1960 to today. That mirrors a consensus on classic films, especially classics from Hollywood, and a fragmenting of taste ever since.
There were also five movies on both early lists that didn’t make the final selection: Potemkin, Scarface, The Miracle of Morgan’s Creek, Raise the Red Lantern and All About My Mother. All worthy films. What happened? I guess we came to think of Potemkin an “official” great film that lodged in our memories more than in our guts. Raise the Red Lantern I reluctantly dumped in favor of another Gong Li-starring Chinese film, Farewell My Concubine, with its explicit approach to Chinese politics and a great performance by Leslie Cheung. As for directors of the other three films, they already had films on the final list—though Hawks, Sturges and Almodovar are all as deserving of being multiple-film directors on the TIME 100 as Scorsese, Lubitsch, Wilder, Bergman, Stanley Kubrick and Leone.
Ah, Leone. You see The Good, the Bad and the Ugly and Once Upon a Time in the West—consecutive films from the director of spaghetti westerns—and ask, Why both? (Perhaps you demand, Why either?) Well, because Schickel preferred the first film, and I love the second, and neither of us would budge.
A more general question: Why directors? Listen to the conversation Mark Coatney conducted with Schickel and me, and you’ll learn that, among the strategies Richard the First used in preparing his original list, one was to start with the directors he thought the best, then choose his favorite of their films. Further, he wanted to reward peak periods in the careers of great directors. Chaplin, Sternberg, Vidor, Lubitsch, Hawks, De Sica, Kazan, Godard, Scorsese, Allen and Almodovar all are cited for two works within a few years, sometimes consecutive films. Sturges gets three mentions in four years. A director-centric selection is one way to go. A film-savvy fellow I know said he would have found slots for all six of the films Sternberg made with Marlene Dietrich.
I didn’t work that way. For me, in compiling this list, the films were the thing, not their makers. In the Church of Auteurism, I’d be sitting in the back pew, sometimes agreeing with the dogma, sometimes whispering heresies. Not an anti-auteurist, but a not-quite. I’m a bit like Henry, the hero of Tom Stoppard’s 1982 play The Real Thing, who is agonizing over his choice of eight Desert Island Discs for a radio show. He knows he is expected to name eight pieces of “real music”—yet he is haunted by his unfashionable, unabashed love for the perkier forms of old pop rock. “I like Herman’s Hermits, and the Hollies, and the Everly Brothers, and Brenda Lee, and the Supremes,” he says, adding, “I don’t mean everything they did. I don’t like artists. I like singles.”
Well, I do like directors. But they aren’t the only artists who make films great. Hence Swing Time for the music and dance, Camille for Greta Garbo’s brave and merciless performance, and Baby Face for its thrillingly low moral tone. Schickel also had a few non-auteur choices, such as “Norman Z. McLeod’s” It’s a Gift. I guess Schickel would make the case, and I wouldn’t quibble, that W.C. Fields is the author of that rough comedy gem.
We have favorites, but we didn’t play favorites—reward friends with slots. Schickel, out in L.A., necessarily is on nodding terms with lots of filmmakers, some of whom are very good ones, and represented on the 100. I put four Chinese films on the list and, as it happens, I have dined congenially (once or twice) with the makers of all those films: King Hu, Chen Kaige, Jackie Chan and Wong Kar-wai. But that’s mostly because I do some reporting along with critiquing for TIME Asia movie stories, and because these filmmakers agreed to have a meal with me. (Conversely, I’ve noshed with only two of the Americans on the final 100, Scorsese and Spielberg.) Schickel can fairly say he dines with one of his honorees every night. He put the 2004 restored version of Sam Fuller’s The Big Red One on his list, and he did the restoration. Nice job too. But it didn’t make the cut.
Our work wasn’t over when we finished the 100. We still had the Guilties, the Greats and the Scores, and I did a selection of Short Subjects. Richard and I used these slots as a kind of B list for some of our original favorites. He worked Gun Crazy and Anatomy of a Murder showed up among his five Guilty Pleasures. I managed to get nine of these into subsidiary sections: The Rules of the Game and Awara in Great Performances, Jules and Jim in Soundtracks, Gone With the Wind and School Girl in Guilty Pleasures, some of the animated and experimental films in Selected Short Subjects. And if you’re wondering why Robert Bresson’s Mouchette (obviously a Corliss choice) appears on the final list but not on my original one, the answer is: the first time around, I forgot! If there’s a theme to this column, it’s that we’re all human, even critics.
POLITICS AND GEOGRAPHY
Of the 33 TIME 100 films before 1950, all but six were from Hollywood. Assessing the so-called golden age, we seem to be very Home Team. Ah, but of those 27 American films, nearly half, 13, were directed by men born abroad: three in England (Chaplin, Hitchcock and James Whale), three in Germany (F.W. Murnau, Wyler and Lubitsch), three in Austria (Sternberg, Wilder and Edgar G. Ulmer are all native Viennese), one each in Hungary (Michael Curtiz), France (Jacques Tourneur) and one in Sicily (Capra).
Why did they come to the U.S.? You may deduce that, at least for the Germans, Austrians and Hungarian, most of them Jewish, the answer was one word: Hitler. Yet except for Wilder, all the German speakers had emigrated during the Weimar years, when Nazism was barely a cyst in Mittel Europe’s eye. Another word explains the lure of these directors for and to Hollywood: Ufa. That was the German studio where Lubitsch, Murnau and others made the films that attracted the attention of the Eastern European men who ran the U.S. movie industry. They had made films at Ufa because that’s where the European action was. They came to Hollywood for the same reason—except that, there, not Europe but the world was their audience.
I argued, more stridently than Schickel, for geographical politics. “Ya gotta have an Iranian film!”, I said, even as Richard insisted on a representative of the 60s Czech New Wave. Yet we both ignored gender politics. Of the 100, 99 were directed by men, and the only auteuse, if that’s a word, is the German Leni Riefenstahl, Hitler’s favorite director. Pressed for a second film made by a woman, I would have chosen Kasi Lemmons’ magical melodrama, Eve’s Bayou, which was among my semi-finalists. It happens that Lemmons is an African-American, so the inclusion of her film would have addressed another nagging deficiency in the list—if you believe, as I half do, that the 100 should be as inclusive as possible. (The non-Caucasian directors, 11, are all Asian: Japanese, Chinese or Indian.)
Speaking of half-thoughts, here’s a half-serious suggestion. To compliment our selection of Guilty Pleasures, we might have had another sidebar called Guilty Conscience—a contingent of films from developing countries and other underrepresented regions and ethnicities. Such a U.N. General Assembly of cinema might comprise, from Egypt, Youssef Chahine’s Alexandria, Why?; from sub-Saharan Africa, Ousmane Sembene’s Moolaade; from Brazil’s Cinema Novo, Glauber Rocha’s Land in a Trance; from Korea, Im Kwon-taek’s Seopyeonje… I could go on singing. Last month TCM played more than a dozen Mexican movies from the 40s and 50s. As with Indian musicals, these robust artifacts made me wonder: What have I been missing? Life is a contnuing film education. And I remain a very impressionable lad.
Some readers might think that I shoehorned and strong-armed too many obscure titles onto the list—all those Asian films that were barely or never released in the U.S. It’s true that, when push came to shove, I deleted Hollywood movies I love and respect to make room for four Chinese-language films (A Touch of Zen, Farewell My Concubine, Drunken Master II and Chungking Express) and two Indian pop-musical dramas (Pyaasa and Nayakan). But even those titles are fewer than I’d wanted; I cut Awara and Peking Opera Blues at the last minute.
Anyway, I’d argue that a grand cinematic decade, from the mid-80s to mid-90s, belonged to the Chinese; their emergence and speedy supremacy was thrilling to watch. As for the Bollywood-style films, my recent inundation in India film instructed me in the subcontinent’s teeming movie achievements, and persuaded me that in its Golden Age, for about 20 years after Independence in 1947, India produced films whose quality matched Hollywood’s. Apparently some of you agree: Pyaasa, Nayakan and Concubine are often near the top of our readers’ poll. Which proves that one man’s obscurity is another’s great and glowing treasure. Thanks, India and China, for voting early and often.
And the half-argument against such a niche: great films don’t come from places, or groups, but from individuals. That’s one reason the list contains more entries—two—by each of six different directors (Lubitsch, Kubrick, Scorsese, Bergman, Kurosawa, Leone) than from the whole African continent. The other reason: we’re white males, and philistines!
IF WE ONLY HAD A HEART
We hear your pain. Reading some of the e-mail, Schickel and I sympathize, a little, that our selections didn’t always jibe with your favorites. “Bride of Frankenstein but not Gone With the Wind?” was a frequent keen. “Way too many old films,” one of you wrote. Sometimes, as I mentioned earlier, your criticism was about our color-blind, or color-myopic choices—why no Spike Lee film?
But the main complaint is that so few of the films we chose had heart. Among the movies deemed unfairly missing were Mr. Smith Goes to Washington, Sergeant York, A Tree Grows in Brooklyn, From Here to Eternity, La Strada, Ben-Hur, Parrish, To Kill a Mockingbird, The Sound of Music, Bang the Drum Slowly, Dances With Wolves and The Shawshank Redemption—all films that touched the people who saw them. The most frequently cited title was Mockingbird.
It’s true that, by nature, critics are skeptics. We have been trained to spot the puppet strings, to be suspicious of the heroine’s oh-so-noble renunciation, to note how the swelling of violins can cue a flood of audience tears. Aware as we are of all the manipulations, we find it harder to articulate an argument for humanist drama than for other kinds of films. Discussing a comedy, we can point to the wit and surprise, the shapeliness of construction, the Swiss-watch timing, the outsize bravura of a performance. We can even get away with the boast, “It made me laugh.” With a weepie, we can only say, “It made me cry.” For some reason, that is a confession as maudlin as the movie we’re trying to defend. Defending comedy is easy; defending sentiment is hard.
I saw that last month at the Cannes Film Festival, where the 10-film Competition contained exactly one forthrightly emotional film, Marco Tullio Giordana’s Once You’re Born. The movie, about a 12-year-old Italian boy whose sweetly naive outlook on life is tested when he is thrown in with some illegal immigrants, challenged the audience both to feel for these characters and to examine those feelings. It was both a sentimental movie and a comment on sentiment. Between us, reader, I sobbed through about half of the film. Most of the critics didn’t; it was roundly, often joyously scorned. And though Once You’re Born was one of my favorite films at Cannes, I soon stopped praising it while talking with other critics. I was ashamed to be thought a softie.
But I’m telling you, reader. So you know I wouldn’t be ashamed to put a movie that made me cry on the all-Time 100. Indeed, you will find there many films that stir powerful sentiments: City Lights, Dodsworth, Camille, The Shop Around the Corner, Meet Me in St. Louis, Children of Paradise, It’s a Wonderful Life (can you get any weepier?), Ikiru, Umberto D., Tokyo Story, Closely Watched Trains, The Singing Detective, Wings of Desire, Leolo, Farewell My Concubine, Kandahar, The Lord of the Rings, Talk to Her… and more, depending on whose heart is speaking.
If the list were a little longer, I would have been proud to stand up for Mr. Smith, A Tree Grows in Brooklyn, To Kill a Mockingbird, Shawshank and other personal favorites: One Way Passage, Letter from an Unknown Woman, The Miracle Worker, Empire of the Sun. Also a picture that was on my original, rough-draft list: Gone With the Wind. Until Schickel, the heartless bastard, snorted it off.
I don’t think of these films as sentimental (no one does, when itemizing his top sentimental films). I think of them as touching some honest emotion. Translation: They made me cry, and I felt elevated, not manipulated, in the process.
LIKING AND HATING
So thanks for liking and hating the list. All of us who worked on this feature got a lot of satisfaction from the lavish response. The Indian press was pleased that The Apu Trilogy and two Indian musicals were in the 100, and that Raj Kapoor and A.R. Rahman graced the sidebars (though my fact-checkers at Bollywhat.com were pissed that I used the Hindi, not Tamil, names for songs from Rahman’s Roja). Speaking of musicals, I was floored to get a thank-you note from Marc Shaiman, co-composer and arranger of the songs in South Park: Bigger Longer & Uncut. He teased me for calling him “SuperArranger”: “Maybe I can get them to add me into The Fantastic Four”…
And as for those complaints—”What are you smoking!” one reader asked—maybe this will help. Look, I helped make up the list, and I have a few objections. I’m sure Richard Schickel has his own grievances. It must have hurt to cut From Here to Eternity,his favorite World War II romance, at the last minute. But this is my column, so I get to kvetch. I mean, The Rules of the Game has for decades been in my all-time top ten. How come it’s not here? And two Ingmar Bergman films, but not The Seventh Seal? That movie changed my life, man! No Max Ophuls? No Antonioni or Rossellini? And Audrey Hepburn—was the screen’s greatest lady ever more radiant or ethereally seductive than in Sabrina?
Damn. I’m going to write an angry e-mail to the all-TIME 100 Movies.
Next Aguirre: The Wrath of God

Question: what is the title of the 2005 film in which the film ‘rose’

He later became the winner of this most important film award in India three more times.

what is the title of the 2005 film in which the film ‘rose’

Question: who ranked rose as the 100 best soundtrack of all time

журнала Time

who ranked rose as the 100 best soundtrack of all time

Question: when did time magazine give rose the best soundtrack

when did time magazine give rose the best soundtrack

Question: how many times did he win the most important film award in india

how many times did Рахман, Алла Ракха win the most important film award in india

Question: which country won the most important film award three times

which country won the most important film award three times

Question: how many times did he win the most important award in india

Индии кинопремии ещё три

how many times did Рахман, Алла Ракха win the most important award in india

Question: what was the title of the 2005 film in which the film ‘rose’

what was the title of the 2005 film in which the film ‘rose’

Question: how did time magazine rank rose

сотню лучших саундтреков всех времен

He later became the winner of this most important film award in India three more times .

The soundtrack for the film " Rose " was ranked in the 100 best soundtrack of all time by Time magazine in 2005 .

Впоследствии он становился лауреатом этой наиболее значимой в Индии кинопремии ещё три раза.

He later became the winner of this most important film award in India three more times. The soundtrack for the film "Rose" was ranked in the 100 best soundtrack of all time by Time magazine in 2005.

He later became the winner of this most important film award in India three more times.

In 1997, on the 50th anniversary of India’s independence, he recorded the album “Vande Mataram”.

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традиционной

исполнителями

Национального

Question: what is the name of the indian national gym

In 1997, on the 50th anniversary of India’s independence, he recorded the album “Vande Mataram”.

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Question: what was the name of the album released in 1997

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Национального Гимна Индии — « Jana Gana Mana »

Indian National Gym – “ Jana Gana Mana ”

what was the name of the recording project by the leading indian musicians and performers

Question: what was the name of the album released by krishna in 1997

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Question: when was the album vande mataram released

50th anniversary of India’s independence

50th anniversary of India ’s independence

when was the album vande mataram released

Question: what gym is jana gana mana associated with

Национального Гимна Индии —

what gym is jana gana mana associated with

In 1997 , on the 50th anniversary of India ’s independence , he recorded the album “ Vande Mataram ” .

This followed the participation in the recording project in a traditional manner by leading Indian musicians and performers of the Indian National Gym – “ Jana Gana Mana ” .

В 1997 году, к 50-й годовщине независимости Индии, он записывает альбом «Vande Mataram».

In 1997, on the 50th anniversary of India’s independence, he recorded the album “Vande Mataram”. This followed the participation in the recording project in a traditional manner by leading Indian musicians and performers of the Indian National Gym – “Jana Gana Mana”.

In 1997, on the 50th anniversary of India’s independence, he recorded the album “Vande Mataram”.

In 2008, Rahman and Sivanani recorded the song “Jiya Se Jiya”, inspired by the world movement “Free Hugs”.

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вдохновленную

Question: what was the song jiya se jiya inspired by

what was the song jiya se jiya inspired by

Question: when did jiya se jiya come out

Question: what world movement was jiya se jiya inspired by

what world movement was jiya se jiya inspired by

Question: what is the name of the song released by rahman and sivanani in

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Question: who wrote the song jiya se jiya

Question: who sang the song jiya se jiya

Рахман вместе с перкуссионистом Сивамани

Question: what was jiya se jiya inspired by

всемирным движением

In 2008 , Rahman and Sivanani recorded the song “ Jiya Se Jiya ” , inspired by the world movement “ Free Hugs ” .

In 2008, A.R.Rahman was nominated for music for the film "Millionaire of the Treasures".

достижениями

оригинальную

оригинальную

Rahman wins Golden Globe for 'Slumdog Millionaire'
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Music maestro A R Rahman created history by becoming the first Indian to win Golden Globe award for his music score for 'Slumdog Millionaire' at the prestigious award ceremony on Monday.
Rahman's song 'Jai Ho,' penned by lyricist Gulzar, has won the coveted prize of Best Original Music Score at the Golden Globes.
The film which depicts the story of a Mumbai underdog's rags-to-riches run, is on a winning spree and has so far bagged three Golden Globe awards – Best Original Music
Score for Rahman, Best Screenplay for Simon Beaufoy and Best Director for Danny Boyle.
'Slumdog' is based on a novel by Indian diplomat Vikas Swarup and stars Bollywood actors Anil Kapoor and Irrfan Khan in lead among others.
The film has been shot at various locations in Mumbai, including the railway Victoria Terminus, which was targeted by terrorists on November 26, last year.
Boyle's feel-good film depicts the moving story of a slum dweller Jamaal, who goes on to win USD 20 million on Indian reality show 'Who Wants to Be A Millionaire?' in a bid to win his love back.
With its golden run at the Globe awards, 'Slumdog's prospects at Oscar awards next month have brightened.
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Question: who wrote the music for millionaire of the treasures

In 2008, A.R.Rahman was nominated for music for the film "Millionaire of the Treasures".

who wrote the music for millionaire of the treasures

Question: a.r.rahman won an oscar for music for which 2008 film

Миллионер из трущоб

a.r.rahman won an oscar for music for which 2008 film

Question: when did millionaire of the treasures come out

when did millionaire of the treasures come out

Question: for which film did a.r. rahman win the oscar for best

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Question: how many oscars did rahman win for best original music and song

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Question: a.r.rahman was nominated for music for which 2008 film

a.r.rahman was nominated for music for which 2008 film

Question: what oscars did rahman win for millionaire of the treasures

лучшую оригинальную музыку и песню

what oscars did rahman win for millionaire of the treasures

Question: what awards did rahman win for his music for millionaire of the treasures

премии « Золотой глобус

what awards did rahman win for his music for millionaire of the treasures

In 2008 , A.R.Rahman was nominated for music for the film " Millionaire of the Treasures " .

The most significant achievements of this soundtrack are the Golden Globe Awards and two Oscars for Best Original Music and Song ; again for the Oscars the composer appeared for Best Original Music and Song for the 127 Hours film .

В 2008 на А. Р. Рахмана посыпались номинации за музыку к фильму «Миллионер из трущоб».

In 2008, A.R.Rahman was nominated for music for the film "Millionaire of the Treasures". The most significant achievements of this soundtrack are the Golden Globe Awards and two Oscars for Best Original Music and Song; again for the Oscars the composer appeared for Best Original Music and Song for the 127 Hours film.

In 2008, A.R.Rahman was nominated for music for the film "Millionaire of the Treasures".

In 2009, Middlesex University awarded A. R. Rahman an honorary doctorate degree.

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оригинальную

оригинальную

Question: which university awarded a.r. rahman an honorary doctorate degree in 2009

университет Мидлсекс

In 2009, Middlesex University awarded A. R. Rahman an honorary doctorate degree.

which university awarded a.r. rahman an honorary doctorate degree in 2009

Question: when did a.r. rahman receive an honorary doctorate degree

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Question: for which film did a. r. rahman win an oscar for best

for which film did a. r. rahman win an oscar for best

Question: how many oscars did ar Rahman win for his work on 127 hours

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Question: what oscars did rahman win for 127 hours

лучшую оригинальную музыку и песню

what oscars did rahman win for 127 hours

Question: who wrote the music for 127 hours

Р. Рахману почетную

Question: which oscars did a.r. rahman win for best original music

премии « Золотой глобус

which oscars did a.r. rahman win for best original music

In 2009 , Middlesex University awarded A. R. Rahman an honorary doctorate degree .

В 2009 г. университет Мидлсекс присудил А. Р. Рахману почетную степень доктора наук.

The most significant achievements of this soundtrack are the Golden Globe Awards and two Oscars for Best Original Music and Song; again for the Oscars the composer appeared for Best Original Music and Song for the 127 Hours film. In 2009, Middlesex University awarded A. R. Rahman an honorary doctorate degree.

In 2009, Middlesex University awarded A. R. Rahman an honorary doctorate degree.