The comma is part of the ground of literature, you need it to build. Welles, he said, “was a guy who came in and changed it all with his very first movie. Movie stars had the most power and movie stars represented certain things to the public.” Scorsese then put on his film historian hat (which is never actually off) and said, “People might scoff, ‘Oh, they had rules then? In 1940?’ Yeah, it was a factory. You ask, ’Can we do it this way?’ And that really opens things up for your collaborators.” In reference to Kane, DiCaprio noted that Toland said, “that’s exactly why he wanted to work with a young Orson Welles-because he didn’t know the rules.” But one of the great things you can do as a filmmaker is bring in some ignorance. I know it’s scary when people give you their money and they say, ‘Go make a film’. This struck a chord with Scorsese: “That’s one of the great things you learn. “I recently watched something with a young Orson Welles talking about Citizen Kane and how he was able to achieve some of those shots,” DiCaprio posed, “and his answer was, ‘It was sheer ignorance.’ It struck me how he was able to take chances because he didn’t know the rules.” And, eventually, how rule-breaking in movies can create film movements around the globe. When Scorsese mentioned The Grapes of Wrath as the film that made him first aware that camera placement and camera movement was its own type of language, this sent DiCaprio into a brief discussion on Citizen Kane (both Grapes and Kane have the same cinematographer, Gregg Toland). The importance of film movements and breaking rules From the logo of a color-processing company to countries that he’d not been to, these things would later cement his two separate film legacies. “I would see anything in Technicolor as a kid,” he said-something only a young cataloguer would notice as he filed away his obsessions. While he didn’t say it outright, Scorsese’s desire to be a film archivist reverberated both of these poles, too - fantasy and escape - in how he spoke of observing his family’s reactions and in how excited he was by Technicolor. The cinema opened up the world to me, to a person who otherwise would not have had that possibility.” I was a kid and this film opened me up to humanity. I saw Satyajit Ray’s Pather Panchali on TV, dubbed in English in 1959, and I realized that this is a film made by the people that you usually see in a British or an American film, only in the background fanning the white guys. Because I came from a family that was working class, we couldn’t afford theater or travel, so I learned about the outside world through movies. However, it can test your patience if thrillers are not your thing." ġ23Telugu and nettv4u reviewed it with 2.It was all film from there for Scorsese: “Movies introduced me to everything-dance, theater, music of all kinds. The overlong film has got strong performances. It's a crime film and a semi-period drama, too. There is also a political movement involved. Indiaglitz stated "'A (Ad Infinitum)' is a slow burn thriller where science is an important element. The film’s leads end up delivering a decent performance."' and gave the film a rating of two-and-a-half out of five stars and stated that "Thrillers are not a genre often explored in Tollywood but director Ugandar Muni makes a decent attempt. The Times of India noted that " A decent attempt that tests your patience". The film is available on Amazon Prime Video Reception The music is composed by Vijay Kurakula and released on Aditya Music label. Buy this album A: Ad Infinitum or listen to it on amazon
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