Film 3 Bird Idol Download Movies
Beatris Ninh
BIRD IDOL, directed by Jyotin Goel, is aimed at the kids primarily, but the story featuring birds, is very Bollywoodish. BIRD IDOL has it all too - lovers eloping, their kid winning a music-based show, his love story, the crooked villain and of course, loads of songs.
I strongly feel that you should view animation films exactly the way a kid approaches it. Just keep your thinking caps aside and chances are, you might fall for its charm. BIRD IDOL has some endearing moments, but despite a running time of approx. 100 minutes, it looks like a lengthy exercise. That's because the film abounds in songs and some unwanted scenes and since they [the songs] aren't promoted at all, it reverses the impact created by a few interesting sequences.
Most importantly, does BIRD IDOL offer more than what's being offered round-the-clock on television vis-a-vis animation shows? Will its target audience [the kids] prefer the animation film over popular animation shows on TV? The answer to both the questions is, unfortunately, negative.
BIRD IDOL creates a fantasy world where the birds of Mumbai are as human as the people who inhabit it. They go to school, watch TV, go out on dates and yes, even watch reality shows, especially the musical show known for making stars overnight - Bird Idol.
However, as of now, the birds still play bird music, full of chirps, tweets and the like. A group of four friends [Hummi, Surili, Chidi and Tuktuk] introduce a sound never heard before in the bird world - human music. The music is a hit among the birds and it catapults Hummi's group to stardom overnight.
But the judges, old-time establishment musicians, begin to worry. What will happen to them? They hatch a plan to sabotage Hummi and his music before it's too late. Will they succeed? And what does the introduction of human music mean to the bird world?
Back in those days, the James Bond films were reissued on double and triple bills on a regular basis. My quest to catch up on the Bond saga was quickly satisfied as I became a young authority on the series and their scores.
Those albums were from a wide range of films including great ones (MIDNIGHT COWBOY, THE LION IN WINTER, BODY HEAT) and stinkers (HOWARD THE DUCK, THE BLACK HOLE, THE GOLDEN CHILD). But regardless of the quality of the movies, the music was always expressive and strong.
I had now worked with lots of big composers. But none were John Barry. None were the guy who scored Bond. None were the guy who understood with his music what I was feeling when I was feeling melancholy.
A while later I left Varese to become a full-time agent where one of my biggest efforts was to land Basil Poledouris the plum job of scoring DANCES WITH WOLVES. Eventually, Basil quit the film and John Barry replaced him.
A while after DANCES I started talking with John and his wife who were impressed with the success I was having with some of my clients. This eventually lead to the opportunity to represent him. For my whole life he was the elusive idol and now he was a client.
So, I left word with the producer saying how important it was to me, as a fan, to have John score the film. I realized that the amount separating John and MGM was exactly the same amount as my commission would have been on this film. In the spirit of Christmas and of wanting this to happen so badly, I offered to give my commission over to the studio so they could then use it to make John the offer he wanted.
John and I did do a few films together such as MERCURY RISING and PLAYING BY HEART. But, even on those he did not completely cross the finish line as other composers were brought in to replace some of his cues.
Barry had never worked in animation. He was accustomed to working on final footage, not pencil tests and CGI roughs. The process grew frustrating for him and he wanted to quit the film. I begged him not to.
Part of me thinks he had soared so high early in his career followed by such a glorious rebirth with OUT OF AFRICA and DANCES WITH WOLVES that his resilience to conflict was greatly reduced. It was almost like he had started to accept and maybe expect things not to work out.
We can try to dissect exactly what made a Barry tune a Barry tune, or why his seemingly unsophisticated countermelodies wrench us in our gut, but that would be like trying to pull apart the majesty of a rainbow. At the end of the day, it works because it works.
His scores often explored how profound love can be, and how it can also be not quite within our grasp. I felt the same about my relationship with John. It was intimate, yet remote. Playful, yet sad. Simple, yet maddeningly complex.
Richard is also directing and producing the upcoming concerts A Whole New World of Alan Menken debuting at the Segerstrom Center for the Arts and Evil Dead Live in Concert: A Halloween Experience premiering at The Theatre at Ace Hotel.
Prior to starting his own company in 1991, Richard was an agent at ICM and started his career working with several of his musical heroes such as Jerry Goldsmith, Elmer Bernstein and Henry Mancini. Kraft once ran Varese-Sarabande Records where he executive produced over 150 soundtrack albums. His award-winning feature-length documentary, Finding Kraftland played at over 75 film festivals around the world.
At its heart, this film is about friendship, family, romance, and coming to terms with our own human frailty with the help of others. It is all about grace, in other words, and its most potent lesson is that, before we can accept grace from others or offer grace ourselves, there has to be some realization of our limited control and need for it ourselves. Far too often, we either justify our shortcomings or let the guilt overwhelm us. But as Playbook masterfully illustrates, taking responsibility can actually serve as a pre-condition for grace.
As the rest of the raw reality of life sets in throughout the movie on the way to its authentically feel-good finale, there are powerful instances of self-sacrifice, grace and, from that grace, self-realization. Tiffany continues to learn from her past. Pat slowly learns that the idol of his old life is an illusion that is holding him back.
Each character slowly learns how to love the other, and because they are so obviously flawed (and not consciously trying to change each other), there is something genuinely unconditional that happens. By the time the final dance competition sequence ends and our complex characters have fallen in love, we are smiling because we know the whole story, and what it took to get there.
Ratatouille (/ˌrtəˈtuːi/ RAT-ə-TOO-ee) is a 2007 American animated comedy-drama film[3] produced by Pixar Animation Studios for Walt Disney Pictures. The eighth film produced by Pixar, it was written and directed by Brad Bird and produced by Brad Lewis, from an original idea by Jan Pinkava,[4] who was credited for conceiving the film's story with Bird and Jim Capobianco. The film stars the voices of Patton Oswalt, Lou Romano, Ian Holm, Janeane Garofalo, Peter O'Toole, Brian Dennehy, Peter Sohn and Brad Garrett. The title refers to the French dish ratatouille, and also references the species of the main character, a rat. Set mostly in Paris, the plot follows a young rat Remy (Oswalt) who dreams of becoming a chef at Auguste Gusteau's (Garrett) restaurant and tries to achieve his goal by forming an unlikely alliance with the restaurant's garbage boy Alfredo Linguini (Romano).
Development for Ratatouille began in 2000 when Pinkava wrote the original concepts of the film, although he was never formally named the director of the film. In 2005, following Pinkava's departure from Pixar for lacking confidence in the story development, Bird was approached to direct the film and revise the story. Bird and some of the film's crew members also visited Paris for inspiration. To create the food animation used in the film, the crew consulted chefs from both France and the United States. Lewis interned at Thomas Keller's The French Laundry restaurant, where Keller developed the confit byaldi, a dish used in the film. Michael Giacchino composed the Paris-inspired music for the film.
Ratatouille premiered on June 22, 2007, at the Kodak Theatre in Los Angeles, California, with its general release on June 29, in the United States. The film became a critical and commercial success, grossing $623.7 million worldwide. It finished its theatrical run as the sixth highest-grossing film of 2007 and the year's second highest-grossing animated film (behind Shrek the Third). The film received widespread critical acclaim for its screenplay, animation, humor, voice acting, and Michael Giacchino's score. It also won the Academy Award for Best Animated Feature and was nominated for several more, including Best Original Screenplay. Ratatouille was later voted one of the 100 greatest motion pictures of the 21st century by a 2016 poll of international critics conducted by the BBC.[5]
Remy, a young rat with heightened senses of taste and smell, dreams of becoming a chef like his human idol, the late Auguste Gusteau, but the rest of his colony, including his older brother mile and his father, the clan leader Django, only eat for sustenance and are wary of humans. The rats live in an elderly woman's attic outside Paris, but when the woman discovers them, they are forced to evacuate, and Remy is separated from the others. Encouraged by an imaginary Gusteau, he explores until he finds himself on the roof of Gusteau's eponymous restaurant.
Remy notices the restaurant's new garbage boy, Alfredo Linguini, attempting to fix a soup he ruined, and jumps in to fix Linguini's mistakes. Linguini catches Remy in the act, but does not reveal him to Skinner, Gusteau's former sous-chef and the new owner and chef of the restaurant. Skinner confronts Linguini over the soup, but when the soup is accidentally served and proves to be a success, Colette Tatou, the restaurant's only female chef, convinces Skinner to retain Linguini and uphold Gusteau's motto, "Anyone can cook". After demanding that Linguini replicate the soup, Skinner spots Remy and orders Linguini to take him outside and kill him. Once they are alone, Linguini discovers that Remy can understand him, and he convinces Remy to help him cook.
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