#milosforman

WIDSCREEN

Realismo, elementos van a apareciendo en cuadro.

Lentes larghos para primeros planos.

Compare con : Th Favotite / Yorgos Lantimos, tambiñen toene close upos, 35mm y aklgo de 6mm

Compare : Diana , Pablo Larraín ,

NO STORYBOARD!

I never use storyboards. I always like to come on the set and see the reality around me. Then I rehearse with the actors in the space, which is already finalized by the prop man, set decorator, set designer and costume designer. Only then do I decide how to cover the scene. Here, I wanted to show what the father has to deal with. Now Mozart has got himself in the fun of getting the mask and costumes. But it’s a little sinister. That’s why I put the camera a little lower, so we look from down to up.

CISTUME DESIGN - Theodor Pistek

Lograron filmar en la Vienna State Opera House. A esta locación se regresa a lo largo de la hiostoria, cada vez se represneta más oscura , más claroscuros, comforme en la memoria de Salieri se profundiza su amargor.

Velas iluminan el lugar

Working on location in Prague, Tharp choreographed and directed the opera sequences for the film. The sequences were created for a contemporary audience and are not exact reconstructions of eighteenth century dances. The operas included in the film are: The Marriage Of Figaro, Abduction From The Seraglio, The Magic Flute and Don Giovanni.

She made three movies with Milos Forman —

 Hair, with its hippie style

Ragtime, set in the early 20th century,