i believe that trouble is with god, hallelujah, the lord asked you.

film by giuseppe tornadore

he is a very mysterious character, although you can’t tell from him. it's like i've known and loved him all my life. serious very serious always so very focused. he has an amazing property to always remain himself, but at the same time constantly change. we are talking about genius. this is the great exception to all possible rules. a better compass, i couldn't wish for.

the greatest talent lies in him, which just pours out when he sits down to write. he asked music direction. i don't know anyone amazing ennio morricone we're watching let's say the birth of a guaranteed masterpiece. watching it is like watching an athlete. work very peculiar man madman real

madman enyo's world has not yet been revealed in all its depth.

i never thought that music would be my destiny. i planned to be a doctor, but my father said. no, he will learn to play the trumpet and sent me to the conservatory to study the trumpet. so it all started my father decided that i would be a trumpeter. this was not my decision. as you can see, i was just a kid. in the first quarter i got three points out of ten and my father became stricter on holidays.

building it turns out that we had a gramophone at home and since i often listened to the freestyle strelka, i composed music for the two-pipe hunting scene. when i was 10 , i remember well how i broke these records at 11 years old. i started studying the trumpet, and at 16:00 i received my diploma. dad told me about a certain boy of his to the son of a trumpeter, who descended into the orchestra pit from his music notebook and fell asleep. he played the trumpet. and when they played often, fell asleep, the conference was mariueva, father, and they performed sternly together. he played the same trumpet all his life,

when his father gave him a trumpet he said. then i can feed you. you can feed your family. that's all. he bought me a used pipe so it was cheaper, and he always tried to save money. he musicians could not be otherwise. when the germans were here first, and then the americans, i walked from the hotel with a small orchestra and played. we didn't even pay for food. some of my colleagues. sometimes put on the drum in a saucer. where the soldiers could donate, my father's profession fed the whole family, and when one day he fell ill , enio had to replace him in nightclubs and entertainment shows to earn food by playing the trumpet was terribly humiliating and i felt. this is a humiliation.

played. well, so-so by 7.5 points. in parallel, i studied harmony. well, i didn't follow the rules. i enriched them and colored them my teacher. roberto cajana at the end of the course told me now you have to go to the composition, and i obeyed him. and here one

of the greatest classical composers of the 20th century and for me he has become an excellent teacher. in my seventh year i had an in-depth study of composition and it was taught by two outstanding mental teachers. i studied his scores and liked it. the secretary tells me it's impossible. peter's group has already been recruited. and if i don’t sign me up for petras, i’ll leave the conservatory, i need to find the techniques that

this composer uses and appropriate them to myself at first i was very robotic, because the whole group consisted of talented guys, amazing composers first successes. enio morricona were much less outstanding than his fellow students at the conservatory studied elite next to these giants. i felt like a bug. i was ashamed. yes, he felt a step lower, so that the trumpeter went to study composition. it was rare, in my opinion. at first , for the first few months, petrase was given the task of writing dances. a little

underestimated. and from that moment on, i stopped making mistakes to study. he was a great pleasure for me. it's such a counterpoint, four or five movements a very interesting form the forerunner of the pioneer fugue, which was a frescobaldi for a century of dabah, it already had hints of counterpoint to join two melodies together. all these famous 10 years since peter the blue tried only bread and post-trial bread we gave him, and therefore no one in the world knows counterpoint. better than him

, stravinsky influenced petros so much that love? i have always been a fan of this piece. during the study of composition

, i did not show my father anything. i sat down at my in the room and wrote wrote wrote. he was a very attentive and diligent student, his future gave me happiness and optimism, but i studied and worked. he played the trumpet won, at first. and they smiled at me, but after the show i had to catch the trolleybus, so i removed the pipe and rushed home with all my might maestro's music, i secretly wrote the arrangements, petras

was not in the know. he later learned that carlo savina called me first. savina once denounced the arrangement in a very extravagant way. he just threw the scorer. sometimes i experimented then. savina called me in a rage and shouted a sharp here, there is no smoke here , this note is impossible to make out. savina was tied to a somewhat outdated arrangement concept, we went one two three. my first film experience was in a film orchestra, where i played the trumpet. music among others, i played the soundtrack of febiole

alessandra stare. as a final exam in composition, we had to write an opera scene. i took up the double fugue, two subjects, two countersubjects, heading, caught in a storm and trying to land on the shore and a pickaxe that is about to seduce him. i wanted to create something swirling but very elegantly wavy sensual. i wanted to write all this, but i couldn't. the commission consisted of glidogerini director of the conservatory, a very different personality. the heroine did not understand the music of the petrasi and between them a rivalry was established. why did you split the string

to hit the top octave? justify he attacked the director. what is this question? there i left the conservatory, as always accompanied peter to the house at 181 dermanita street this time too. we both got emotional. i cried he promised to find me a job, i

mean a teacher at the conservatory. when i entered the service, i was immediately identified by a military band, the colonel ordered me to make an orchestration, we played in the street. after graduating from the conservatory, it was as if i appeared to the world in all my nakedness. i wanted to protect myself from this loneliness. and that's how i wrote my first orchestral concerto

when it came to my musical decisions. my mother always said, please, compose me a pleasant melody, a beautiful song. she pressed on me constantly repeating. write me a song, write beautiful melodies, so you will become successful. i could hear him playing from morning to night at that time he had not yet composed music.

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petrenko hired a doppelgänger to stage her death as a hero. may it be an opportunity to do corresponding in real life. now there will be even more victims. cinema 1tv represents the key to a successful walk depends on your personal well-being, vanity, irritability, excessive modesty can only interfere with you. now. think of something good. phew seeker a what are you saying all this to me? don't fight her. big changes diary not to forget at home parents can be collected in one

message became more flexible technological responsibility appears perseverance and faith thanks to petrasa i went to darmstadt for a contemporary music festival contemporary music was going through a difficult period then. john cage came to darmstadt as a critic. he played a concerto on the piano, using only two notes, then turned on the radio, turned it off , turned over some pages. i have

the idea arose i was surrounded by my colleagues all the fresh baked sound composers. because they used unconventional ways to extract music. the trumpet was supposed to sound unrecognizable. as soon as i did not play on it with the palm in front of the bell. press the valve and halfway. so it turned out

such a strange meow monstrous sounds. so it was a completely different way of making music. they worked more on sounds. than over melodies melodies. you can say were banned with a melody and in this there was some kind of conflict cinematic move. i wrote all the arrangements.

each release contained many songs, but the notebook, i received only a day before the broadcast. that is, we wrote the next morning, and i wrote all night long. the so-called musical negro, that is, he wrote arrangements for film and television for other people, but his name never appeared on the screen. one of the first was chicani . the great composer who worked on the film directed by disik i did the arrangement.

once a baritone appeared in russia, who performed songs from the thirties . there was used the sound of a tin bow. the song is made in the spirit of the 60s, but a tin can. this is such an alien element, in no way connected with the rest of the context and for listeners. it sounds shocking. the singer of the song tensed up already looking for tin cans and tried to roll them.

people are accustomed to melodious music, which is what italian music has been up to this point, so these sounds have produced a resort. that's right, it's good, written part played by real musicians. for this song we used basins filled with water to create the effect of splashes, but it didn’t work out the way enio wanted, we tried to add washing powder to the water and cover it, because he wanted to imitate diving into the water . for men , a completely new sound was obtained. and

arrangers i added some piano. my teacher instilled in me the dignity of a composer, and it seemed to me. i must use it in this and

ingenuous most primitive work, in order to rehabilitate it through the principles of dodecaphony transposed tonal music. he colored these songs completely transforming them. i don't deserve you. i don't deserve you anymore. i think he invented chords

by creating this way. oh crazy, i tried to somehow improve the song itself, but i did not consider myself different. i have often seen how he writes an arrangement during a telephone conversation, the part of the violin, the part of the trumpet, and he composed like this, holding the pipe in his hand. he stands in front of the piano, looks at the keys and writes. he just imagined the sounds looks at the keys and writes nothing presses. he kept the music in his head.

fish fish 10 seconds and you can't tear off the intro sounds, and he starts to go, which could go one after another endlessly. they became the hallmark of the song. recognized instantly. the greatest artists of the time

wanted to work with a sailor. he also worked. he had an amazing way of playing the trumpet , such a gloomy trumpet sounded like a flugel. at the age of 55, my father began to lose his trumpet skills. i stopped inserting the pipe into my work so as not to offend him. it was dramatic moment in our relationship, and mom asked why you didn’t offer dad a job, but i never admitted that he was no longer a great trumpeter. well, to his colleagues. i didn't apply. i felt like i did the right thing. and when he died i started using pipes again. it did not exist, he

was as if detached from the world. the singles were commercially released, so i had to work on the rhythm. but the albums sold little and poorly. there i could use some unusual ideas. managed to include cultural references for example, begins with beethoven's moonlight sonata. beethoven, in my opinion

, went well with the song . it was pure fantasy. i remember. once he said the song can only have one arrangement, the one that i wrote, but i always explained, why in 99 cases out of 100 he convinced you, and in one case not, in the meantime, he wrote a song of enginok. he made the first arrangement of my music comes, he recording studio stands on the podium and begins to conduct. there's not enough next friday.

emilyache listens. and he doesn't like it, and it won't go too soft like that either. i say he needs to be redone. this is a melodic song. we won’t dance to him, i won’t remake it anymore, look for someone else, they will have to, make her frenzied, add rage there. and here he is again gathering everyone. and this is man 40-50 - 8b vocalists, guitarists, keyboardists, pianists, harpsichordists, plus horn trombones. he goes home like a devil and sits down to write again. the next day comes. this is the last time

i won't do it again. here's the car you ordered. not oh well done, huh? well, it makes me sick, but it came out great later he added all these answers. i'll crawl on my knees to you. and, of course, they filmed the film, wrote the soundtrack , it was clear that the arranger of me

particular is a bit problematic. i noticed that he began to come.

the record for horses to gallop to the beat of a guitar called me exactly after i heard music in these westerns. he came to my house and offered to work on his film. and his face seemed familiar to me. i ask, this is not the lions who went to school with koris and studied there is one wonderful photo where all the schoolchildren are standing in their blouses, and they are easily recognized there.

there is something in common with him a few years earlier, enyo wrote an arrangement for albums in the western style of an american artist. i say, let me listen to something from your work, and he found a record with a long loaf. very unusual arrangement of a song in the style of a western, i say, but you will not find me a backing track. i took the whole arrangement as i wrote it. he composed a new melody and put it on a whistle. and he says something, i work here.

when i saw the film, i was very surprised by how unusual the music was there. it was a real turning point, not at all what you expect to hear in a western, at that time no one tried such an operatic sound in a western. it was the music of an extraordinary composer, which has no analogues. nothing like this. we have not before heard the electric guitar kick the tail.

leon's real shock tells me, let's leave it like that, and i say, sorry, sergio, but i can't do that. you want to use the finished work in the main scene. and i would write only background music, you hear the music, he ordered it. what kind of music do people call her

merciless song? he said write to me that you are very similar. she lay down so well. i thought of a song i had written a few years earlier for a tv show and it was sung by one of the peters sisters with a deep extraordinary voice. it was the music that set the dramatic setting for me. by itself.

i asked their blizzard trumpeter to make the same grace notes when playing the trumpet. for the best musical accompaniment can you have a few words a few words with maricon you did not expect to receive this award. no, this is your first award. yes, you often write musical accompaniment for films. he seemed very young to me, a rather round face, even these glasses, like a character from a trifle pot-bellied charlie brown or a grown-up linus

to a lot of italian films, and to me i liked listening to music and imagining how he worked with the director. eugene, we again cooked a hungry dinner. this, of course , is good, but let's prepare a module for the operation as a sign of respect and deep gratitude for the action in honor of the medical worker's day for all who have chosen this noble profession. thank you for calling for you and right for you in the cinemas of the country created to nourish the restoration and preservation of the youthfulness of the eyes recommended to apply daily for three months

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i wrote a lullaby that was sung by a female voice, surrounded by discordant sounds, vibrating on a metal surface. i am glad that i took on such films, because they were not as commercial as the others. after some time we

reviewed for a fistful of dollars. that is, the price tag wanted to hear the pipe. i

came up with the idea of ​​quoting the beginning of bach's toccata and fugue in d minor, the music that he wrote for westerns and which he considers primitive actually has a wisdom structure, thoughtful, amazing architecture. on a movie for a few dollars after a long time we met in

petrosya, and he told me that he really likes the music that i write for the movie, and he called the film completely unexpected for me for a handful of dollars. i was shocked. i thought that i have better music, and he says, but i know that you will improve. i know you will get better. didn't appreciate his work at all, just like me, didn't really appreciate it in a certain sense. outdated, what do you think about the collaboration between composer and director? while working on the soundtrack? i would call such a job perfectly. composers

he was torn to pieces, among other things, because the environment pressed on him. who are you? are you this or that? enyo had some kind of inferiority complex because he refused to from the composer's purity from the convictions of petrase, although petrase himself betrayed his convictions more than once. petra still wrote soundtracks, but petra never considered film music to be real music, unlike enyo. he didn’t understand enio’s uniqueness, his

ability to blend into the situation with the petrosya scene, most likely, he didn’t know how, like me. and it seems to me that even petros himself was not completely free from an inferiority complex, i also worked on the film the bible of a certain, the director, whose name seems to be houston, he put a lot of work into this music, but houston did not accept it. he called it too complicated and perhaps that's it with my work in the cinema.

co-production i played music and light a thin trickle of water that grows, begins to boil, and then flares up with fire, then animal birds all this movement, and then all over again. maria brought ancient jewish texts from the synagogue, which enio set to music. houston came several times a few times business ratings came, they looked very pleased and gave the film to me and then the business said to me, yes, we don’t care, come to me to make a film , and i’ll tell him. excuse me, i have an exclusive agreement with arsey, i can’t

treat them like that in a boorish way and went to russia to talk with the president, i say, this is a unique opportunity for me. guilty at first i felt guilty, but little by little i began to get rid of this feeling to such an extent that in my music i was looking for revenge. i wanted to overcome. it's this feeling of guilt.

the first work i saw was his battle for algeria. i was burned by how the world created by music differed from the world on screen. with me being such an influential director, i felt kind of uncomfortable because he stood out from the rest. i

even wrote this motif, this is one of my variations on the frescobaldi theme. there were three notes, and then the reverse movement of all the same as the music that i studied a little to the left there was already a list.

i came up with this rhyme half serious half funny. then the phrase music by ennio morricone i managed to do it. well, as he sang a joke, of course, he used exclusively music, and then he switched to the sea. and at this moment i

realized that such music. from the first films and further dramatic, but cheerful, he really liked it.

i have never heard more creative music in a cinema, the only soundtrack that i immediately ran to buy. i grew up on golden melody. let's focus on enio morricone einio, do you realize how unique your case is in the history of italian music in two years. you've written

two best-selling two-record movie soundtracks that have become incredible hits. i was just lucky. do not say. so you well done. i went to spy, bribed the projectionist and went to make a copy of his score, and from his work it is clear that this creator, who never chased glory , is the maestro of the sea. perhaps you have never seen him, but you know for sure his name is morricons specializes in music for westerns, of course, eras came to me and i had to work on them, because that was then my fate.

looked at him anyway. he saw everything. everything he said was relevant, the silence of serjo is great, korbutchi the action takes place on snow completely on the snow, the horses galloped completely silently, and the main character for two weeks. music from what you wrote for me. and i say, thank you serge. i just don't bother you.

offensively, one of the first ideas came to me when i was paying for gas. it was a song with a phone that milna ordered me, and on it i first tested the idea with three, notes, but you are three, and the size is four parts, that is, the stress never falls on the same note, it became very important discovery in the world of tonal music, because

so she became more memorable. three notes he was able to repeat the same thing without losing its novelty. all my life i continued these experiments with a small amount, because

i always liked to have fun. and intersecting topics. i often write two topics, i myself do not notice it. he plays these two themes to me, i'm not ashamed to say that i didn't like this theme. i say director pepin lead cartridges. i would throw it away, listen to me and be patient, and he called me crazy. i

think the love circle works brilliantly. here this is the minimalism that is now in vogue in music for its own themes, so from that moment on, all the themes that i composed i gave my wife to listen to. if she liked it, i already showed them to the director, they heard only those works that they liked in my life. empress empress elizaveta petrovna russia will remain when i become emperor the last of the romanovs legacy this is not the tsar's spillikins in public at the whole court. russia is not a bag of carrots back loves the enemies of russia

emperor paul first son. and what was it now? bon what?

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tell me, when you see a juicy summer sale on yandex.market, legendary sneakers for only 3.99 rubles. in my memory of singing, never there was one maria was always with him, but she was also in an incredible way. and it's kind of a sacrifice. she was the first to applaud him for her love, not understanding music. she could express an honest opinion for many years. i listened to him. she built a protective perimeter around him to give liberty's marijuana genius,

it always amazed me how enio could be both a film composer and an experimental musician and expresses himself in music. in an interview, he was asked how can a person who writes music for spaghetti westerns be like that inside an experimenter, he was always fond of experimental music and even tried to drag it into the movies. during our first

meeting, elliopetri told me with every composer. i only work once. so keep in mind, this is our first and last film together. i wrote very complex music, but the main character. there was an artist there, recollected by consciousness, and it seemed to me right to use my improvisational group of new staff. composition for 11 violins, to which i added percussion and a female voice we improvised, looking at the film in sync with us, the insane artist spilled

paint, falling boards and at some point the music replaced all these sounds. both the film and the music were well received by the critics, but the film flopped at the box office. i felt responsible for this during a concert in florence, i grabbed a ladder and started shaking. after

10 minutes and he understood. the first 20 minutes once upon a time in the wild west character music is playing it was the result of that staircase incident in florence somehow

this character plays the mouthpiece more accordion. what he says, that is, the harmonica becomes his voice. giving her the writing of such a large part of the character meant completely trusting him and it is no coincidence that my father did not work with any other musician morricone is excellent at creating a character through music. this

extremely seductive music envelops. she doesn't get out of your head.

voices, sounds, noises, tone, mood, short phrases, all this is used, but you are a kind of building material, and the bricks in all buildings are the same, but the buildings themselves are different. the kind of bricks with which he built his cathedrals. i didn't want to be in the category of composers who write. nadeau suggested that i write symphonic music, and then

the rest of the strings, but violins first of all, i tried to write real symphonic music, but it's not really my most difficult piece.

and then, as a second counterpoint, i added the name of bach. and this is la ts - yes, it’s already synnatural, it turns out. bach. bach, he wrote counterpoint in which each part matched its own voice to its own drums double bass and all other instruments. then i changed the letters. what's

funny no is this colossal knowledge? it's all don't matter, but you don't matter anymore. the main thing is what the composer makes of them.

names i had already mixed the music for the film cannibals , edited the choral part of the melody from afar, he went into the editing room. i took the cassette with this tune and put it on the beach scene. in my film this music sounded like a secular free anthem. we had a fight. he wanted

me to take ulyana forging this work and used by his mother, says, write me then something similar. when i watched the movie, i noticed that there is a cannibal theme. they were similar, different, but similar.

i remember one day he said to me, would you like to improvise an oblicon without any warning, right before going on stage. in my opinion, the female voice played a very important role in morricone's music, and putting a woman in the forefront was a rather bold decision. the human voice as it comes from our body.

in the late sixties, ennio morricone became producers and directors the key to success in 1969 alone was 21 films with his music. people envied the grand success. they not only envied him, but also copied his work, then envy turned into slander. you wrote 18 films in a year.

research for the investigation of the citizen's case, i composed a small arpeggio. on mixing the sound, ellio called me and showed me the whole beginning. i say what is it all about? he changed

the music he used music that i had composed for a stupid movie years before this. and slowly i gave up saying whatever you want. the light came on. and elio told me the words

that i still cherish. you have written more beautiful music than i could have imagined. you can slap me in the face with a brilliant composition that combines everything that was done at that time and set its future trajectory. this is what the citizen's investigation is.

he created the musical format, cinema music, he invented film music. how will you kill me this time? i'll slit your throat. kubrick liked this music, and he wanted me to write something similar, he called me to work on a clockwork orange. we had already agreed on everything, but then leona kubrick called, and he said that i was busy, my

composer enio morricone was working on my new film, he was not working. one two, one, two, three four. i dreamed of being in the morricone theme, which would have been great, but there were four people in the recording studio instead. one scene passes, and he gives out instructions like that and begins to write. as he called them compound scores and running them on a certain type of thriller?

he looks at me slightly angry and says what it is. i give him these records in case he needs some inspiration. music based on what is happening on the screen, he showed the number of the segment that one of the musicians had to play. and so i show it to enter, then to this and the musicians must keep their instruments ready so that they can enter at any moment, because it's not spelled out. and then

the director said, that's so good. i could not this to reproduce it allowed me to do movie unexpected things. to defend himself perhaps at some point he went too far, he began to receive the first refusals and warnings. if you continue

to write like this, you will soon be left without a job by itself. i changed the writing style. the maricons have already become a legend joan byers was a cult figure for the american youth doesn't speak much english doesn't speak much italian, but the music language there were only notes, and all the instruments were superimposed later she sang under temporary piano and drum accompaniment, and then i added an orchestra to her voice, and she

tells me nobody in the world, not knowing me personally. couldn't write so clearly under the edge of my vocal range. this is just a miracle. he comes in and says, have another short bite and drink.

it's not just a pop song, it's an anthem. just because my melodies were becoming popular doesn't mean i was wrong to object to traditional musical forms. it seems to me that the melodic combination ended in the theory of enio morricone does not like melodies, so he speaks, but he is a musician in whom a powerful melodic vein flows and the deeper, but it hides.

perhaps it is in this one that we will jokingly call it composer's schizophrenia. who is from armenia which of the rules that he follows is strictness in creativity, and this is only confirmed by the fact that he plays chess. that is, he lives in a mathematical geometric world. this is essentially a transcendental spiritual approach rare.

what composers know how, because the morricons know how to feel what will be appropriate in this or that scene, but when you hear the music always know what it is? how can it be that the work of enio morricon is recognized by the first wife? he puts so much soul into his music that even by the introduction of the strings it is clear that it cannot be anyone else. the most influential of his works are built on lingering tension, the resolution of which practically sends the viewer into ecstasy. i myself try to stop listening to music analytically and just surrender to the process. his

music makes us feel like it was written by mystery especially for us. why do people remember the music of enio morricone because they once heard it.

in 1950 , a young man came to work in the west of uzbekistan. moscow artist. igor savitsky, he still does not know that here he will have to find and preserve the amazing falk treasures. and savitsky began to paint a portrait of the same young girl at the end. robert rafailovich jokingly asked the model. what picture does she like best at work? what i want to be vasily lysenko one of the most mysterious artists of the russian avant-garde these are the two dozen bolotins that igor savitsky managed to buy from the terminally ill author, a greek citizen married to a russian employee of the canadian embassy, ​​georgy kostaky. he just understood how important it was,

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the tinkoff app can do tinkoff app makes people happy tinkoff he is so alone he believes that his music does not serve the picture enio even says, like a chameleon i change color depending on the director with whom i work but i always remain myself. it seems to me that he always tried to understand the director and reveal

his soul in his work. in this sense. enyo was a good psychologist, after all, in order to work with such complex and sometimes unbalanced personalities. you have to be an excellent psychologist with the rest of the directors. he always found a way express yourself. he is real. dictionary. put 10 good composers to work with the same director for completely different music is that movie soundtracks are a miracle to write when there are only different solutions - the hardest part of composing. choosing the right most suitable music according to the film, go

sons of the fatherland. we said there will be a dance at the end of enio we need music to film it and he wrote the accompaniment for us and we liked it so much. we decided that this accompaniment is the music of the dance, and they made a film with it. rhythm, but when it comes to editing, without music, it’s impossible to work, and we put together a variety of fragments of a variety of musicians, and then he comes to the editing and says, it’s all good, but i’m here, why i left to imitate someone else’s music.

we don't need a melody we like it the way it is. we jumped on it because it turned out even better. the director controls everything, the scenario , the scenery, the costumes, the acting, the lighting , the filling of the frame, but not the music. he sat down at the piano and played the melody of the voice.

i have a terrible voice. he played me some music will turn strings director can not imagine the end result. some films immediately inspired me to

write certain music. all that is yours belongs to all of us while watching the draft version of the 20th century immediately began to sketch the theme was dark. i found a piece of paper and began to write notes. it turned out

that with his music he created a parallel film. enio moves inside there is no music, nothing that he cannot give you. if during the recording you tell him, could you remake this passage under verde talent immediately burst forth. he can in a moment.

the 20th century was heavily criticized and some even began to blame the music. while taxiing , he calls me and says, i will write an article in your defense. it was very noble of him . the desert of tartaria is a dream of the lost youth, at some point the durlini wanted to listen to the themes, and i started playing them on the piano. and he's so good enough.

it's amazing. he didn’t know how the topic was developing further, not some kind of marking, he didn’t know anything, but if the director trusts, he trusts you. farewell friend i composed a composition with five military mountain hinting at the approach of a war that never started. the last time i played the trumpet was when jila pantekorov, married in the capitol, he asked

me to play the wedding march. i took the pipe. though i haven't practiced for a long time and started playing. on the pipe, he was insanely happy. director theron smiley played an important role for me. i went to see his film. he made me sit down to play chess with him. we were in the sound stage and he was shouting his moves right while conducting, sitting in the hardware in front of the chessboard. i was amazed at how he beat me seeing

the board only in his head. i analyzed the film. i sat down to write for him a work that was extremely valuable to me. it was a kind of symphony of fire. i have never had such an epistolary relationship with anyone as with him. i firmly believe that the film music of the 21st century would be completely different without everything that has traditionally been done in b-movies - orchestral music. eh, he took everything.

shuffled blurred borders composer who composes music for films must be able to do everything from symphonies to pop music. baby, you did everything that was supposed to be my first productions, but the sweeter ones are closer to chaplin and i'll think of something myself, love, we're back.

i remember when morricone comes and leona says, i want the panflute to sound throughout the film. the sailor he answers. it will sound, where the heart needs it is impossible to impose a panflute on everything already let me decide for myself how best to use it. and the heart were partners in life.

i slipped. he told me his minute details down to the storyboard. it seems to me that my father was dependent on music and wanted his films to depend on it too. in music like once upon a time in america, every piece is full of original thought and original music

sergi often asked me to compose the theme music before filming, remember how enio played the music of once upon a time in america, long before the film was made in those years, sergi hesitated for a long time. sometimes he asked me to play some other theme.

this theme consisted of silence and pauses of everything that i love so much. i wrote this tune in america for the film infinite love are the ones that were not used. i gave him a listen, he liked it very much and i must say that she still likes it too.

it starts with a low note, which does not go into anything, but suddenly it goes into another note very deliberately. sustaining this note for so long, in order to hold one note for so long, courage is needed. without this music, and this is exactly how i imagined everything, if i had to watch only the video sequence without music. enyo sounded during filming to music was playing from the speakers.

the motor music on the set influenced everyone both on the actors and on the film crew. what are you waiting for did not understand mr. bailey had the feeling that you are no longer something to watch the film on exactly felt interesting. such a great actor, like de niro, who is extremely sensitive to the conditions of the recording, when he learned that you need to play a certain scene with music in the background. he said leave her music helps me.

here his music delighted me immensely; this music does not jump over the top. she penetrates in the depths of the soul, and there something creates. and when i realized this, i understood the sailors themselves,

only then wrote enio a letter of apology. but this was not an apology to the sailor before the historical era to himself for not being able to appreciate him earlier for being blinded by his ideology. he belonged to the new world. and in fact looked down on him a lot of time passed before many of them.

bowed before his genius slid down in his chair. when he turned around, there were tears in his eyes. i mourned the massacred indians and jesuits, but the movie was great. even without music. i would just spoil it this film does not need music. i can't write this kind of music.

as you sit, i'm at home. and then the phone rings and someone's voice asks roland yes, this is enio, he says, i just thought there is. i have one idea. my hair stood on end because i saw a movie in music. my work on the mission was going

very strangely. i had almost no control process. i wrote this music spontaneously over a piece of absolute music. enio could work for a whole year, and the score for the mission took him 2 months. and this is another example of enyo's secret halls from which phenomenal things can come out. first i wrote the part of the oboe, but since the film is set in 1750. i was also inspired by the melodies of that era double mordent double band - this is a short and long flag all those elements that enrich the melody.

and it seemed to me right to include film layout conforming to the rules of the second vatican council. and also the ethnic indian theme is primitive

music, that is, inside the matet, i inserted another rhythmic theme. like an athlete, he takes off his headphones, throws them on the floor, grabs a pencil, and does something like that here, crosses out something, and energy in the studio is shaking. who knows what he feels , what's amazing is that the oboe theme fit together and it didn't happen

randomly, as if there was something that told me this music.

his music was everywhere and it was like as if the soul had moved in and now one could not be separated from the other. i've never been so sure of anything. academies from all over the world but

the main character played already existing works, that is, the music consisted of half of the ready-made repertoire and did not fall under the category of original music. and when the oscar was announced, the audience was outraged and i soon left. he was the best , everyone knew he was the best, but he didn't get the recognition he deserved because they didn't get the ball problem.

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dark clothes have faded after washing there is no need to buy new restoration gel caress. it maintains the strength of the fabric and restores light to things like new for three times as long as it is flesh new. muffin experience manager works organizer actors live you will be here. intelligence is looking for friends counterintelligence enemies, you will be looking for friends. each of your mistakes can

serve as a basis for suspicion here the left person for whom you pretend to be. if you are then even find and was mistaken from that moment on, only three know about this operation. and where everyone working in this office is here is a spy, so the employees are away from the leaders, intelligence chief of intelligence tv presents raid, what else needs to happen for you to

finally understand? more prison cinema 1tv presents yes, i remembered who i am, but i don’t understand how we are why new series of chamber music now i try to do more in this direction. after he was abandoned for a while for the sake of the movie. i i don't want to die leaving only the soundtracks up to this point. for many years he worked as a composer of academic music, creating a stunning work of high artistic and aesthetic value.

petra was sitting in the front row at one of enio's concerts, and because of how respectfully he treated his teacher, it was clear that he never cut the umbilical cord connecting them when the producer of franco-crystalda. offered him a job on a new paradise cinema. enyo initially refused soon after. franco called me back and said, read the script, and then speak, call the home phone.

it was an important life lesson, because enyo treated me as an equal, although i was a complete beginner, and he had written 350 of his five films by that time, and the more he tried to leave the cinema, he did not let go. i wrote all the topics for the untouchables in new york and de palma was from them in the east the last day when we had to say goodbye. he suddenly says no need for triumphant music for the police. i

say good to you records and attached to them letter. where it was said only please number. accountant what? accountant accountant what's wrong with him? the accountant is on this train, he's on this train,

right? and what will you do? that his music in scenes of violence goes against the picture. he is completely removed from this video; his talent lies in the ability to show a different point of view. i decided to include a waltz scene. big

a few months later they don't send a newspaper article where he says that i made the right choice, and he criticized him. it was very pleasant, exemplary professional honesty. what are you doing shut up? shut up for the third time for this movie de palms. now not especially for the third time. i already get used to it. moreover, i am sure that they will not give me an award. and the award is received, why i love chess, because they personify.

when i listened to the music, i really liked some of it, but in the other part, he clearly did not catch my vision. i wanted him to return to the style in which he composed more expressive sounds for sergio leone, like bim-bom. he wanted me to do everything. him a cartoon of tom and jerry where a solid hit each other, then falls to the floor. everything is very funny. he was in shock. i remember. he says you want me to write

cartoon music. he was offended, very offended , he cried out contentedly and left for italy, said something to the bungler, sit quietly, and everyone will remain intact. the problem is that enya , unlike us directors and editors , has the ability to interpret movies in a more interesting way. if an idea appears immediately, it means that it is tied to the film, which means that music with a visual side has love with first glance, but this is not always the case , and this time the process was hard, working on consent break. he was very worried about him. where to find inspiration? once, right under the windows of enyo, there was a demonstration, the participants, who were beating drums.

sit down boy, sit down this is not in the ten commandments, but there is nothing more important in mine. arguments of the heart, he took the rhythmic formula of 1968 and made it the basis of all musical accompaniment. she displayed the determination of these rhythms. gave him the impetus to create music that contained something revolutionary. i said i want to put in

one song. in my opinion, the procedure should have value in itself, in order to be appropriate for the film on which it is superimposed. a man of great

spiritual depth, he is able to awaken in your soul a force that has been dormant there for a long time, and which you did not even suspect. during a session with the orchestra, he sometimes went into the control room and collapsed on the sofa. he could sleep in 20 seconds, like napoleon don't touch the maestroum sleeps after a few seconds. he was already on his feet and conducting like a lion.

he started composing the themes for the legend of the pianist while i was still working on the script. we went head to head with each other constantly advising each other, even during filming for some incomprehensible reason, as if you saw yourself in this character who could never leave the ship.

on a wave of grief that swept new york and anio , morricone composed a symphony that enio morricone dedicated to the september 11 tragedy. this work was born under the influence of the tragic attack on the twin tower and in memory of all the bloody massacres of human stories, where the rainbow ends there will be a place brother where the world can sing his vision allows him to combine sound,

image and narration in countless ways. but we can learn it, brother. a huge orchestra, choir reciter and recordings of ethnic music, just look how many different disciplines are here. listen to this music, i relived everything we saw at home during these events in new york. he knows how to express himself, feeling them on the stave like no other. i don't regret

writing music for movies. if you say so, i gradually began to find points of intersection of absolute music and music. theories play a fundamental role in my life. at some point, two souls met. ladies and gentlemen

. this is one of my favorite moments of enio receiving an honorary oscar. hollywood was like apologizing to him, they were apologizing and it was great. thank you very much i want to express my gratitude to the academy for honoring me with this much coveted award after many years and which has been with me all these years. it was assumed that at this age he may end his career, but to everyone's surprise, he continues to work. london's

albert hall as soon as he took the stage. all the spectators got up from their seats and gave him goosebumps. they ran across the skin. there is something to be proud of in front of the rest of the world. this is a real giant, an outstanding creator maestro

such a place on earth from south america to asia, not to mention europe, where he would not be greeted with enthusiasm, like a pop star? on the occasion of the 40th anniversary of his career, maricone will conduct the orchestra. i remember one of his concerts of cinema music in paris where the audience went crazy. i looked into his dressing room and said. you understand that this is the greatest music of the 20th century. and he replies at first i

thought the music written for the movie shoddy, but gradually changed my mind. now. i believe that film music is full-fledged modern music. it was such a transition to maturity, he felt the creative youth in himself. first he says, why do you even use original music, existing music? this is your established style of work, why something change, and i'm not sure that i want to change something. but if you're going to make original music, then i want you to write it, you and he convinced me. he brings his musical tastes everywhere, for example, the beginning of the fugue of the starovinsky symphony of psalms.

so he probably expected something completely different. how a good morricone chess player dragged tarantino to his side enio reveals the visuals. i had a feeling that i was taking revenge on western cinema for myself, in order to finally break the past. my favorite composer and not in

comparison with other movie composers of this ghetto a versus mozart versus beethoven. schubert tarantino loves hyperbole. and enio answers him, in order to understand who is mozart and who is beethoven, one must go through the pavics. everything is clearly written there, and oh, everything is clear, if you imagine the entire collection of his works, then in the entire field of film music it will be difficult to find someone who can compare with him, so i have to turn to say the beatles bahu or charlie parker chopin tchaikovsky they all have withstood the test of time. who said morricon's music couldn't stand it. here i agree with

tarantino may even be 200 years from now, and the morricons will speak, but i would prefer to call him a great composer and a man precisely because he belongs to the era in which he lives. it seems to me that he reached his incredible level, thanks to the ability to look both into the past and into the future at the music of what it was and what it will become and the oscar receives. eight brother in 2006 both were ready to burst into tears. enyo showed

us how to deal with his own legendaryness he had an amazing experience he was recognized as a world-class maestro at the peak creativity. and that made him happy. he deserved much more because he is a hard worker and a great musician without any star diseases. we went on tour, and he was amazed that in israel he was recognized on the passport control, but by now he has become a kind of icon.

many bands use my music, sometimes they include my short themes in their compositions. i think he was always one step ahead with his language. he created this language and he can be considered as the founder. disciplinary approach these young artists are like that. wow, i also want to sound like they were inspired by it.

his music will influence people for a long time to come. it is he who is sincere. because i don't know him. i think i know him from his music. the new paradiso cinema has become for me one of the deepest textbook creative episodes that i constantly turn to. so

we always go on stage and leave the stage, strong, strong feelings, we took different excerpts. in the music of enio i like the sounds of the dynamics of the layering, he

made people sing his songs his music, my name is creativity when you listen to a lot of music you constantly find echoes, enio someone uses the string as well as someone else uses the piano, but it's still not him, this is the music, the music that flows, in spite of everything, so that he does not write, sometimes even independently of himself. when i wrote the music for my first film in 1961, '70, i said, i'll leave in '80 , i said, i'll leave in 2000

. that makes you think makes you understand. out of bounds and takes you to other worlds when

you hear music. he will remain in history ennio's music will not go into oblivion. the life of many people passes under the music of enio, they love to work and laugh under his work. he is part of our family. he is like a relative. this person will always be with

us. he's not going anywhere. before you write music you need to come up with every time you sit down for a new work, and in front of you. by a strange coincidence, people which are dear to me fall into support my

heart cannot bear being indifferent to our katya you are against me we could influence their relationship there can be no rivalry. june on first what do i do to decide the pieces or

the player is playing you or you are playing decide to act. dear friends, before us is sati casanova, but this is not what you thought, dear friends. you know a wonderful factory group led by igor matvienko, this is a melodist. do you know what it looks like? glory is success, but you don't know what the inner world looks like today sati casanova, and therefore today there will be an amazing musical, and i will tell you that a surprise picture, but it will also be an amazing dramatic one. you have not seen such casanova yet. welcome to the amazing

inner world. and i will sit there so as not to disturb anyone in the corner and quietly, i will listen with you. let it be you.