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The best director, Shwedon Bi Aung, Dr. Aung Kyaw Oo. Written by Nyunt Myanmar Nyi Nyi Nyi Aung.
Producers should make only a few films a year: vet-maker.
In the run-up to the Oscars, The Myanmar Times'Academy Special' spoke with Bagyi Soe Moe, a movie maker with over fifty years of professional expertise, to learn more about his view of the Academy and the general state of the game. In 2002 Bagyi Soe Moe won the Best Directors Award with Ngar Thu Ta Bar Yauk Kyar Mein Ma (Me, Another, Men, Women) and in 2010 the Best Cinematography Award with Pin Lal Htet Ka Nay Won Ni (The Red Sun Above the Sea).
In addition, Kun Lon Yet Lay Se' (40 Day of Kun Lon), his own design, was shortlisted for this year's Academy Awards. In 1952, the Academy Awards began with the first, second and third prize for the best film. Later on, under the name Myanmar Motion Pictures Academy Awards Award Ceremony, the awards were presented yearly, with the exception of the years 1962, 1987 and 1988.
Over the years, the film has also received recognition for excellent engineering and artistry, with a wider public appreciating the film' s artistry. Despite the many technology changes that have taken place since the days of monochrome films, many audiences are unhappy with the general drop in Myanmar's cinematography.
More than fifty years in film direction, could you comment on the changes in the Oscar award eligibility criterions? Historically, those who participated in the Oscar award competition were regarded as very well-versed. Now, with more visibility, the choice is more personal. Currently, we have recruited people who are less proficient but have qualifications in their own fields and make informed choices.
Despite their transparent approach, the prizes are now awarded according to individual predispositions rather than art. It can be, for example, an everyday film founded on policing or a combat film founded on armed force, but if this film is of the high quality of the visual art, it should be awarded a prize.
Past awards have also been given to Kyaw Ko Chit Ma Lar, Zaw Ko Chit Ma Lar (Will Youove Kyaw or Will Youove Zaw) and Pyin Ma Ngok Toe (Short Stump) under the direction of Sein Pe Tin. There were also films about friendships between the different nations.
When the Myanmar Motion Picture Organization first took over the Academy Award ceremony, I was Chairman of the Assessment Board. My best proposal is to draw up a set of guidelines for each of the categories - film, actor, soundtrack, editor, screenplay and direction - and to award the prizes on these.
With so many films being made, some professionals can't watch them all. But it is recommended that professionals watch all nominees. We' re told by the public that there is a big discrepancy between monochrome films and today's Technicolor films.
Historically, those who made films were the ones they were interested in and used to. Saya U Thu Kha, for example, made films related to religious matters such as Yahan Sar Ya Thaw Sun Ta Nat (A Single Meal Taken by a Monk). Saya Shwe Don Bi Aung's film A Twei (Touch) was a marital film.
The Saya U Thar Du's films like Phet Sat Ka Lat (First Class) and Ka Gyi Ye Ka (Ka Gyi to Be Ka) offered a lot of schooling. These pros gave their viewers films that were free of toxins. The films of Win Oo are similar. Kyun Daw Nei Ko Ba Kyaw (I and Ko Ba Kyaw) is a movie game.
The film Saung (Winter) by Ko Hla Myo is a Warfilm. Filmmakers have played their part in the past in helping to keep their audiences in the foreground. Filmmakers made films that were pure entertainment and charm. Khin's Saya U Chit Khin's Pann Pan Hlyet Pa (Still watching the flower) is inspired by a poetry and it was a good film.
Also good films were U Chit Khin's Ngoke Mi The' Daing (Dive Until You REACH the SAND) and Shumawa U Kyaw's A Pal Yadanar (Discarded Jewel). Maung Tin Oo's Thingyan Moe (Rain During the Water Festival), Maung Wunna's Gadiba Hpanat Si, Shwe Hti Saung (Wearing Velvet Slippers under a Golden Umbrella), Wah Wah Wah Win Shwe's Chithu Wine Le (Encircled by Lovers) were all good in their own way.
Comedy like Phoe Par Gyi (Old Phoe Par) and Yadana Bon (Amount of Jewels) and Beik Ka Lar De Ngan Pyar Ye (Fish Sauce by Myeik) were all good comedy. There have been good films made by filmmakers in the past, and there have been few that have been damaging to the people.
The films were made on the basis of reports about the management, undergraduates, etc. and also trying to rectify the public's misbehavior. But in general, most of today's films are lacking in morals. Directors can make a maximum of four to five films per year, while an ordinary film maker can only make one or two.
Conversely, today's filmmakers make fifteen to twenty films a year, which leads to overlaps of places and textures. They also don't look for good tales and just make a movie of every tale they meet by finishing one within 15 to 20 sittings. Audiences are complicit because they promote this kind of film.
Do you propose to stop the public's endorsement of these productions so that the film makers stop producing them? Dependent on the further inspection and assistance of the public the director will do this. When audiences like nightmares, they' re gonna make them. When the public accept their film, they will make it.
The same applies to historic or sword-fighting films. But at that time, one film was very different from the other. However, now films are being made in a very similar way. How long will these films last in such a scenario? When a film has to last long, say four to five hundred years, you can't go on like this forever.
Films must be made in a way that the public appreciates them. Performers like Win Oo and Kyaw Swe would only be in one movie a year. Audiences had to spend a whole year waiting to see their new film, and when it was shown, the cinemas were full.
Do you feel that your films have been honored with the Academy and Kun Lon Yet Lay Se' for this year's Academy Award? I' m very pleased that my films have been honoured with the Academy. The two line-ups were outstanding, but unfortunately it was a period in which two main actors were not honoured with the Academy.
It was the first film in 50 years to win seven Oscars, and so it went down in the annals of the world. Directed by Pin Lal Htet Ka Nay Won Ni for the Best Cinematography Award, I felt so exhausted that I dropped five lbs in body area. Every film I've won the Oscars for deserves it, because when I make a movie, I try my best.
I didn't actually expect Kun Lon Yet Lay Se' for the awards. I did my best to make this film, though never with high expectations. I' m not sure if I win a prize, because it might even be omitted later. If I get an honors or not, I don't think about it.
When I' m decorated, I' ll be lucky. When it comes to making films, I never give up. moviegoers are paying to see my productions, so I have to show them the best for them. The audience should get something useful from my films. The Kun Lon Yet Lay Se' is built on a documentary film.
Though it is a military film, it must be artistic. As a film producer, I'd like to say I'm happy. If I get an prize for this film or not, I will continue to make high-quality films. I' ll never show dishonor to my audiences or make films that would harm them.
There have been good films made by filmmakers in the past, and there have been few that have been damaging to the people. In your opinion, what kind of distinctions will this film have? U Zin Waing's performance is outstanding, according to the public. Are you as a producer happy with the way this film has been artistically designed?
I' m not even sure if this movie is on the Academy short list or not. I' m sceptical because even a movie like Kyal Sin Maw Kun (Epic of Stars), which had many good features to be awarded, was omitted. In accordance with the desires of the public, I did my best to include Bogyoke[Aung San] in the film.
Already then I only had to be content with the Best Music Award. In directing, I like Kun Lon Yet Lay Se' more than Kyal Sin Maw Kun. The supporters Han Lay and Khin Tsar Chi Kyaw did not have many different parts to perform, but they did their parts well.
By and large, if they want to honor this film, there are many good reason for it, but it's up to them. Kyun Daw Daw Yi Sar Pha Yar Hmar Nay Thi (My Lover Dwells in the Pagoda Precincts) awarded me the prize for best camera and best music. I' d never have thought I'd win the prize for best director.
However, for this kind of film[Kun Lon Yet Lay Se'], if I was asked to do another one like this as a producer, I wouldn't make it. It' the cut, the sound and everything fits the movie perfect. Of all the films I've made, as a filmmaker I like the technologies that have been made in this one.
I' m not talkin' about getting the academy or not. I' ve made this film that goes beyond the mere awarding of prizes.