Feel free to mock me.
Sep. 4th, 2005 02:04 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
arishaSo this summer I made one hundred Amadeus icons in ten weeks. YES I KNOW SHUT UP!! Anyway, some of them are much nicer than others, but I don't usually make a huge amount of icons so a lot of this was experimentation.
Batch #1: at amadeus_mozart // at icons100
Batch #2: at amadeus_mozart // at icons100
Batch #3: at amadeus_mozart // at icons100
Batch #4: at amadeus_mozart // at icons100
Batch #5: at amadeus_mozart // at icons100
1.
(Who wants an icon of Leopold? Uhmmmmm, no one. But it was the first idea that I had and so it was the first one that I made and I just really like the scene, where Wolfie's "and we will be so happy" letter makes Leopold so miserable.)
2.
(I didn't actually really like this scene until I made a bunch of icons from it around the late 40s-early 50s. Then I had to watch it a billion times in order to get the exact screencaps I wanted and it started to grow on me. But despite that, this has always been my favourite icon from the first batch. It is pretty, and it is pink!)
11.
(One of the ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-community.gif)
icons100 themes is "from now on." Most of the themes I didn't write directly on the icons, but for this one I did. I like that I put the words "from now on" on an icon that is about the end of the movie. From now on ... what? I like that it's kind of open-ended like that. I don't know if anyone else thinks about their icons like this. XD; This icon is also the first appearance of the font Marcelle Script. If you actually go and look through all the icons I made for this, you will get sick of this font VERY. FAST.)
14.
(I just really like this tagline. And look! No border! How daring! But I really like this one.)
16.
(It definitely took me a while to get around to making an icon of Salieri, considering he's the main character and all. One thing I was going to mention in my big Amadeus entry that I never actually wrote was that in the original cut, the only one who talks about these so-called "mediocrities" is Salieri. But in the director's cut, Wolfie is given the line "He's a complete mediocrity!" Which I think is interesting. Did Wolfie give Salieri the word, then? Was it only because of what he said that Salieri was able to name himself as such a person? Plus I think it would hurt more, if Wolfie recognizes it too. I mean, we know he thinks himself superior and all that from other things he says, but to use the exact wording that Salieri adopts, it's interesting. But I like this icon more for the effects on it than because of the quote I stuck on, so anyway. XD;; )
20.
(And then I discovered Luminosity.) ("What dead? Who's dead?" - man, I love that part. The dialogue is so perfect.)
21b.
(Kuh-razy cropping!!1!!!!!11 I'm not a huge huge fan of the part where Wolfie mocks Salieri, but I love that it cuts from the scene to Old Salieri who's all "Go on. Mock me! Laugh!" and then it cuts right back, as if to show that his memory of the event is that clear. It's really cool.)
29.
(And then I discovered Wingdings. Well, not really, I discovered Wingdings back in 1997. But you know what I mean.) (I enjoyed using pictures that maybe no one expected to see icons of. I mean, you hang around amadeus_mozart, you browse through a couple of Amadeus fan pages, you Google Image Search, there's a set of about ten pictures that you will see all the time. This picture isn't one of them, ho ho ho! XD; )
32.
(I like this one because I think I got more creative with it than I did with any of the others. It's a little bit kooky but I like it.)
33b.
(33 and 33a have text on them, but eurgh. As much as I like the line I used - "the madness of a man splitting in half" -, I couldn't really find the right balance of colours for them. I really like the blank one though. I think I really managed to get the colours to stand out. Salieri in a void. I think it really looks cool. I like that he's holding his handkerchief with two of his fingers. Like when I have allergies and I have to do everything with two fingers, oh yes, it is awesome, oh man shut up!!)
34a.
(The difference between 34 and 34a is that 34 has a white border. Kinda hard to tell but whatever. At first when I started with this screencap I really didn't think it would work for anything, but I really like how it turned out. Who wants an icon of Schikaneder and Stanzi and SomeGuy in their party outfits? Man, I don't know. I like it though.)
40.
(I don't even know if the words "how to kill a man" are even in the movie. Oh well, I'm sure it's close enough. For this icon there was a lot of rotating and funky blurry and a weird gradient. I don't think the colours really fit the subject, I was just obsessed with them at the time, as can be seen in 38 and 39. I like that you can see Lorl in the background. This is a production photo I happened to find; in the actual scene you can't see her there. I like that the angle of the text doesn't exactly match the angle of the picture. It's sort of disjointed, but only a little bit.)
(I kind of want to re-do 43. I don't know if I actually will or not though. Yuck.)
45.
(Most of the people over at amadeus_mozart seem to prefer the blank version of this one, but I quite like it with the text. It kind of looks like I only blurred part of the image. That's weird, I'm pretty sure I blurred the whole thing. I really like this scene but it's so weird! "Salzburg?!?" hahaha man. Look, I put the text overtop the border. Weird.)
46.
(I feel this is the most legitimate of the icons because it has a lyric from an opera on it. WHAT ARE YOU TALKING ABOUT OF COURSE I KNOW ITALIAN. I thought this meant "we are all mortal" and a blog I found agreed with me but WordReference did not, claiming instead that it means "we are all dead." Which is cool, I'm just not sure how it fits the scene it's in. LOOK I AM PRETENDING I HAVE ACTUALLY SEEN THIS OPERA oh yes. I fail. Also, I wish the bottom picture looked better. Yuck. And yet I still list it among my favourites. I must be a very complex person.)
(24 and 46 I can actually tell you exactly what date they were made on. I mean, without checking the file properties. It sort of weirds me out though. I'll never be able to look at 24 without thinking "HBP!!!!!!" Unless I get amnesia or something.)
48a.
(Some of these icons, I wonder if people who aren't me can actually tell what the picture is. Well anyway, here is Stanzi watching Salieri leave the room. I used this for the theme "hope" but I think that only applies to the original version of the movie. Oh snap!)
56.
(I honestly think this is one of the best of the whole hundred. It's so clean and simple. And oh man, something deep I just thought of - the picture is Salieri holding candles, right, so it's like he's controlling what burns him. At this point in the movie, he is pretty well controlling Wolfie. OH MAN I AM A GENIE-US. Also, I really like this icon.)
64.
(I think this is another really strong one. Wolfie and Salieri from the Don Giovanni scene, the point where Salieri begins to think about murder, one of the opening lines from the movie, Wolfie pointing to his assassin. One of the interesting moments in a tedious audio commentary is when director Milos points out that there is nothing in the movie to show that Salieri killed Mozart - it is only strongly implied. I think the first time I watched the movie I was all "OMG SALIERI = TEH EVIL" but actually thinking about it, it's like, dude, Salieri hardly did anything. THE WUSS!!)
65.
(A couple of screencaps I didn't actually think I'd use. But then I did. ... I like pink.)
69.
(I'd been trying to make a suitable icon for the theme "companionship" since the late 20s. Forty icons later, here it is. But let me tell you, I was very disappointed that I couldn't get "my wonderful friend, Schikaneder" or whatever the line is to fit on anything. What I like about Schikaneder is that the first time you watch the movie, you're like, who is this dude? Where did he come from? Are we supposed to know who this is? And then you watch the movie again and he is EVERYWHERE. I bet if you watch the movie carefully enough, he can be seen in every scene. Like Superman in Seinfeld. He is everywhere. He is so much everywhere that he is even in Shakespeare in Love. AMAZING!) (I like that Schikaneder can obviously see that Wolfie is the one nick in the head and Stanzi is only trying to get by, but she's the one he calls "mad." It's interesting. I tried to fit "I'm paying these people to wait for you, it's ridiculous" onto ... 59, I think it was? But it wouldn't fit. FOILED AGAIN.)
71a.
(A remake of an icon I made ages ago. This one is better. WELL I SHOULD HOPE SO. The demand for bloody Salieri icons is not high, though, I'm afraid.)
72a.
(Another blank that I like better than the one with text. I came up with the idea for the text-over-the-heart at work and it looked better in my head than it did when I actually put it together. This is the same picture of Wolfie as in icon number 9. Shh, don't tell anyone!)
74b.
(Every time I see this icon it blinds me a little. AND YET I CAN'T LOOK AWAY.)
78.
(The border is pretty darn ugly but look! It's animated! Oh man oh man! And it's too big to use on LiveJournal. My life is WOE.) (I used to think this was the first Amadeus icon with a mini-movie but then I remembered there is one out there of Wolfie being all "YEAH SERAGLIO BOOYAH" with the fist-pumping thing. I fail.)
79.
(The second of three times I used Hello! Project lyrics, and of four times I used J-pop lyrics. WINNER IS ME!!! Although I like the icon for the icon, not for the MoMusu. Although let's face it, MoMusu makes EVERYTHING better.)
88.
88a. 
(I am waiting to be attacked for mixing play dialogue with movie picture. Probably it's more likely that 77 will be the one to get me in trouble. It is all LOOK OBSCURE TRAILER NARRATION WAHOO!!! I actually really like that trailer. It's like it brings two characters from the play over into the world of the movie, which is awesome. I also love how it uses the music that's used for the wedding in the movie and makes it into something really sinister, with the slow appearance of the Man in Black poster artwork. A good trailer is an awesome thing indeed.)
90.
(If only I could cap the director's cut! This is not so much a "I hate my job" moment as can be found in the director's cut. But I love this guy. One of my friends proposed a theory that he is the same guy as knocks down the door in the beginning of the movie. It's not the same actor, but if it's supposed to be the same character, I think that is crazy cool. It'd be like, look! He grew a spine! OH MAN THE DOORMAN HAS CHARACTER DEVELOPMENT HOW AWESOME. I like the part in the director's cut where he's all "Herr Mozart is here to see you whatever I don't care -_- " and Salieri's all "O_O I'M DEAD MEAT!!" hahahaha. Actually, I didn't catch it the first time. That was the second interesting part of the tedious audio commentary, was where they pointed that out.)
92.
(Making this icon made me want to kill myself, but the end result doesn't. So that's a good thing, right?)
94.
(You may notice that I only made two icons of dying!Wolfie. Screencapping that scene just creeps me out. I like this icon though. Piiiink. I like the word "vocame.")
95.
95a. 
95b. 
(I like this one so much I'll post all three! Here is what I think about at work, in a nutshell: why there are so many doors shown opening and closing in Amadeus. I am all, there must be a reason!!! I work on this theory while the hot sauce containers conspire to give me allergies.)
97.
(I have made six billion icons from this one picture, but most of them are not among this hundred. I like this one because it is nice and crisp and clean and the colours are kind of funky.)
99.
(IT'S THAT DARNED DOOR AGAIN!!!! This and the other Man in Black scenes are important pieces of my theory. Note how in the Stanzi vs. Leopold scene, Wolfie avoids conflict with those he is close to. He goes into the billiards room and closes the door. EH? EH? But in this scene he goes into another room without closing the door, and then after Stanzi opens the front door, Wolfie has to come back and enter into conflict with Schikaneder, his best pal. EH? EH? Think about that for a while.)
100.
(I can't look at this icon without getting Ayaya's "The Last Night" stuck in my head. I wish I could blame this on someone who isn't me.)
Athena is going to make fun of me for this entry, I just know it.
(This entry was started at 2:04am and finished at 3:53am. I got up at 2:30pm today and am still wide awake, although feeling slightly queasy. BOOYAH.)
Batch #1: at amadeus_mozart // at icons100
Batch #2: at amadeus_mozart // at icons100
Batch #3: at amadeus_mozart // at icons100
Batch #4: at amadeus_mozart // at icons100
Batch #5: at amadeus_mozart // at icons100
1.
(Who wants an icon of Leopold? Uhmmmmm, no one. But it was the first idea that I had and so it was the first one that I made and I just really like the scene, where Wolfie's "and we will be so happy" letter makes Leopold so miserable.)2.
(I didn't actually really like this scene until I made a bunch of icons from it around the late 40s-early 50s. Then I had to watch it a billion times in order to get the exact screencaps I wanted and it started to grow on me. But despite that, this has always been my favourite icon from the first batch. It is pretty, and it is pink!)11.
(One of the icons100 themes is "from now on." Most of the themes I didn't write directly on the icons, but for this one I did. I like that I put the words "from now on" on an icon that is about the end of the movie. From now on ... what? I like that it's kind of open-ended like that. I don't know if anyone else thinks about their icons like this. XD; This icon is also the first appearance of the font Marcelle Script. If you actually go and look through all the icons I made for this, you will get sick of this font VERY. FAST.)14.
(I just really like this tagline. And look! No border! How daring! But I really like this one.)16.
(It definitely took me a while to get around to making an icon of Salieri, considering he's the main character and all. One thing I was going to mention in my big Amadeus entry that I never actually wrote was that in the original cut, the only one who talks about these so-called "mediocrities" is Salieri. But in the director's cut, Wolfie is given the line "He's a complete mediocrity!" Which I think is interesting. Did Wolfie give Salieri the word, then? Was it only because of what he said that Salieri was able to name himself as such a person? Plus I think it would hurt more, if Wolfie recognizes it too. I mean, we know he thinks himself superior and all that from other things he says, but to use the exact wording that Salieri adopts, it's interesting. But I like this icon more for the effects on it than because of the quote I stuck on, so anyway. XD;; )20.
(And then I discovered Luminosity.) ("What dead? Who's dead?" - man, I love that part. The dialogue is so perfect.)21b.
(Kuh-razy cropping!!1!!!!!11 I'm not a huge huge fan of the part where Wolfie mocks Salieri, but I love that it cuts from the scene to Old Salieri who's all "Go on. Mock me! Laugh!" and then it cuts right back, as if to show that his memory of the event is that clear. It's really cool.)29.
(And then I discovered Wingdings. Well, not really, I discovered Wingdings back in 1997. But you know what I mean.) (I enjoyed using pictures that maybe no one expected to see icons of. I mean, you hang around amadeus_mozart, you browse through a couple of Amadeus fan pages, you Google Image Search, there's a set of about ten pictures that you will see all the time. This picture isn't one of them, ho ho ho! XD; )32.
(I like this one because I think I got more creative with it than I did with any of the others. It's a little bit kooky but I like it.)33b.
(33 and 33a have text on them, but eurgh. As much as I like the line I used - "the madness of a man splitting in half" -, I couldn't really find the right balance of colours for them. I really like the blank one though. I think I really managed to get the colours to stand out. Salieri in a void. I think it really looks cool. I like that he's holding his handkerchief with two of his fingers. Like when I have allergies and I have to do everything with two fingers, oh yes, it is awesome, oh man shut up!!)34a.
(The difference between 34 and 34a is that 34 has a white border. Kinda hard to tell but whatever. At first when I started with this screencap I really didn't think it would work for anything, but I really like how it turned out. Who wants an icon of Schikaneder and Stanzi and SomeGuy in their party outfits? Man, I don't know. I like it though.)40.
(I don't even know if the words "how to kill a man" are even in the movie. Oh well, I'm sure it's close enough. For this icon there was a lot of rotating and funky blurry and a weird gradient. I don't think the colours really fit the subject, I was just obsessed with them at the time, as can be seen in 38 and 39. I like that you can see Lorl in the background. This is a production photo I happened to find; in the actual scene you can't see her there. I like that the angle of the text doesn't exactly match the angle of the picture. It's sort of disjointed, but only a little bit.)(I kind of want to re-do 43. I don't know if I actually will or not though. Yuck.)
45.
(Most of the people over at amadeus_mozart seem to prefer the blank version of this one, but I quite like it with the text. It kind of looks like I only blurred part of the image. That's weird, I'm pretty sure I blurred the whole thing. I really like this scene but it's so weird! "Salzburg?!?" hahaha man. Look, I put the text overtop the border. Weird.)46.
(I feel this is the most legitimate of the icons because it has a lyric from an opera on it. WHAT ARE YOU TALKING ABOUT OF COURSE I KNOW ITALIAN. I thought this meant "we are all mortal" and a blog I found agreed with me but WordReference did not, claiming instead that it means "we are all dead." Which is cool, I'm just not sure how it fits the scene it's in. LOOK I AM PRETENDING I HAVE ACTUALLY SEEN THIS OPERA oh yes. I fail. Also, I wish the bottom picture looked better. Yuck. And yet I still list it among my favourites. I must be a very complex person.)(24 and 46 I can actually tell you exactly what date they were made on. I mean, without checking the file properties. It sort of weirds me out though. I'll never be able to look at 24 without thinking "HBP!!!!!!" Unless I get amnesia or something.)
48a.
(Some of these icons, I wonder if people who aren't me can actually tell what the picture is. Well anyway, here is Stanzi watching Salieri leave the room. I used this for the theme "hope" but I think that only applies to the original version of the movie. Oh snap!)56.
(I honestly think this is one of the best of the whole hundred. It's so clean and simple. And oh man, something deep I just thought of - the picture is Salieri holding candles, right, so it's like he's controlling what burns him. At this point in the movie, he is pretty well controlling Wolfie. OH MAN I AM A GENIE-US. Also, I really like this icon.)64.
(I think this is another really strong one. Wolfie and Salieri from the Don Giovanni scene, the point where Salieri begins to think about murder, one of the opening lines from the movie, Wolfie pointing to his assassin. One of the interesting moments in a tedious audio commentary is when director Milos points out that there is nothing in the movie to show that Salieri killed Mozart - it is only strongly implied. I think the first time I watched the movie I was all "OMG SALIERI = TEH EVIL" but actually thinking about it, it's like, dude, Salieri hardly did anything. THE WUSS!!)65.
(A couple of screencaps I didn't actually think I'd use. But then I did. ... I like pink.)69.
(I'd been trying to make a suitable icon for the theme "companionship" since the late 20s. Forty icons later, here it is. But let me tell you, I was very disappointed that I couldn't get "my wonderful friend, Schikaneder" or whatever the line is to fit on anything. What I like about Schikaneder is that the first time you watch the movie, you're like, who is this dude? Where did he come from? Are we supposed to know who this is? And then you watch the movie again and he is EVERYWHERE. I bet if you watch the movie carefully enough, he can be seen in every scene. Like Superman in Seinfeld. He is everywhere. He is so much everywhere that he is even in Shakespeare in Love. AMAZING!) (I like that Schikaneder can obviously see that Wolfie is the one nick in the head and Stanzi is only trying to get by, but she's the one he calls "mad." It's interesting. I tried to fit "I'm paying these people to wait for you, it's ridiculous" onto ... 59, I think it was? But it wouldn't fit. FOILED AGAIN.)71a.
(A remake of an icon I made ages ago. This one is better. WELL I SHOULD HOPE SO. The demand for bloody Salieri icons is not high, though, I'm afraid.)72a.
(Another blank that I like better than the one with text. I came up with the idea for the text-over-the-heart at work and it looked better in my head than it did when I actually put it together. This is the same picture of Wolfie as in icon number 9. Shh, don't tell anyone!)74b.
(Every time I see this icon it blinds me a little. AND YET I CAN'T LOOK AWAY.)78.
(The border is pretty darn ugly but look! It's animated! Oh man oh man! And it's too big to use on LiveJournal. My life is WOE.) (I used to think this was the first Amadeus icon with a mini-movie but then I remembered there is one out there of Wolfie being all "YEAH SERAGLIO BOOYAH" with the fist-pumping thing. I fail.)79.
(The second of three times I used Hello! Project lyrics, and of four times I used J-pop lyrics. WINNER IS ME!!! Although I like the icon for the icon, not for the MoMusu. Although let's face it, MoMusu makes EVERYTHING better.)88.
88a. (I am waiting to be attacked for mixing play dialogue with movie picture. Probably it's more likely that 77 will be the one to get me in trouble. It is all LOOK OBSCURE TRAILER NARRATION WAHOO!!! I actually really like that trailer. It's like it brings two characters from the play over into the world of the movie, which is awesome. I also love how it uses the music that's used for the wedding in the movie and makes it into something really sinister, with the slow appearance of the Man in Black poster artwork. A good trailer is an awesome thing indeed.)90.
(If only I could cap the director's cut! This is not so much a "I hate my job" moment as can be found in the director's cut. But I love this guy. One of my friends proposed a theory that he is the same guy as knocks down the door in the beginning of the movie. It's not the same actor, but if it's supposed to be the same character, I think that is crazy cool. It'd be like, look! He grew a spine! OH MAN THE DOORMAN HAS CHARACTER DEVELOPMENT HOW AWESOME. I like the part in the director's cut where he's all "Herr Mozart is here to see you whatever I don't care -_- " and Salieri's all "O_O I'M DEAD MEAT!!" hahahaha. Actually, I didn't catch it the first time. That was the second interesting part of the tedious audio commentary, was where they pointed that out.)92.
(Making this icon made me want to kill myself, but the end result doesn't. So that's a good thing, right?)94.
(You may notice that I only made two icons of dying!Wolfie. Screencapping that scene just creeps me out. I like this icon though. Piiiink. I like the word "vocame.")95.
95a. 95b. (I like this one so much I'll post all three! Here is what I think about at work, in a nutshell: why there are so many doors shown opening and closing in Amadeus. I am all, there must be a reason!!! I work on this theory while the hot sauce containers conspire to give me allergies.)97.
(I have made six billion icons from this one picture, but most of them are not among this hundred. I like this one because it is nice and crisp and clean and the colours are kind of funky.)99.
(IT'S THAT DARNED DOOR AGAIN!!!! This and the other Man in Black scenes are important pieces of my theory. Note how in the Stanzi vs. Leopold scene, Wolfie avoids conflict with those he is close to. He goes into the billiards room and closes the door. EH? EH? But in this scene he goes into another room without closing the door, and then after Stanzi opens the front door, Wolfie has to come back and enter into conflict with Schikaneder, his best pal. EH? EH? Think about that for a while.)100.
(I can't look at this icon without getting Ayaya's "The Last Night" stuck in my head. I wish I could blame this on someone who isn't me.)Athena is going to make fun of me for this entry, I just know it.
(This entry was started at 2:04am and finished at 3:53am. I got up at 2:30pm today and am still wide awake, although feeling slightly queasy. BOOYAH.)
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
(no subject)
Date: 2005-09-04 01:03 pm (UTC)(no subject)
Date: 2005-09-05 01:10 am (UTC)But thanks!! XD
(no subject)
Date: 2005-09-05 01:47 am (UTC)No problem~! ^___^ *hug*
(no subject)
Date: 2005-09-04 07:41 pm (UTC)A.
PS: DO YOU HAVE MY ARSENE LUPIN BOOK!!! NOW I'LL NEVER GET IT BACK!!
PPS: I CAN'T FIND MY FRENCH DICTIONARY OMG I'M GONNA FAIL SCHOOL!
(no subject)
Date: 2005-09-04 09:38 pm (UTC)PS: YES I HAVE IT!!
PPS: YES YOU ARE!!
(no subject)
Date: 2005-09-04 09:47 pm (UTC)A.
PS: STILL HAVEN'T FOUND THE DICTIONARY!#@#@! COME TO ME! COME NOW!!!
(no subject)
Date: 2005-09-05 01:15 am (UTC)PPS: YOU'LL JUST HAVE TO BUY A LAPTOP AND USE WWW.WORDREFERENCE.COM OH SNAP!
(no subject)
Date: 2005-09-05 06:51 pm (UTC)So, I packed all my important stuff (bank card, cheques, bus pass, ID card, phone etc) into one bag, so I wouldn't forget them, and then promptly forgot the bag at home. *sigh*
(no subject)
Date: 2005-09-06 02:07 am (UTC)Good thing you didn't put your computer in the bag LOL LOL LOL I am so funny.
How is living with the Baptists?
I am so hungry my stomach is eating itself. I brought all this food home from the mall but in a fit of confusion I gave it to my dad. WHYYYYYYYYY!!!!!
Today was my last shift before school starts and I got $12/hour BOOYAH!
Also I have a mosquito bite on my back and I CAN'T REACH IT omg I'm going to die.