30am traffic report is finished by Mike Winter.
Announcer: What's up? This is Nicole smith and you"re listening to the hit station 47.8FM, nothing but new stuff. Where into the second hour of this morning program. As it is the 10th anniversary of Strictly ballroom, we have decided to bring in the great director and producer of Strictly ballroom, "Baz Luhrmann", to come and talk to us about his academy award wining film.
It's a pleasure to have you in the studio this fine morning Baz, to discuss with us the use of images in Strictly Ballroom. So how are we today?.
Baz: Thank you very much for the introduction, Nicole. It is such a pleasure to be here this morning. I"m feeling refreshed and wound-up to know that after 10 years, my film Strictly Ballroom is still seen as a master piece.
A: Baz, the opening of the film is very eye-catching to the viewer. It is familiar to me as the stereotypical production of a grand event, is about to occur. What gave you this very idea to create this form of an introduction to the film?.
B: The red stage curtains have always been familiarized with stars, and that something special is about to happen. I have used this deliberate technique to build the anticipation of what the big event is all about. This theatrical swish of the red velvet curtains grasps, on this sudden out look of this larger-than-life world of competition ballroom dancing. It almost creates this feel of a mythical/fairy tale story, of which I try to embrace. The intention of the curtains is to make the audience to feel as if they are physical sitting in front of a grand stage. Waiting for the ballroom dancers to come out and swirl around the room in their magnificent costumes. The viewer is automatically aware that it is going to be ballroom dancers. Due to that the waltz can be heard as lights shine up on to the red velvet stage curtains. The waltz is a symbolic sound of dancers, as we are all well aware off.