Dialogos Aida

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    Portrait of Aida

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    The first aim of the portrait is to

    capture the resem!a"ce to the mode!#

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    That$s the eas% part#

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    &$d !i'e to tr% to (o farther 

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    a"d ri"( out

    the mode!$s perso"a!it%#

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    &" this case it$s Aida )o!ch,

    *e$re +er% !uc'% to ha+e her#

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    The first sta(e is i" !ac' a"d *hite,

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    *or'i"( the o!d-fashio"ed *a%,

    *ith +erdaccio#

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    &$!! mi the !ac' *ith some ochre

    to (et a *armer co!or#

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    A"d the" &$!! *or'

    o" the tra"spare"c% *ith (!a.i"(#

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    As *e '"o* each other,

    *e$!! do 20-mi"ute sessio"s#

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    /P&&#

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    This dress###

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    &t$s 5:10### et$s see if *e ca"

    'eep (oi"( u"ti! 5:30#

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    o* !o"( do %ou ta'e

    to fi"ish a s'etch7

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    A !itt!e s'etch7

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    &$d sa%###

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    "orma!!%, aout te" mi"utes#

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    o* do %ou fee!7

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    A portrait is

    the hardest thi"( to do#

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    &$m (!ad %ou$+e a(reed

    "ot to see it u"ti! it$s fi"ished#

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    & thi"' that pai"ti"( a portrait

    is the most difficu!t thi"(#

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    At times, & (et a""o%ed that

    &$+e (ot "o ta!e"t for pai"ti"(#

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    There are !ots of thi"(s

    &$d !o+e to e a!e to do,

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     ut & do"$t '"o* ho*#

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    & *as *o"deri"( aout somethi"(:

    if toda%, efore *e fi"ish,

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    *e fi"d a pose

    a"d %ou ta'e m% photo,

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    *ou!d that ma'e it easier for %ou7

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    es, it cou!d he!p me

    to see %ou a"d u"dersta"d %ou#

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    & cou!d e+e" do a s'etch

    from the photo#

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    /ome da%s, &$!! come o" m% o*"

     ust to pai"t the ac'(rou"d,

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    %ou do"$t "eed to e here#

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    The other da%

    & came out *ith a (ood o"e#

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    & *as *ith some frie"ds,

    e+er%o"e *as ta!'i"( aout ci"ema,

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    & *as so fed up

    that & sudde"!% said :

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    &$d !i'e to e a !aorer 

    to ta!' aout p!aster#

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    P!aster;

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    /o as "ot to e a!*a%s ta!'i"(

    aout the same thi"(#

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    &s"$t it u"comforta!e to e

    a!*a%s !oo'i"( i" %our mode!$s e%es7

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      00:04:19,280

    /o *h% do %ou !oo' 

    for such a short time7

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    -/uch a short time7

    -es#

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    =ecause at the start *hat matters

    are +o!umes, "ot detai!s#

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    Aida, do %ou ha+e a !ot of trou!e

    !ear"i"( %our !i"es for a fi!m7

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    - 00:04:4,120

    or *ords that

    %ou do"$t "orma!!% use#

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    ou *ere sa%i"( ear!ier 

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    that pai"ters are a!*a%s usi"(

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    the *ord se"siti+it%?,

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    @e use or(a"ic#

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    -r(a"ic7

    -es#

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    &t shou!d e or(a"ic?#

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    &t mea"s "atura!,

    "ot forced, credi!e#

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    &f %ou ha+e trou!e *ith a !i"e,

    some directors !et %ou cha"(e it

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    a"d ma'e it more %our o*"##

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    )or m% first fi!m,

    & '"e* the *ho!e script % heart,

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    a"d###

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    The first time & (ot dru"',

    & cou!d"$t rememer the tet,

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    that$s *he" & '"e*

    somethi"( had happe"ed to m% od%#

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    This *a%, m% arm (oes to s!eep

    faster tha" !i'e this#

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    This *a%, it$s ust m% ha"d#

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    =ut it$s (oi"( to happe" a"%*a%,

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    so, *hiche+er %ou prefer#

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    That$s it, Aida#

    Tha"' %ou +er% much#

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    )irst da%, ra+o;

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    After doi"( this for t*e"t% %ears,

    do"$t %ou fi"d it easier "o*7

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      00:06:19,520

    ust so %ou '"o*,

    & ca" see the dra*i"(#

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    ou ca" see it7

    0

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    @ho$s %our fa+orite pai"ter7

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    &$+e (ot !ots#

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    There$s a Ba!ifor"ia" pai"ter,

    &$!! sho* %ou his cata!o(,

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    his "ame is ichard iee"'or"#

    4

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    e$s ama.i"(#

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    e e(a" *ith astract pai"ti"(

    a"d mo+ed o" to fi(urati+e#

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    sua!!%, it$s the other *a% rou"d#

    

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    @h% did %ou choose fi(urati+e art7

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    8

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    -e7

    -es#

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    & do"$t '"o*,

    &$+e "e+er thou(ht aout it#

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    &$+e "e+er thou(ht aout it#

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    Are %ou etter at it7

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    &f %ou ta'e a"% pai"ti"(

     % A"to"io Dpe.,

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    *ho$s o"e of the (reatest

    /pa"ish fi(urati+e pai"ters,

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    each cmC is a" astract pai"ti"(#

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    =ut, "o, it$s "ot

     ecause &$m etter at it#

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