This difference forms part of the tension of the movie Blue, by Krzysztof Kieślowski, whose protagonist, Julie, who is rumored to have written much of the music for which her deceased husband, Patrice, an acclaimed composer, is known, must decide whether to complete his final score, and thus substantiate the rumors, and perhaps even address them publicly, or allow it to be finished by his friend and collaborator, Olivier, who is in love with Julie, and who would like for her to finish it (for he intuits that the work is hers, and that she is the vital talent) but only if she will come out of her grief and isolation, and take credit for it, rather than force him, by way of her uninvolvement, to conclude it himself, so that it might be “heavy and awkward,” but nonetheless his.