HOW 'AMADEUS' WASTRANSLATED FROM PLAY TO FILM
They were, Peter Shaffer recalls, quite the odd couple. To turn his play ''Amadeus'' into a film script, the English playwright spent four months holed up in a Connecticut farmhouse with Milos Forman, the Czech film director. Isolated from the rest of the world in what they called their ''torture chamber,'' the collaborators suffered from writer's block together, listened to Mozart records together, and improvised scenes from the play together. Much of their afternoon work sessions, however, was devoted to arguing. They argued about scenes and words, and the order of scenes and words. They argued about who would say what in the film. They even argued about which of them would cook dinner. In the end, nothing went into the movie that both did not agree upon; and on Wednesday at the Paramount and Tower East - some two and half years after their first argument - ''Amadeus,'' the motion picture starring Tom Hulce and F. Murray Abraham, is finally opening. Filled with scenes from Mozart's operas and permeated with the sounds of his glorious music, the movie of ''Amadeus'' not only works a glittering improvisation on the composer's life - as the original play did - but also conjures, in sumptuous detail, the musical worlds he inhabited and created. But if Mr. Shaffer succeeded, as Mr. Forman puts it, in ''giving birth to the same child twice,'' the task was anything but easy.