Philip Glass on writing music for film / The Dissolve
Jan 30, Composer Philip Glass reflects on his decades of film work, including his The Dissolve: Is it true that when Godfrey Reggio first contacted you about doing the score for Koyaanisqatsi, you told So it's been a continuous friendship and relationship. . The End: victoryawards.us victoryawards.us The footage focuses on nature, humanity and the relationship between them. The film's composer, Philip Glass's music plays a big part in building . by the film's implication of Hopi prophecies and cave paintings at the end of the movie; the. Jun 27, Glass's “Koyaanisqatsi” and the art of film scoring. At the end, when the Communards are killed by a firing squad, Shostakovich of documentary film fantasias conceived by Godfrey Reggio and scored by Philip Glass. The relationship between filmmaker and composer extended Eisenstein's ideal to.
A similarly toned musical track follows through all the Western landscapes. Once traces of mankind are acknowledged through a scene that depicts a factory built on top of the dry Western rocket terrain, the musical track changes to a faster pace. The rest of the film uses methods of slowing and speeding up certain footage of urban phenomena, with an emphasis on destruction such as building demolitions or nuclear launches contrasted with everyday life such as busy subway stations or shoppers at a mall.
Patterns and visual contrasts in color are prominent through the film, such as building lights turning on and off in a city nightscene showing stark contrasts in the dark black night with the greenish-yellow city lights and traffic patterns shown through car lights from an aerial view of highways.
My favourite film: Koyaanisqatsi | Film | The Guardian
Because of the lack of narration in this film, I focused on interpreting the music as a personal narrative, given its notable shifts in tone and atmosphere with certain scene changes. For instance, I found the music foreboding in many of the natural scenes at the beginning. Perhaps the low, mournful chanting during the Apollo 11 and natural scenes were meant to represent the dire prophecies shown at the end of the film of the Hopis on mankind.
As the film progressed, there was a sense of further detachment from the origins of nature as urban scenes made up a large bulk of the latter part of the film.
It was made clear to me how urban life, while capable of supporting flourishing and healthy communities, could create environments in which its societies could live in complete isolation away from nature.
Although technology was depicted, the side of technology of its benefits and innovations were not shown. Even industry was depicted with sped-up scenes of repetitive factory jobs while the music buzzed along energetically to such activity.
While all these scenes were shot with breathtaking perspective and admirable effort in terms of obtaining access to certain scenes, I did not find that the film convinced or captivated me to feel any differently about the relationship between mankind and nature than how I have felt all along.
The sun rises over the city and we see people hurrying to work. The film shows at regular speed the operation of machines packaging food.
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People are shown sorting mail, sewing jeansmanufacturing televisions and doing other jobs with the use of modern technology. A shot of hot dogs being sent down rows of conveyors is followed by a shot of people moving up escalators.
The frenetic speed and pace of the cuts and music do not slow as shots of modern leisure are shown. People eat, play, shop and work at the same speed.Koyaanisqatsi - Prophecies (part 1)
The sequence begins to come full circle as the manufacture of cars in an assembly line factory is shown. More shots of highway traffic are shown, this time in daylight. The film shows the movement of cars, shopping carts, and televisions on an assembly line, and elevators moving from first-person perspective. The film then shows clips from various television shows being channel surfed in fast motion.
The film, in slow motion, then shows several people reacting to being candidly filmed on the street. The camera stays on them until the moment when they acknowledge its presence by looking directly at it.
The sequence then shows cars moving much faster than they were moving before. Pictures of microchips and satellite photography of metropolitan cities are shown, comparing the lay of each of them. Various shots of people are seen from all walks of modern life, from beggars to debutantes.
The final sequence shows footage of a rocket lifting off, only to end up exploding after a few seconds. Editing suggest that there is only one rocket, while in fact two different events were used: The first batch of footage shows a Saturn V lifting off Apollo 11followed by footage of the May explosion of the first Atlas-Centaur.
The camera follows a flaming rocket engine and a white vapor trail or smoke against a blue sky as the debris plummets toward the ground. The film concludes with another shot of desert rock art similar to the image at the beginning.
My favourite film: Koyaanisqatsi
Epilogue shows the translation of the titular Hopi word and of the prophecies sung in the last part of the soundtrack. The campaign involved invasions of privacy and the use of technology to control behavior. Instead of making public service announcementswhich Reggio felt "had no visibility," advertising spots were purchased for television, radio, newspapers, and billboards. The television advertisements aired during prime time programming and became so popular that viewers would call the television stations to learn when the next advertisement would be aired.
Fricke insisted to Reggio that the money could be used to produce a film, which led to the production of Koyaanisqatsi. Louis, Missouri was one of the first scenes filmed once production began in Fricke and Reggio chose to shoot unscripted footage and edit it into an hour-long film.
As there was no formal script, Fricke shot whatever he felt would "look good on film". People walking by started posing for the camera, thinking it was a still cameraand several shots from the setup ended up in the film.
Reggio was not on location in Times Square when Fricke shot the footage and thought the idea of shooting portraits of people was "foolish". Upon viewing the footage, Reggio decided to devote an entire section of the film to portraits. The footage was processed with a special chemical to enhance the film's shadows and details, as all footage was shot only with existing lighting. The unedited footage was screened in Santa Fe, New Mexicobut Fricke said it was "boring as hell" and there were "not that many good shots".
While Fricke was working in Los Angeles, he edited the footage into a twenty-minute reel, but "without regard for message or political content". Shooting bums, as well as buildings, didn't matter.