I was still a painter when Koyaanisqatsi came out, never suspecting that a few years later (about 20) I would have to abandon natural media for health reasons (sudden severe allergies) and start using computers instead. That very quickly led to “working in time”, and all the emotions and “lessons” I had learned from this movie came to the fore, comforting me in the choices I was making (letting my painter’s experience lead my filmmaker’s work). I am moved by this interview, it brings back the emotions I experienced in 1982 and later (the Qatsi Trilogy), and it reenforces my need and commitment to stay true to “Art-that-makes-itself-through-me” and avoid, as much as is possible, falling for the misleading temptation of “Mickey Mousing”. Thank you most sincerely Godfrey Reggio, and thank you Philip Glass.
One Halloween in the 1980s at Roy Thompson Hall in Toronto, I watched Philip Glass perform the soundtrack live while the movie played in the background. It was amazing to see the diversity of people who came to watch it. I remember seeing a punk dressed in his black leather with Halloween makeup, sitting next to an older gentleman dressed in his finest suit. I had watched the movie several times before that showing, but that one was the one I remember most.
It is bizarre to think how a little shift in time flow can change the impression of the world we live in. It is the only movie that offers such experience, to observe the world from completely different perspective. Both Glass and Reggio are geniuses.
I love Koyaansqatsi, i think this is a really beautiful and incredible film, but the work that keeps mesmerizing me its Powaqqatsi, that had a more human and people related approach. What a great filmaker Reggio is, and of course the music composed by the great philip glass
I find it hard to believe that there are only three comments here so far, for as long as this has been up in UA-cam. A young filmmaking friend of mine and his lady friend took my wife and I to see Philip Glass perform and conduct the live music to this film at the Portland Art Museum about a month after the 9/11 incident in 2001. It was not planned that way, it's just the way the scheduling happened to be, booked that way that Philip Glass was to perform the music that night with the large screen above the orchestra, the film playing overhead, as up the street at the Portland Concert Hall where the Oregon symphony usually plays, was Ravi Shankar performing. I felt a little embarrassed that I did not take my Hindu wife to see Ravi Shankar to a sellout crowd at the concert hall. Others will see this comparison I'm writing here in the sentence, as Philip Glass was trained early in his music by Ravi Shankar. But I should mention the actual film work here, as the young filmmaking friend of mine produced a piece about my sidewalk astronomy that I've provided for for the public for over twenty years now, which contained some time-lapse sequences, influenced from similar to what Godfrey Reggio and his camera director Ron Fricke have sequenced in this film. Koyaanisqatsi is still today one of the most brilliant documentaries ever produced. I would put it up there right next to Kubrick's 2001: A Space Odyssey.
You're lucky! I thought I was lucky enough to see a scaled down orchestrated version conducted by Micheal Reisman where Philip Glass was one of a 10 piece ensemble, each with a keyboard and most with another reed or brass instrument in Vancouver in 2005. I'd met hime at another concert there 7 years earlier, but this time I met another of the musicians who played either clarinet or sax and and he told me he played in the orchestra original movie, then joked about what The Grid does to his fingers. Speaking of The Grid: Glass played they syncopated brass parts towards the end, simulated on the keyboard he was playing. It's the only human sounding part of that section of the song; I can see why the composer himself chose to play it.
Its absurd to hear Mr. Grass' statement "We have very leisurely pace, no one is waiting for this movie." This will never happened in film industry today. Come to think of it, this kind of movie probably would never even be greenlit by any studio if it is made today. Studio would probably deemed it too 'boring' and 'non-marketable'.
I was still a painter when Koyaanisqatsi came out, never suspecting that a few years later (about 20) I would have to abandon natural media for health reasons (sudden severe allergies) and start using computers instead. That very quickly led to “working in time”, and all the emotions and “lessons” I had learned from this movie came to the fore, comforting me in the choices I was making (letting my painter’s experience lead my filmmaker’s work). I am moved by this interview, it brings back the emotions I experienced in 1982 and later (the Qatsi Trilogy), and it reenforces my need and commitment to stay true to “Art-that-makes-itself-through-me” and avoid, as much as is possible, falling for the misleading temptation of “Mickey Mousing”. Thank you most sincerely Godfrey Reggio, and thank you Philip Glass.
This is a genius film. A genius soundtrack. Reggio is an unclouded, authentic, humble, and visionary creator.
How prophetic ! A truly prognosticative work, if that is indeed a word. Way ahead of its time. It NEEDS to be seen and heard NOW, 2023. Now.
One Halloween in the 1980s at Roy Thompson Hall in Toronto, I watched Philip Glass perform the soundtrack live while the movie played in the background. It was amazing to see the diversity of people who came to watch it. I remember seeing a punk dressed in his black leather with Halloween makeup, sitting next to an older gentleman dressed in his finest suit. I had watched the movie several times before that showing, but that one was the one I remember most.
wow. what a great experience! these things just dont seem to happen anymore
Inspiring. His ability to really verbalize his intention so clearly is incredible
It is bizarre to think how a little shift in time flow can change the impression of the world we live in. It is the only movie that offers such experience, to observe the world from completely different perspective. Both Glass and Reggio are geniuses.
Such a great documentary. Since seeing this film in 1985 I've been mesmerized by its beauty and messages.
my favourite video on youtube, many thanks for uploading
Saw this myself at 1st UK screening and it has, and continues to have, a profound effect on me. Beautiful to look at and an aural sensation
masterpiece!
I love Koyaansqatsi, i think this is a really beautiful and incredible film, but the work that keeps mesmerizing me its Powaqqatsi, that had a more human and people related approach. What a great filmaker Reggio is, and of course the music composed by the great philip glass
Incredible process. Amazing result. Yes Glass is a genius
Saw this in high school, in 1985-86.
Brilliant Film. Great Production And Sound Track 👏
my fave
This was excellent, thank you for sharing!
I find it hard to believe that there are only three comments here so far, for as long as this has been up in UA-cam.
A young filmmaking friend of mine and his lady friend took my wife and I to see Philip Glass perform and conduct the live music to this film at the Portland Art Museum about a month after the 9/11 incident in 2001. It was not planned that way, it's just the way the scheduling happened to be, booked that way that Philip Glass was to perform the music that night with the large screen above the orchestra, the film playing overhead, as up the street at the Portland Concert Hall where the Oregon symphony usually plays, was Ravi Shankar performing. I felt a little embarrassed that I did not take my Hindu wife to see Ravi Shankar to a sellout crowd at the concert hall. Others will see this comparison I'm writing here in the sentence, as Philip Glass was trained early in his music by Ravi Shankar.
But I should mention the actual film work here, as the young filmmaking friend of mine produced a piece about my sidewalk astronomy that I've provided for for the public for over twenty years now, which contained some time-lapse sequences, influenced from similar to what Godfrey Reggio and his camera director Ron Fricke have sequenced in this film.
Koyaanisqatsi is still today one of the most brilliant documentaries ever produced. I would put it up there right next to Kubrick's 2001: A Space Odyssey.
You're lucky! I thought I was lucky enough to see a scaled down orchestrated version conducted by Micheal Reisman where Philip Glass was one of a 10 piece ensemble, each with a keyboard and most with another reed or brass instrument in Vancouver in 2005. I'd met hime at another concert there 7 years earlier, but this time I met another of the musicians who played either clarinet or sax and and he told me he played in the orchestra original movie, then joked about what The Grid does to his fingers. Speaking of The Grid: Glass played they syncopated brass parts towards the end, simulated on the keyboard he was playing. It's the only human sounding part of that section of the song; I can see why the composer himself chose to play it.
🌹 Thank you Mr Glass, thank you Mr Reggio. 🌹
20:48 very interesting abstract ideas he's trying to verbalize
10:10
"If someone is trying to figure out why they're watching a film they're probably not gonna get into it"
when was this interview recorded?
2002
Its absurd to hear Mr. Grass' statement "We have very leisurely pace, no one is waiting for this movie."
This will never happened in film industry today. Come to think of it, this kind of movie probably would never even be greenlit by any studio if it is made today. Studio would probably deemed it too 'boring' and 'non-marketable'.
Przewidział zamachy z 11 września.
Hans Zimmer completely ripped off the music for Interstellar. Completely.
Ogląda świat przez dziwne okulary. Ale ma dużo racji.