And the footage is of an oil refinery? Explosion in time with music. A power station's cooling towers smoking. The organ is back, screeching like a bird- be-ware! as there is footage of pylons. (or no- first man, were the priests on the cave painting.) and here we have his massive bridges. a van that looks like it wouldn't be out of place on the moon. Man, as it were, is introduced- and he is. but now it moves into footage, of blasting a quarry? (don't hear the explosion) Meanwhile a bassoon? rushing along the ground- and the different colours of farm fields.
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Buzzing on a plane through a valley- and turbulent flutes. As we watch photography of clouds streaming over mountains. Blaring fanfare, sounding much more certain, bold, happy. NB is Reggio his real name? When regio is Italian for director. A trumpet solo is sounding more bonny now. Shadows moving - first clouds, then shadows moving across the hills and vales. idea? let your mind be blown, by the ceaseless beauty of the earth. Volcanoes? Geysers? A string element has been woven into the soundscape, sounds elegiac? not too bad. Looking over the great plains? sorry to be ignorant.
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The music repeats include another note- which make it sound more hopeful. imploring, speaks of distress? Calms down a bit- we inspect the stones, contours, colours. Grand canyon? Second movement- a siren? like sound, repeated note on a horn? Sounds. (whose shadow you could probably see, if sharp.) Wonderfully odd stones- forget the name in geology. Seen from this rocket? Seen from a plane or helicopter (The music has broadened, to involve a soprano line - on the organ) Slow motion, of oil pump? No! It's a rocket take-off, all the fire. Remember the old days? Egypt? Priests? Gods? Bubbling fire. Priests intone the word 'Koyaanisqatsi' over rather sombre organ? music. The synopsis below may give away important plot points. Through this the film conveys its key message, which is Koyaanisqatsi: life out of balance crazy life life in turmoil life disintegrating a state of life that calls for another way of living. The film progresses from purely natural environments to nature as affected by man, and finally to man's own man-made environment, devoid of nature yet still following the patterns of natural flow as depicted in the beginning of the film, yet in chaos and disarray. This technique of comparison exists throughout the film, and through it we learn more about the world around us. In one of the first examples, we see cloud formations moving (sped up) inter-cut with a montage of ocean waves (slowed down) and in such a way we are able to see the similarities of movement between these natural forces. The film uses extensive time lapse photography (which speeds images up) and slow motion photography to make comparisons between different types of physical motion. The film opens on ancient native American cave drawings, while the soundtrack chants "Koyaanisqatsi" which is a Hopi Indian term for "life out of balance". While there is no plot in the traditional sense, there is a definite scenario. It’s an astonishing visual collage designed to show “life out of balance” that makes us look at our world from a fresh angle, and it’s only gained in power over the years.Koyaanisqatsi is a visual concert of images set to the haunting music of Phillip Glass. Without words but powered by Philip Glass’ famous minimalist score, it presents jaw-dropping slow-motion and time-lapse visions of untouched nature along with depictions of human beings’ increasing dependence on technology. Godfrey Reggio’s unconventional Koyaanisqatsi was a sensation when it was released in 1983. New York Times critics have extolled Diehl’s “melodic precision, harmonic erudition, and elegant restraint,” while noting that he “play magnificently.” Showing an affinity for early jazz and mid-20th century “third-stream” music, he also tackles modern classical pieces, performing works by George Gershwin with the New York Philharmonic, Cleveland Orchestra, Minnesota Orchestra, and LA Philharmonic. The music sets the tone for themes that are probably more resonant now than at any other point in history.”―pianist/composer Aaron DiehlĪ classically trained pianist and composer, Aaron Diehl has made an indelible mark on the jazz world over the last 15 years. “The score is Philip Glass’ tour de force, and as I dig deeper into his massive catalogue, I always come back to this film.