Podcasts about Koyaanisqatsi

My fellow pro-growth/progress/abundance Up Wingers,In 1976, America celebrated 200 years of independence, democracy, and progress. Part of that celebration was the release of To Fly!, a short but powerful docudrama on the history of American flight. With To Fly!, Greg MacGillivray and his co-director Jim Freeman created one of the earliest IMAX films, bringing cinematography to new heights.After a decade of war and great social unrest, To Fly! celebrated the American identity and freedom to innovate. Today on Faster, Please! — The Podcast, I talk with MacGillivray about filming To Fly! and its enduring message of optimism.MacGillivray has produced and directed films for over 60 years. In that time, his production company has earned two Academy Award nominations, produced five of the Top 10 highest-grossing IMAX films, and has reached over 150 million viewers.In This Episode* The thrill of watching To Fly! (1:38)* An innovative filming process (8:25)* A “you can do it” movie (19:07)* Competing views of technology (25:50)Below is a lightly edited transcript of our conversation. The thrill of watching To Fly! (1:38)What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.”Pethokoukis: The film To Fly! premiered at the Smithsonian Air and Space Museum, at the IMAX Theater, July 1976. Do you happen know if it was it the 4th of July or. . . ?MacGillivray: No, you know, what they did is they had the opening on the 2nd of July so that it wouldn't conflict with the gigantic bicentennial on the 4th, but it was all part of the big celebration in Washington at that moment.I saw the film in the late '70s at what was then called the Great America Amusement Park in Gurnee, Illinois. I have a very clear memory of this, of going in there, sitting down, wondering why I was sitting and going to watch a movie as opposed to being on a roller coaster or some other ride — I've recently, a couple of times, re-watched the film — and I remember the opening segment with the balloonist, which was shot in a very familiar way. I have a very clear memory because when that screen opened up and that balloon took off, my stomach dropped.It was a film as a thrill ride, and upon rewatching it — I didn't think this as a 10-year-old or 11-year-old — but what it reminded me upon rewatching was of Henry V, Lawrence Olivier, 1944, where the film begins in the Globe Theater and as the film goes on, it opens up and expands into this huge technicolor extravaganza as the English versus the French. It reminds me of that. What was your reaction the first time you saw that movie, that film of yours you made with Jim Freeman, on the big screen where you could really get the full immersive effect?It gave me goosebumps. IMAX, at that time, was kind of unknown. The Smithsonian Air and Space Museum was the fourth IMAX theater built, and very few people had seen that system unless you visited world's fairs around the world. So we knew we had something that people were going to grasp a hold of and love because, like you said, it's a combination of film, and storytelling, and a roller coaster ride. You basically give yourself away to the screen and just go with it.What Jim and I tried to do is put as many of the involving, experiential tricks into that film as we possibly could. We wrote the film based on all of these moments that we call “IMAX moments.” We tried to put as many in there as we could, including the train coming straight at you and bashing right into the camera where the audience thinks it's going to get run over. Those kinds of moments on that gigantic screen with that wonderful 10 times, 35-millimeter clarity really moved the audience and I guess that's why they used it at Great America where you saw it.You mentioned the train and I remember a story from the era of silent film and the first time people saw a train on silent film, they jumped, people jumped because they thought the train was coming at them. Then, of course, we all kind of got used to it, and this just occurred to me, that film may have been the first time in 75 years that an audience had that reaction again, like they did with first with silent film where they thought the train was going to come out of the screen to To Fly! where, once again, your previous experience looking at a visual medium was not going to help you. This was something completely different and your sense perception was totally surprised by it.Yeah, it's true. Obviously we were copying that early train shot that started the cinema way back in probably 1896 or 1898. You ended up with To Fly! . . . we knew we had an opportunity because the Air and Space Museum, we felt, was going to be a huge smash hit. Everyone was interested in space right at that moment. Everyone was interested in flying right at that moment. Basically, as soon as it opened its doors, the Air and Space Museum became the number one museum in America, and I think it even passed the Louvre that year in attendance.Our film had over a million and a half people in its first year, which was astounding! And after that year of run, every museum in the world wanted an IMAX theater. Everyone heard about it. They started out charging 50 cents admission for the 27-minute IMAX film, and halfway through the season, they got embarrassed because they were making so much money. They reduced the admission price to 25 cents and everyone was happy. The film was so fun to watch and gave you information in a poetic way through the narration. The storytelling was simple and chronological. You could follow it even if you were a 10-year-old or an 85-year-old, and people just adored the movie. They wrote letters to the editor. The Washington Post called it the best film in the last 10 years, or something like that. Anyway, it was really a heady of time for IMAX.An innovative filming process (8:25)It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . .I may have just read the Washington Post review that you mentioned. It was a Washington Post review from just three or four years later, so not that long after, and in the conclusion to that piece, it said, “You come away from the film remembering the flying, the freedom of it, the glee, the exaltation. No Wonder ‘To Fly' is a national monument.” So already calling it a national monument, but it took some innovation to create that monument. This isn't just a piece of great filmmaking and great storytelling, it's a piece of technological innovation. I wonder if you could tell me about that.We've worked with the IMAX corporation, particularly Graeme Ferguson, who is gone now, but he was a filmmaker and helped us immensely. Not only guiding, because he'd made a couple of IMAX films previously that just showed at individual theaters, but was a great filmmaker and we wanted three more cameras built—there was only one camera when we began, and we needed three, actually, so we could double shoot and triple shoot different scenes that were dangerous. They did that for us in record time. Then we had to build all these kind of imaginative camera mounts. A guy named Nelson Tyler, Tyler Camera Systems in Hollywood, helped us enormously. He was a close friend and basically built an IMAX camera mount for a helicopter that we called the “monster mount.” It was so huge.The IMAX camera was big and huge on its own, so it needed this huge mount, and it carried the IMAX camera flawlessly and smoothly through the air in a helicopter so that there weren't any bumps or jarring moments so the audience would not get disturbed but they would feel like they were a bird flying. You needed that smoothness because when you're sitting up close against that beautifully detailed screen, you don't want any jerk or you're going to want to close your eyes. It's going to be too nauseating to actually watch. So we knew we had to have flawlessly smooth and beautiful aerials shot in the best light of the day, right at dawn or right at sunset. The tricks that we used, the special camera mounts, we had two different camera mounts for helicopters, one for a Learjet, one for a biplane. We even had a balloon mount that went in the helium balloon that we set up at the beginning of the film.It was one of those things where our knowledge of technology and shooting all kinds of various films prior to that that used technology, we just basically poured everything into this one movie to try to prove the system, to try to show people what IMAX could do . . . There are quiet moments in the film that are very powerful, but there's also these basic thrill moments where the camera goes off over the edge of a cliff and your stomach kind of turns upside down a little bit. Some people had to close their eyes as they were watching so they wouldn't get nauseated, but that's really what we wanted. We wanted people to experience that bigness and that beauty. Basically the theme of the movie was taking off into the air was like the opening of a new eye.Essentially, you re-understood what the world was when aviation began, when the first balloonists took off or when the first airplane, the Wright Brothers, took off, or when we went into space, the change of perspective. And obviously IMAX is the ultimate change of perspectiveWhen I watched the entire film — I've watched it a few times since on YouTube, which I think somebody ripped from a laser disc or something — maybe six months ago, I had forgotten the space sequence. This movie came out a year before Star Wars, and I was looking at that space sequence and I thought, that's pretty good. I thought that really held up excellent. As a documentary, what prepared you to do that kind of sequence? Or was that something completely different that you really had to innovate to do?I had loved 2001: A Space Odyssey, the Kubrick film, and one of the special effects supervisors was Doug Trumbull. So we called Doug and said, “Look, I want to make the sequence. It's going to be short, but it's going to pay homage to space travel and what could happen in the future.” And he guided us a little bit, showed us how to make kind of the explosions of space that he'd done in 2001 using microscopic paint, so we had to develop a camera lens that fit on the IMAX camera that could shoot just a very small area, like half an inch across, where paint in a soluble mixture could then explode. We shot it in slow motion, and then we built a Starship, kind of like a Star Wars-looking — though, as you mentioned, Star Wars had not come out yet — kind of a spaceship that we then superimposed against planets that we photographed, Jupiter and Saturn. We tried to give the feeling and the perspective that that could give us with our poetic narrator, and it worked. It kind of worked, even though it was done on a very small budget. We had $690,000 to make that movie. So we only had one SAG actor who actually got paid the regular wage, that was Peter Walker.Was that the balloonist?Yeah, he was the balloonist. And he was a stage actor, so he was perfect, because I wanted something to obviously be a little bit overblown, make your gestures kind of comically big, and he was perfect for it. But we only had enough money to pay him for one day, so we went to Vermont and put him in the balloon basket, and we shot everything in one day. We never actually shot him flying. We shot him hanging in the balloon basket and the balloon basket was hanging from a crane that was out of the picture, and so we could lift him and make him swing past us and all that stuff, and he was terrific.Then we shot the real balloon, which was a helium balloon. We got the helium from the Navy — which would've been very costly, but they donated the helium — and went to West Virginia where the forest was basically uncut and had no power lines going through it so we could duplicate 1780 or whatever the year was with our aerial shooting. And we had a guy named Kurt Snelling, who was probably the best balloonist at that particular moment, and he dressed like Peter in the same costume and piloted the balloon across. And balloons, you can't tell where they're going, they just follow the wind, and so it was a little dangerous, but we got it all done. It was about a week and a half because we had to wait for weather. So we had a lot of weather days and bad rain in West Virginia when we shot that, but we got it all done, and it looks beautiful, and it matches in with Peter pretty well.Just what you've described there, it sounds like a lot: You're going to Maine, you're in West Virginia, you're getting helium from — it sounds like there were a lot of moving parts! Was this the most ambitious thing you had done up until that point?Well, we'd worked on some feature films before, like The Towering Inferno and Jonathan Livingston Seagull, and things like that, which were involved and very complicated. But yeah, it was very much the biggest production that we put together on our own, and it required us to learn how to produce in a big fashion. It was a thrill for us. Essentially, we had about 10 people working on the film in Laguna Beach, and none of them, except for maybe Jim and I, who we'd worked on feature films and complicated shoots with actors and all that, but a lot of our team hadn't. And so it was an adventure. Every day was a thrill.A “you can do it” movie (19:07). . . we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.There's a version of this podcast where we spend a half hour talking about The Towering Inferno. I just want you to know that it's very hard for me not to derail the conversation into talking about The Towering Inferno. I will not do that, but let me ask you this, the movie is about flight, it's about westward expansion, but that movie, it came out for the bicentennial, we'd gone through a tumultuous, let's say past 10 years: You had Vietnam, there's social unrest, you had Watergate. And the movie really must have just seemed like a breath of fresh air for people.As you put the movie together, and wrote it, and filmed it, did you feel like you were telling a message other than just about our connection with flight? It really seemed to me to be more than that, a movie about aspiration, and curiosity, and so forth.It was, and pretty much all of our films have been that positive spirit, “You can do it” kind of movie. Even our surfing films that we started with 20 years, maybe 10 years before To Fly!, you end up with that spirit of the human's ability to go beyond. And obviously celebrating the bicentennial and the beginning of democracy here in this country and the fact that we were celebrating 200 years of democracy, of individual freedom, of individual inspiration, getting past obstacles, because you can do it — you have that belief that you can do it.Of course, this was right there when everyone had felt, okay, we went to the moon, we did all kinds of great things. We were inventive and a lot of that spirit of invention, and curiosity, and accomplishment came from the fact that we were free as individuals to do it, to take risks. So I think To Fly! had a lot of that as part of it.But the interesting thing, I thought, was I had one meeting with Michael Collins, who was the director of the Air and Space Museum and the astronaut who circled the moon as Neil and Buzz Aldrin were on the moon walking around, and here he is, hoping that these two guys will come back to him so that the three of them can come back to Earth — but they'd never tested the blast-off from the moon's surface, and they didn't know 100 percent that it was going to work, and that was the weirdest feeling.But what Collins told me in my single meeting that I had with him, he said, “Look, I've got a half an hour for you, I'm building a museum, I've got two years to do it.” And I said, “Look, one thing I want to know is how much facts and figures do you want in this movie? We've got a little over a half an hour to do this film. The audience sits down in your theater, what do you want me to do?” And he said, “Give me fun. Give me the IMAX experience. I don't want any facts and figures. I don't want any dates. I don't want any names. I've got plenty of those everywhere else in the museum. People are going to be sick of dates and names. Give me fun, give me adventure.” And I said, “Oh gosh, we know how to do that because we started out making surfing films.” and he goes, “Do that. Make me a surfing film about aviation.” It was probably the best advice, because he said, “And I don't want to see you again for two years. Bring me back a film. I trust you. I've seen your films. Just go out and do it.” And that was probably the best management advice that I've ever received.So you weren't getting notes. I always hear about studios giving filmmakers notes. You did not get notes.The note I got was, “We love it. Put it on the screen now.” What they did do is they gave me 26 subjects. They said, “Here's the things that we think would be really cool in the movie. We know you can't use 26 things because that's like a minute per sequence, so you pick which of those 26 to stick in.” And I said, “What I'm going to do then is make it chronological so people will somewhat understand it, otherwise it's going to be confusing as heck.” And he said, “Great, you pick.” So I picked things that I knew I could do, and Jim, of course, was right there with me all the time.Then we had a wonderful advisor in Francis Thompson who at that time was an older filmmaker from New York who had done a lot of world's fair films, hadn't ever done IMAX, but he'd done triple-screen films and won an Academy Award with a film called To Be Alive! and he advised us. Graeme Ferguson, as I mentioned, advised us, but we selected the different sequences, probably ended up with 12 sequences, each of which we felt that we could handle on our meager budget.It was delightful that Conoco put up the money for the film as a public service. They wanted to be recognized in the bicentennial year, and they expected that the film was going to run for a year, and then of course today it's still running and it's going into its 50th year now. And so it's one of those things that was one of those feel-good moments of my life and feel-good moments for the Air and Space Museum, Michael Collins, for everyone involved.Competing views of technology (25:50)Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.When rewatching it, I was reminded of the 1982 film Koyaanisqatsi by Godfrey Reggio, which also had a very famous scene of a 747 looming at the camera. While yours was a joyous scene, I think we're supposed to take away an ominous message about technology in that film. That movie was not a celebration of flight or of technology. Have you wondered why just six years after To Fly!, this other film came out and conveyed a very different message about technology and society.I love Koyaanisqatsi, and in fact, we helped work on that. We did a lot of the aerial shooting for that.I did not know that.And Godfrey Reggio is an acquaintance, a friend. We tried to actually do a movie together for the new millennium, and that would've been pretty wild.Certainly a hypnotic film, no doubt. Fantastic.Yeah. But their thesis was, yeah, technology's gotten beyond us. It's kind of controlled us in some fashions. And with the time-lapse sequences and the basic frenetic aspects of life and war and things like that. And with no narration. That film lets the audience tell the story to themselves, guided by the visuals and the technique. Our film was absolutely a 100 percent positive that the 747 that we had was the number one 747 ever built. Boeing owned it. I don't think they'd started selling them, or they were just starting to use them. Everyone was amazed by the size of this airplane, and we got to bolt our IMAX camera on the bottom of it, and then it was such a thrill to take that big 747.The guy took off from Seattle and the pilot said, “Okay, now where do you want to go?” I said, “Well, I want to find clouds. And he goes, “Well, there's some clouds over next to Illinois. We could go there,” so we go two hours towards Illinois. And I'm in a 737 that they loaned us with the IMAX camera in a brand new window that we stuck in the side of the 737, just absolutely clear as the sheet of glass, just a single pane, and the camera's right up against that piece of plexiglass and with the 40-millimeter lens, which is a 90-degree lens.So I said, “We've got to fly the 737 really close to the 747 and through clouds so that the clouds are wisping through, and so the 747 is disappearing and then appearing and then disappearing and then appear, and we have to do this right at sunset in puffy clouds, these big cumulus clouds.” And so they said, “We can do that, let's go find it!” The two guys who were piloting were both military pilots, so they were used to flying in formation and it was a delight. We shot roll, after roll, after roll and got some of those moments where that 747 comes out into light after being in the white of the cloud are just stunning. So we made the 747 look almost like a miniature plane, except for the shot from underneath where you see the big wheels coming up. So it was a really cool, and I don't know what it cost Boeing to do that, but hundreds of thousands, maybe.Another public service.But they got it back. Obviously it was a heroic moment in the film, and their beautiful plane, which went on to sell many, many copies and was their hero airplane for so many years.Yeah, sure.It was a fun deal. So in comparison to Koyaanisqatsi, our film was the exact opposite. Our film was the feel-good, be proud to be an American and be proud to be a human being, and we're not messing up everything. There's a lot that's going right.I feel like there's a gap in what we get out of Hollywood, what we get out of the media. You don't want just feel-good films. You don't want just celebrations. You want the full range of our lives and of human experience, but I feel like, Koyaanisqatsi is about being out of balance, I think we've gotten out of balance. I just don't see much out there that has the kind of aspirational message with To Fly! I'm not sure what you think. I feel like we could use more of that.Yeah, I'm hopeful that I'm going to be able to make a movie called A Beautiful Life, which is all about the same thing that I was talking about, the freedom that the individual has here in America. I was hopeful to do it for the 250th anniversary, but I'm not going to get it done by that time next year. But I want to do that movie kind of as a musical celebration of almost a “family of man” sort of movie located around the world with various cultures and positive spirit. I'm an optimist, I'm a positive person. That's the joy I get out of life. I suppose that's why Jim and I were perfect to make To Fly! We infused beauty into everything that we tried to do.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro ReadsPlease check out the website or Substack app for the latest Up Wing economic, business, and tech news contained in this new edition of the newsletter. Lots of great stuff! Faster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit fasterplease.substack.com/subscribe

Aujourd'hui, je reçois Emmanuelle Huynh, danseuse, chorégraphe et enseignante.Elle est l'une des chorégraphes de la 2e édition de La Ville Dansée, ce rendez-vous dans l'espace urbain francilien imaginé par le Paris Dance Project autour d'une œuvre chorégraphique inédite pensée comme une réflexion dansée sur l'état du monde.Du 5 au 8 juin, 5 chorégraphes (Pam Tanowitz, Dimitri Chamblas et Jamar Roberts, Benjamin Millepied et Emmanuelle Huynh) vont présenter dans 7 lieux d'Île-de-France en accès libre - ce ballet collectif.Benjamin Millepied qui en assure la direction artistique a donné comme point de départ aux chorégraphes le film poétique Koyaanisqatsi et sa musique iconique de Philip Glass.On écoute, avec joie, Emmanuelle raconter la danse et ce projet.Cette conversation a été imaginée en partenariat avec les équipes du Paris Dance Project.

Aujourd'hui, je reçois Benjamin Millepied.Benjamin est le directeur artistique de la 2e édition de La Ville Dansée, ce rendez-vous dans l'espace urbain francilien, imaginé par le Paris Dance Project autour d'une œuvre chorégraphique inédite pensée comme une réflexion dansée sur l'état du monde.Du 5 au 8 juin, Benjamin et 4 chorégraphes qu'il admire - Emmanuelle Huynh, Pam Tanowitz, Dimitri Chamblas et Jamar Roberts - vont présenter dans 7 lieux d'Île-de-France et en accès libre, ce ballet collectif.Le point de départ créatif de ce projet est le film poétique Koyaanisqatsi et sa musique iconique de Philip Glass pour lesquels Benjamin a un « amour fort »Chaque chorégraphe porte la responsabilité créative d'un morceau de la partition de Philip Glass.Ils façonnent ainsi et à 5 une œuvre commune. On l'écoute avec joie, Ce podcast a été réalisé en partenariat avec les équipes du Paris Dance Project fondé

Christian Zyp interviews Matt Barats (writer/actor) and Anthony Oberbeck (writer/actor) about their film REVERIES: THE MIND PRISON. You can see the World Premiere as part of the Calgary Underground Film Festival (CUFF) Sunday April 20th, 2025 at 6:45 pm at the Globe Cinema. Director Graham Mason and Screenwriters/ Stars Matt Barats & Anthony Oberbeck will be in attendance.REVERIES: THE MIND PRISON is a comedy movie/art film hybrid, a sprawling experiment in unbridled creativity and collaboration. Told through a combination of narrative scenes, abstract video montages, and meditative voice-overs, it's best described as Aki Kaurismäki meets a lo-fi KOYAANISQATSI narrated by Steven Wright, or as Vulture magazine put it, “Like an Ayahuasca session conducted by Mitch Hedberg.” This is the third movie in a trilogy that includes the comedy art films REVERIES (2018, 46m) and REVERIES: GOING DEEPER (2020, 60m).Matt Barats: https://www.mattbarats.com/reveriesGraham Mason: https://www.graham-mason.com/Anthony Oberbeck: https://vimeo.com/anthonyoberbeckWatch REVERIES: https://vimeo.com/288091227Watch REVERIES: GOING DEEPER: https://vimeo.com/491265630

While the first two films in Godfrey Reggio's Qatsi Trilogy were built on filming in particularly locations, in Naqoyqatsi, the image itself becomes the location as editor and "digital cinematographer" Jon Kane takes us into the simulation that is modern life. Unfortunately, like the early unused setpiece footage from Koyaanisqatsi, the tech here has not aged well, though this time Reggio doesn't seem to realize its cheesiness. Sadly, we lost take one of this conversation and Jonathan Hape was not able to join us for the re-recording. He added a lot to our discussion of the first two Qatsi films, and we wish it could have worked out. You should still go to https://www.jonathan-hape.com/ and check out his music.

I dagens episode tar Lise, Karin og Jakob deg gjennom en reise gjennom kunstfilmens verden. Kunstfilm er en sjanger som ofte virker utilgjengelig og avskrekkende for det generelle publikum. Gjennom sendingen tar sendeteamet deg med gjennom tre fantastiske filmer som gir deg en god og effektiv inngang til denne nisje-sjangeren. Vi snakker om den fantastisk hypnotiserende naturdokumentarfilmen KOYAANISQATSI av Godfrey Reggio, den intense sykehus- og kirurgifilmen DE HUMANI CORPORIS FABRICA av Lucien Castaing Taylor og Verena Paravel, og fiksjons/dokumentar hybridfilmen SYMBIOPSYCHOTAXIPLASM av William Greaves.Gjennom reisen svipper vi innom temaer som katastrofale boligprosjekter, Andreas Versalius og medisinhistorie, fødsel med keisersnitt, og skillet mellom fiksjon og virkelighet.

This week we chat about David Byrne and Brian Eno's collaborative album, the pioneering My Life in the Bush of Ghosts which mixes world-music inspired live instrumentation with found sounds and samples. We also talk about musical appropriation, Bill Nye the Science Guy, other sample-heavy albums, the documentary Koyaanisqatsi and the new Darkside album. Subsribe to our Patreon for more episdoes.

We start into Godfrey Reggio's Qatsi Trilogy this week with what many consider the strongest of the three films, mostly because Ron Fricke's cinematography and editing is masterful in it. Built from scenes of natural beauty and alienating industry with a phenomenal sountrack by Philip Glass, Koyaanisqatsi is a deeply effecting visual poem. Our dear friend Jonathan Hape (https://www.jonathan-hape.com/) joins us for the entire trilogy (probably).

Isi and Ajay kick off episode 14 of (Pop) Cultural Marxism by paying tribute to the late, great American auteur David Lynch. They discuss the pleasures of Lynch's oneiric style, his keen eye for American mass culture (and the horrors it conceals), and recent re-watches of Twin Peaks and Dune. The two then reprise episode 13's review of 2024 pop culture. Along the way, they discuss year-end film releases (Brady Corbet's The Brutalist, Ridley Scott's Gladiator II, Robert Eggers' Nosferatu, Gints Zilbalodis' Flow), HBO's The Penguin, and recent gaming highlights (Kunitsu-Gami: Path of the Goddess) and lowlights (Indiana Jones and the Great Circle). Closing out the episode are pre-2024 cultural revisits, including Barry Lyndon, the Infernal Affairs trilogy, Jojo's Bizarre Adventure, The Case of the Golden Idol, Inside Man, and Koyaanisqatsi.  The podcast is produced by Ryan Lentini.

Macht Platz - hier kommen die Landvogte!!! Eine neue Rutsche gesehener Filme aus eigenen Stücken und Supporter-Köpfen ist angerichtet. Öffnet die Tore!

Guest hosts Megan Coleman (she/her) and Paul Francis Sullivan (he/him) discuss True Stories, focusing on the final minutes 1:23:12 - 1:29:17 and the song City of Dreams. Theatrical trailer of "Koyaanisqatsi" by Godfrey Reggio Follow us on Instagram @dreamoperatorspod  Join us at The Celebration of Specialness, our Facebook listeners' group.  Show artwork by Jonathan Howell This podcast is under Fair Use: Copyright Disclaimer Under Section 107 of the Copyright Act in 1976; Allowance is made for "Fair Use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. All rights and credit go directly to their rightful owners. No copyright infringement intended. Enjoy!

 We are facing big problems and then we continuously think on the bad outcome instead to have a clear precise focus on the solution. We want to focus our mind on the solution, but we can't. Because we are overwhelmed by the problems and are afraid to mess even more up when we decide or act wrong… All these suppressings of negativity through positive thinking will make everything worse… So more we are involved in thinking negatively so more we attract the negative. And if we suppress the negativity with positive thinking we even attract much more the negative outcome. When we are facing the negative thoughts they will lesser after some time and we lose the identification with that negative outcome. Thinking negatively is better than suppressing our negative thoughts.It is since over 10 years, science proved and since 1000 of years proved through meditation that the feelings are creating our thoughts and the thoughts can't create feelings. The brain science found out there is only a one-way road between feelings and thoughts and also the clinical psychologists confirmed that. What is the cause of our negative thoughts?Our mind wants to protect us and that is positive. At average 80% of our thoughts are fear driven or to avoid pain and only 20% of our thoughts are pleasure driven…And here starts the problem, we don't need to be afraid because almost we are not facing our death. Why we can't enjoy pain or why we don't care for pain like for instance the Indians in India or South America, 20 years ago? Life would be much easier.    What are the solutions? 1.) Breath deep in your negativity so that the negative feelings are coming up and with breath out, you release the negativity. Do it until the negativity is gone.2.) Write down for 15 minutes all of your negative thoughts regardless if they repeat or are nonsense… just keep writing. Then read them, prioritize them what is the worst put on place number 1. For every negative thought, we write down the worst outcome. We feel that and the negativity is done. Don't look for solutions. Be negative. If this is done the solutions will come by itself the next days.  3.) My favorite. I love it! Be for 45 minutes (put your timer on 45 minutes) negative. Get the most depressing music and play it for that time. I have done it with  “Koyaanisqatsi” by Philip Glass, awesome music!   And then be as negative as possible, exaggerate your negativity as much as possible. Be the worst complainer and the most negative person in the galaxy, nobody should be able to compete with your negativity. It is absolutely forbidden to think positive or to laugh. If you do so punish yourself!!! And then dance for 10 minutes. Do this for 1 month… Your life will be transformed.4.) Make exhausting sport that will change your mind. 5.) Build your enemies a throne. (Sufi proverb)Make every day a grateful list and make even for your spouse a grateful list.Regardless how wicked your enemies, parents, colleagues or spouse are, find for every person the good thing,- why you are thankful for them. And regardless what happens to you, think Thank You…That will transform your life. My Video: Face your negativity  https://youtu.be/9HzkDg8uW3wMy Audio: https://divinesuccess.net/wp-content/uploads/2021/Podcast.B/Face-your-negativity.mp3

Games? Must we? This week we're leaving Spooktober behind us and kicking off No-Theme-ber with a bang, as King Bob frontman and Roxy Fever host Jackson McDonald returns with our second Hitchcock in just three weeks as he redeems himself by bringing a cross-country spy thriller to the table that set the template for summer thrills for everything that's come after it. Yes, it's 1959's North by Northwest, directed by Alfred Hitchcock, written by Ernest Lehman, and starring Cary Grant, Eva Marie Saint, James Mason, Leo G. Carroll and Martin Landau. A classic mistaken identity thriller, Hitchcock is recombining story elements from a number of spy films of his past, leaving one final stamp on the genre before turning his focus back to horror. The end result is a movie that has its fingerprints all over not just the Mission: Impossible franchise, but what we expect from blockbuster entertainment period. Plus: Jackson and JMo combine for theatrical field trips to The Wild Robot and Venom 3: The Last Dance, while Hayley's still buzzing over a visit to the Video Stop in Watrous, Saskatchewan. Listen to King Bob's new album, Rookie: linktr.ee/allhailkingbob Other works referenced in this episode include The Birds, The Stand, Longlegs, Us, Shutter Island, Malignant, The Thing, Star Wars, Fargo, High Fidelity, The Black Phone, Invitation to Hell, Casa Bonita Mi Amor, 6 Days to Air, Where We Call Home, Super Mario Party Jamboree, Vertigo, Rear Window, Secret Window, Trap, Koyaanisqatsi, Family Guy, Mad Men, Rope, Charade, Big Trouble in Little China, Total Recall, Hail Caesar!, Burn After Reading, Mission: Impossible - Dead Reckoning Part One, The Maltese Falcon, Jaws, Rebecca, and The 39 Steps, among others. We'll be back next week as No-Theme-ber continues with the Steve Martin rom-com Roxanne, famously filmed in Nelson, BC (or at least famously in this part of the world), a selection brought to us by beloved guest Rachel Hadaway, who will be joining us for that one. Until then, we'll see you at the movies!!

KoyaanisqatsiHosts: Clark Coffey & Cullen McFaterJoin us for an in depth discussion about Cullen's pick Koyaanisqatsi - Godfrey Reggio's 1982 experimental film! A film made up of mesmerizing timelapse photography, montage and beautiful landscapes of both natural wonders and cities, Reggio pairs these elements with a groundbreaking and iconic score by Philip Glass.Koyaanisqatsi trailerDirector: Godfrey ReggioCinematography: Ron FrickeMusic: Philip GlassSocials:FacebookTwitterInstagram

Train — Substantial — The aims of this podcast — Monty Python's Flying Circus — Village idiot sketch with John Cleese — Providing a useful service — An effect behind the surface effects — Writing sketches also for or featuring the others — Introducing the next topic — The themes of mystery, hope, and love — “Platitudes” — Shorthand for something less damning? — Troubling — A sickness of thought — Authentic realities — Love or not? — A creator who absolutely believes in love and mystery — David Lynch — Wild at Heart (1990) — Earlier mention of this film in season 4 — The Wikipedia article — Nicolas Cage and Laura Dern as Sailor Ripley and Lula — Mystery, love, hope — Barry Gifford's novel Wild at Heart: The Story of Sailor and Lula (1990) — Hope and the ending of the story — Things work out — The love of Sailor and Lula — Their own world — In love, devoted to each other, and into each other — Important in any romantic love — Getting off on each other — Mr. Lynch's clear belief all along — Twin Peaks (1990–1992) — Blue Velvet (1986) — Film critic Roger Ebert's comments on Wild at Heart — Misunderstanding — He had taken the film to be parody and satire — No, presented without guile — Eraserhead (1977) — Leaving Dune (1984) out of the discussion — More Frank Herbert's creation — No interest in seeing the new film — Plastic and oil — Side track, main track — Icons and iconography vs. living, conscious, evolving, human beings — Mr. Lynch was into all of it — No parody, no satire — It's a love story — Humour also — No dishonest moments — Trilingual (Finnish, Swedish, English) announcement (Jämsä) — Twin Peaks season 3 (2017) — Twin Peaks: Fire Walk with Me (1992) — Evolving understanding of “mystery”, “mysticism”, “mystic” — Murder mystery — Mystification — Nature mysticism — Direct experience of something — Problem about talking about these things — Anecdote about speech and experience — Being taken out of the moment — Failed communication — Deflated moments — Beyond words — Words and deeper feelings — Language came after — Its limits — Experiences beyond language — Acknowledging my contradictions — Walt Whitman on contradicting oneself — “I contain multitudes.” — A matter of authenticity and of compatibility — Lifelines — Fresh air, water, wood, the sky… — Forgot to mention stone (earth) — Shoulder bag as pillow — Grounding element — My rock collection once upon a time — Eventually let go of it — Who owns rock? — Downsizing — Owning stuff as a mental and physical burden — Hoarders — Back into nature — The hippo stone — Playground sandbox — The four elements as a principle applicable to both art and life — Philip Glass — Koyaanisqatsi — Director Godfrey Reggio — The Qatsi trilogy — Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002) — The basis or bases of all matter — Something missing? — Balancing the elements — Applies vastly — Differing ratios — An ideal balance — A matter for intuition — Many works these days try to be all earth and fire — None of the creative arts? — Water, fluidity — This understanding goes back to our earliest art — Prehistoric cave art — Discussions between Pierre Estève (much more knowledgeable than me on this) and me — Monolingual (Finnish) announcement (Orivesi) — Creative record — Already an understanding of the four elements — Elegance a very advanced quality — Pablo Picasso — Panoramas and layouts — Disclaimer about personal ignorance — Later in time — Not an expert — Philip Glass and Samuel Beckett — Letting go of things tiring or even nauseating — Burdens of the past — The elements applied to our own places of living — A tool for troubleshooting daily life — Balcony drenched with fresh air — Phone alarm — Bathing in fresh air — Bath tub — Perfecting the elements — Good sleep — Journey ending — Returning

Манай бусад сувгууд: ► @RustyMedia ►FACEBOOK https://fb.com/RustyTalks ►INSTAGRAM @RustyRyan7 ►E-mail: rustycreative@gmail.com ►Discord: https://discord.gg/bKkW25Yydx Бидний ажилд дэмжлэг үзүүлэхийг хүсвэл дараах дансуудад илгээх боломжтой шүү: ХААН Банк: 5041 1598 85 ХХБанк: 4170 58 037 Голомт Банк: 1105 1663 62 "One" анимэйшнийг үзэх: https://www.youtube.com/watch?v=4-cKc_2hJ4A 00:00 Intro, watched lately 00:24:02 Koyaanisqatsi Review 01:09:05 Festivals Awards, News 03:24:33 Jeopardy Game #4

Intro:  One More Night – Can 1. Get Off My Cloud – The Rolling Stones (2:57)                                                                                                                      2.  Man in the Fog – Flying Burrito Brothers (2:31)                                                                                                               3.  Misty Morning, Albert Bridge – The Pogues (3:02)                                                 4.  Mac's Fancy / The Mist Covered Mountain – De Danann (3:06)                                                                                       5.  Passing Clouds – Roger Limb / BBC Radiophonic Workshop (1:01)                                                                  6.  Cloud 149 – Pere Ubu (2:37)                                                                                                                                               7.  Ominous Cloud – Broadcast (3:46)                                                                          8.  The Morning Fog – Kate Bush (2:39)                                                                                                                                  9.  Little Fluffy Clouds – The Orb (4:27)                                                 10.  Little Cloud – Incredible String Band (4:01)                                                                                                                                                                                                                             11.  Misty Mountain Hop – Led Zeppelin (4:39)                                                                                                                 12.  Sodom and Gomorrah – Misty in Roots (6:37)                                                                                                                  13.  Le Brouillard – Brigitte Fontaine, Areski, avec Art Ensemble of Chicago (3:24)                                                                  14.  Fog On the Hudson (425 W 57th Street) – Moondog (1:19)                               15.  The Cloud of Unknowing – James Blackshaw (10:50)                                                                                           16.  The Foggy Mountain Top – The Carter Family (2:58)                                                             17.  Both Sides Now – Judy Collins (3:15)                                                                             18.  Lost in a Fog – Ella Fitzgerald (4:00)                                 19.  Clouds O'ertake The Brightest Day (from ‘Susanna') – Handel, Cummings/Festspiel Orchester Göttingen/ Lowrey (1:54)                               20.  Foggy Mountain Breakdown – Lester Flatt, Earl Scruggs, & the Foggy Mountain Boys (2:39)                                                                                                                       21. In A Mist – Bix Beiderbecke (2:48)                                                                                                                                    22.  White Cloud – Jan Garbarek Group (9:01)                                                                                                                       23.  Clear or Cloudy – John Dowland, Rooley/Consort of Musicke/Kirkby (3:21)                                                       24.  A Foggy Day – Chris Connor (3:20)                                                                                                                                   25.  Nuages – Quintette du Hot Club de France, avec Alix Combelle (3:15)                                                                             26.  Cloudscape (from ‘Koyaanisqatsi') – Philip Glass (4:39)                                                                                                    27.  Foggy Notion – Velvet Underground (6:50)                                                          28.  Clocks and Clouds (excerpt) – György Ligeti, De Leeuw/Asko-Schönberg Ensemble/Capella Amsterdam Choir                                                                                                                                                                                              Outro: Pogles Walk – Vernon Elliott Ensemble

Maximum Effort. This week we talk about going to Las Vegas for EVO 2024, going 2 for 2 in your pools, playing Modern Warfare 3, getting lost in the menus of MW3, Juno bringing her juicy beef sandwich to Overwatch 2, the San Diego Comic Con announcements, the Like A Dragon Yakuza trailer, the Khaos Reigns announcment for Mortal Kombat One, Robert Downey Jr being chosen for Doctor Doom, Deadpool and Wolverine, the FOX Marvel movies, Koyaanisqatsi, The Transporter Refueled, Speed, Logan, Kill, Ad Astra, Atop The 4th Wall Movie, and Phone Booth. Bye bye bye Site: https://podcasters.spotify.com/pod/show/deadpixelsoftheinternet Youtube: https://www.youtube.com/channel/UC6DRMrv0PIxafjvjWH9rT8g Spotify: https://open.spotify.com/show/6ROO69EAySRoc7Ag7SEtq7 Twitter (Not X) https://twitter.com/TDPOTIPodcast Joe's Twitter: https://twitter.com/joerckpeko Lorne's Twitter: https://twitter.com/BrokenHexagram

Guest: http://www.twitter.com/_vexel Support the Show for $2 a month and receive all future episodes early at https://sardonicast.com and https://www.patreon.com/Sardonicast. Website: https://sardonicast.com Patreon: https://www.patreon.com/Sardonicast Reddit: http://www.reddit.com/r/sardonicast Twitter: https://twitter.com/sardonicast Facebook: http://www.facebook.com/sardonicast Sardonicast Highlights: https://www.youtube.com/channel/UC8AhJ0bzQgs5fb9m_ZCRqkw/featured Alex's channel: https://www.youtube.com/user/IHEOfficial Adam's channel: https://www.youtube.com/user/YourMovieSucksDOTorg Alex's Twitter: https://twitter.com/IHE_OFFICIAL Adam's Twitter: https://twitter.com/2gay2lift Adam's Patreon: https://www.patreon.com/YMS Intro music by: https://www.youtube.com/user/anUnkindnessvideo Timestamps: 0:00 Intro 4:58 Kinds of Kindness 38:20 Koyaanisqatsi 1:30:43 Questions 1:58:13 Outro + recommendation

This episode of Target Audience welcomes podcaster and filmmaker Sam Meltzer. Sam is targeted by Godfrey Reggio's experimental film Koyaanisqatsi. Join us as we discuss the stunning visuals, watching films on drugs, and Philip Glass' all-timer score. Sam on Twitter Ben on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ben on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ben on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Ben's Website (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IceCream4Freaks⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Opening/Closing Song - "Pull Me Through" by Royal Blood

"I was intrigued by the snippets of speech and coffee machine noises - there's something very global and universal about them. I wanted to decontextualise them into a Glass / Reich kind of setting. "Koyaanisqatsi" crossed my mind, as did "Different Trains". Ebow was abused. Aside from electric guitar, all the other sounds are sampled or processed from the field recording." Prague workshop conversation reimagined by Alex Vald. Part of the Migration Sounds project, the world's first collection of the sounds of human migration.  For more information and to explore the project, see https://www.citiesandmemory.com/migration

Dissolving the hubris of humans into nutrient for participatory animism….To dispel bad ideas disguised  as “energy transition,” Caroline welcomes, long-time-ally, marine acoustician, Michael Stocker…(who is as though the Ocean adopted a human guise to be its voice…) What is the  Ocean saying say to us now?! Michael has served as the electronic and musical engineer on the benchmark film “Koyaanisqatsi,” and as a project development engineer for Pax Scientific, working in applied physics and acoustics – exploring how the principles of bio-mimicry can be used in fluid and air movement systems. As founding director of Ocean Conservation Research he is using his fluency in bio-acoustics to explore the impacts of noise on ocean animals to inform ocean policy and practice toward decreasing human bio-acoustic impacts on marine habitats.. Ocean Conservation Research: https://ocr.org/ Michael's book: Hear Where We Are: Sound, Ecology, and Sense of Place     Support The Visionary Activist Show on Patreon for weekly Chart & Themes ($4/month) and more… *Woof*Woof*Wanna*Play?!?* The post The Visionary Activist Show – Listening to the Ocean appeared first on KPFA.

Aujourd'hui, on regarde Koyaanisqatsi de Godfrey Reggio. Un documentaire expérimental un peu particulier… Et pour la première fois on est accompagné·es de notre première invitée, Juliette Jalenques, notre ancienne collègue !Attention c'est chaud !Tous les 15 jours, c'est comme aller au ciné avec ses potes : on découvre un film et on y réagit à chaud

Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast. In episode 115 Sam is joined by composer Daniel Pemberton. His work includes Spider-Man: Across the Spider-Verse, Slow Horses, Brian and Charles, The Trial of the Chicago 7 and Peep Show.  Daniel has a short-list of 5 films to potentially add to the festival: Rushmore, Idiocracy, Run Lola Run, Koyaanisqatsi, and Shallow Grave. Sam and Daniel discuss working on Spider-Man: Into the Spider-Verse, the Peep Show pops, and which of his film choices should be added to the festival line-up. Thank you for downloading. We'll be back in a couple of weeks! Rate and subscribe on Apple Podcasts: https://tinyurl.com/90minfilm If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!  You can also show your support for the podcast by leaving us a top at our Ko-fi page: https://ko-fi.com/90minfilmfest Website: 90minfilmfest.com Tweet: @90MinFilmFest  Instagram: @90MinFilmFest  We are a proud member of the Stripped Media Network. Hosted and produced by @sam_clements. Edited and produced by Louise Owen. Guest star @danielpemberton. Additional editing and sound mixing by @lukemakestweets. Music by @martinaustwick. Artwork by @samgilbey. 

This week, Eric and Josh discuss: Godzilla Minus One, Enter The Drag Dragon, getting recognized by podcast listeners, the Oscar nominations, Nimona, Flamin' Hot, Netflix, and more! They also mention movies screening the week of Friday February 2 - Thursday February 8: The Boy And The Heron, Koyaanisqatsi, and In The Heat Of The Night! They neglected to mention 11th hour bookings of Freud's Last Session, and Mad Dog Morgan, but you can always find updated movie listings at mayfairtheatre.ca

I interviewed Natalie's Trifecta creator Natalie Paneng at IDFA DocLab 2023. See more context in the rough transcript below. Here are my 19 interviews that I conducted at IDFA DocLab 2023: #1328: Kickoff of IDFA DocLab 2023 Coverage: Natalie's Trifecta is a Virtual Tour of Natalie Paneng's Digital Art, Identity, & Imagination #1325: End of Tung-Yen Chou's Gay Sauna Trilogy with "Traversing the Mist" #1327: "Voice in My Head" Remixes Your Inner Monologue with AI #1329: Mixed Reality "PHANTOM" Installation Explores Dark Sides of Mental Illness with Gallows Humor #1330: Squeeker: The Mouse Coach Interspecies Fitness App Collaboration #1331: Recreating Spatial Presence in Caves with Point Clouds & Spatial Audio in "Buried in the Rock" Documentary #1332: Texada Tells the Story of Limestone Across Geologic Time With Animation and 360 Video #1333: AI Remix of 1982 Documentary "Koyaanisqatsi" with "The Vivid Unknown" Interactive Video Installation #1334: Anouschka Wins IDFA DocLab Digital Storytelling Award with AR Narrative Game about Cultural Heritage #1335: Retrospective on Lodz Film School's Visual Narratives Lab and "Whispers" with Jacek Nagłowski #1336: Close Uses Hand Gestures to Switch Between Audio Commentary Channels on Juitamai Dance Performance #1337: Using Night Vision Googles to Watch Viscerally Immersive Dance Performance "One Two" in Total Darkness #1338: Multi-Sensory Immersive Art Installation "Redemption" Deconstructs Brazil's History of Eugenics #1339: The School, a World uses Web Documentary to Profile Changes in the Small Polish Town of Chlebiotki #1340: Recreating the Social Dynamics of a Road Trip in "Yugo: The Non-Game" #1341: Performative Lecture "(this conversation is) Off the Record" uses AI & Theater to Critique Algorthmic Profiling #1342: Transforming a Book into an Interactive Experience with the Time-Based Edition of "Borderline Visible" #1343: Using 360 Video to Connect Women Prisoners in Chile with their Families in "Going Back Home: Mother VR" #1344: Turbulence: Jamais Vu Wins IDFA DocLab Immersive Non-Fiction Award with Embodied Mixed Reality Doc on Depersonalization & Derealization This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed The Vivid Unknown creator John Fitzgerald at IDFA DocLab 2023. See more context in the rough transcript below. This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

I interviewed Turbulence: Jamais Vu creators Ben Joseph Andrews & Emma Roberts at IDFA DocLab 2023. See more context in the rough transcript below. Here are my 19 episodes from IDFA DocLab 2023: #1328: Kickoff of IDFA DocLab 2023: Natalie's Trifecta is a Virtual Tour of Natalie Paneng's Digital Art, Identity, & Imagination #1325: End of Tung-Yen Chou's Gay Sauna Trilogy with "Traversing the Mist" #1327: "Voice in My Head" Remixes Your Inner Monologue with AI #1329: Mixed Reality "PHANTOM" Installation Explores Dark Sides of Mental Illness with Gallows Humor #1330: Squeeker: The Mouse Coach Interspecies Fitness App Collaboration #1331: Recreating Spatial Presence in Caves with Point Clouds & Spatial Audio in "Buried in the Rock" Documentary #1332: Texada Tells the Story of Limestone Across Geologic Time With Animation and 360 Video #1333: AI Remix of 1982 Documentary "Koyaanisqatsi" with "The Vivid Unknown" Interactive Video Installation #1334: Anouschka Wins IDFA DocLab Digital Storytelling Award with AR Narrative Game about Cultural Heritage #1335: Retrospective on Lodz Film School's Visual Narratives Lab and "Whispers" with Jacek Nagłowski #1336: Close Uses Hand Gestures to Switch Between Audio Commentary Channels on Juitamai Dance Performance #1337: Using Night Vision Googles to Watch Viscerally Immersive Dance Performance "One Two" in Total Darkness #1338: Multi-Sensory Immersive Art Installation "Redemption" Deconstructs Brazil's History of Eugenics #1339: The School, a World uses Web Documentary to Profile Changes in the Small Polish Town of Chlebiotki #1340: Recreating the Social Dynamics of a Road Trip in "Yugo: The Non-Game" #1341: Performative Lecture "(this conversation is) Off the Record" uses AI & Theater to Critique Algorthmic Profiling #1342: Transforming a Book into an Interactive Experience with the Time-Based Edition of "Borderline Visible" #1343: Using 360 Video to Connect Women Prisoners in Chile with their Families in "Going Back Home: Mother VR" #1344: Turbulence: Jamais Vu Wins IDFA DocLab Immersive Non-Fiction Award with Embodied Mixed Reality Doc on Depersonalization & Derealization This is a listener-supported podcast through the Voices of VR Patreon. Music: Fatality

In this episode, we're finishing this dieselpunk alt-history Earth by boosting the military horror factor! Jonnie Law joins us once more as we take inspiration from media like Squid Game, Koyaanisqatsi, and Cronenberg's films to set up a few drastically different movie studios, all while contending with pesky cults and carnivorous robots. We cap it off with an adventure that spans the globe...and beyond. Check out Jon's Roll for Narrative videos at https://www.youtube.com/@jonnielaw ! The episode we reference a few times is 188: The Corvid Conspiracy (Land of a Thousand Languages); its accompanying Too Hot For Broadcast clip on Patreon has some...depictions of the subject in question.   Do you have a setting you'd like us to build? Send us your worldbuilding prompt! https://forms.gle/F4SNMH3k7ea5fr1F8 And if you're feeling particularly generous, you can support us on Patreon! https://www.patreon.com/worldbuildwithus Chat with us on our Discord server: https://discord.gg/SRFhWV3 Subscribe to our YouTube channel: https://www.youtube.com/@worldbuildwithus Email us your suggestions: WorldbuildWithUs@gmail.com Follow us on Twitter: @LetsWorldBuild    Intro theme: "Half Mystery" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0  Outro Theme: "Study and Relax" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0

Welcome to Bad Dad Rad Dad, where Kylie and Elliott talk about the movies they watch each week while searching for better cinematic dads. Along the way, they think about the ethics of trauma overload cinema, see the most existentially impactful documentary, hit the audience jackpot at weekday matinee screenings, and reflect on why they love Kevin Smith so much.This week's movies are: Farewell My Concubine (1992), Koyaanisqatsi (1982), Priscilla (2023), Thanksgiving (2023), and Dogma (1999).Conversations:Farewell My Concubine - 1:17Koyaanisqatsi - 10:47Priscilla - 24:58Thanksgiving - 43:46Dogma - 56:27Dads of the Week - 1:11:24Rad Rec - 1:19:08This episode was recorded before the firing of Melissa Barrera from Scream VII. We support the call to boycott Spyglass Media Group.Follow along onInstagram: @baddad.raddadLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

October 27th, 1998, 8 tracks, 73:21

Opowiadam o filmach "Koyaanisqatsi" (1982), "Powaqqatsi" (1988) i "Naqoyqatsi" (2002) w reżyserii Godfreya Reggio. Partnerem odcinka jest Festiwal Mediów Człowiek w Zagrożeniu.

Well what is there to say about this one other than do drugs and watch it. --- Send in a voice message: https://podcasters.spotify.com/pod/show/threedudespod/message

In this episode of Inside the Box, Trevor and David discuss Godfrey Reggio's The Qatsi Trilogy, featuring the films Koyaanisqatsi (1983), Powaqqatsi (1988), and Naqoyqatsi (2002).

In this episode of Inside the Box, Trevor and David discuss Godfrey Reggio's The Qatsi Trilogy, featuring the films Koyaanisqatsi (1983), Powaqqatsi (1988), and Naqoyqatsi (2002).

“The idea of ‘chasing the panther' is that the panther serves as this metaphor for art, and so it's something that you chase after even thought it is in some ways very, very dangerous, and I think Carolyn would say that is one hundred percent the story of her life, chasing art.” That's writer and filmmaker Gregory Collins explaining the title to his very first collaboration, Chasing the Panther: Adventures & Misadventures of a Cinematic Life, written with the noted independent film producer Carolyn Pfeiffer, who as a young woman found herself swept up in the roiling waters of the French New Wave and Italian film scenes of the '60s and '70s. Together, Gregory and Carolyn have written a vibrant coming-of-age memoir telling the origin story of one of the film industry's first female executives—a woman once dubbed a Hollywood “mini-mogul” by The Wall Street Journal. As the head of Alive Films and Island Alive, Carolyn produced a number of influential films, including “Stop Making Sense,” “Koyaanisqatsi”, “Kiss of the Spider Woman,” “Trouble in Mind,” “Far North,” and “The Whales of August.” An accomplished screenwriter and producer in his own right, Gregory's films have premiered at the Malawi International Film Festival, and at the Sarasota and Seattle film festivals. He has taught producing and screenwriting at Penn State University and has served as the director of development of Burnt Orange Productions, at the University of Texas at Austin. Join us at the front end of this episode, as Carolyn and Gregory discuss how they worked together, and share some wild stories about Carolyn's experience on the frontlines of French New Wave cinema, Fellini's Rome, and Swinging London—and then stay with us after the break, as we visit with Gregory and examine the ways he has shifted his focus as a writer from the screen to the page.   Learn more about our guests: Carolyn Pfeiffer, LinkedIn Carolyn Pfeiffer, Twitter Gregory Collins, website Gregory Collins, Twitter Please support the sponsors who support our show. Daniel Paisner's Balloon Dog Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Film Freaks Forever! podcast, hosted by Mark Jordan Legan and Phoef Sutton A Mighty Blaze podcast

In this episode of the Gavin and Ruby Go To a Movie podcast, Gavin and Ruby get in touch with their spiritual side in order to immerse themselves with this week's films. The first being the technology based documentary Koyaanisqatsi, and the second Mattie Do's SPIRITual horror film The Long Walk. Will Gavin and Ruby be able to open their third eyes? Listen to find out. We also talk about Triangle of Sadness and Baby Ariel. Koyaanisqatsi: 6:21 The Long Walk: 30:43 Groovie News/Triangle of Sadness: 51:42 Recommendations: 1:01:48 Instagram: @gavinandrubypodcast Gavin's Letterboxd: Gavin_Lemon Ruby's Letterboxd: ruuubyv

Check it out, Double Feature is still going. The post Koyaanisqatsi + Memoria first appeared on Double Feature.

No actors, no dialog, no plot... LET'S GO! Dir: Godfrey Reggio

On this episode: Oscar Isaac and Jack Black both back for more Poe, and Peter Jackson drunk on his own juice. PLUS Deep Fake has reached Big Hollywood, and a robust Ezra Miller updateIn news: They / Them, Abeyta Studio, COVID, Fortress of Solitude, Oscar Isaac, Star Wars, Skywalker Trilogy, Palpatine, Darth JarJar, toxic masculinity, Rise of Skywalker, The Last Jedi, Original Trilogy Prequel Trilogy, Sequel Trilogy, Disney, Kathleen Kennedy, Peter Jackson, hypnosis, Lord of the Rings, Clint Eastwood, American Sniper, Grad Night, Listener Kevin, microdose, ego death, Cats, Baraka, Koyaanisqatsi, Fall, Lionsgate, IGN, Deep Fake, Foghorn Leghorn, Flawless, Virginia Gardner, Grace Caroline Curry, Find Your Film, Open Water, Buried, Ryan Reynolds, 47 Meters Down, 147 Hours, The Descent, Ezra Miller, Vermont, Hawaii, Utah, Rolling Stones, Jared Leto, Drive, Iceland, Berlin, Where in the World is Carmen San Diego, Catch Me If You Can, Frank Abignale, Warner Brothers, The Flash, Justice League, Batman v. Superman, We Need to Talk About Kevin, Joaquin Phoenix, I'm Still Here, Kung Fu Pants 4, Jack Black, James Hong, Seth Rogan, Jackie Chan, Lucy Liu, Angelina Jolie, Dustin Hoffman, David Cross, Eternals, Tomb  Raider, Mr. and Mrs. Smith, Hackers, Charlie's Angels, Kill Bill, O-ren Ishiihttp://www.MCFCpodcast.com-Email us at MCFCpodcast@gmail.com    -Leave us a voicemail (209) 730-6010-Get some merch:https://middle-class-film-class.creator-spring.com/-Sponsor - Force Five - https://www.forcefivepodcast.com/Joseph Navarro    Pete Abeytaand Tyler Noe    Streaming Picks:Gladiator - Amazon PrimeEasy Rider - TubiThe Gray Man - NetflixThe Spine of Night - ShudderWe Met in Virtual Reality - HBO MaxReservation Dogs season 2 - HuluReign of Fire - Hulu

Another month, another theme and this one marks the return of Documentary Month and the The post #255: That Time We Watched Koyaanisqatsi appeared first on Tortellini at Noon.

Three films by Godfrey Reggio and Philip Glass present wordless imagery and music to send a cosmic warning about civilization’s imbalance, exploitation, and destruction. The meanings that we access through works of art are not confined to the conscious intentions of the artists. This critical truth came to mind while watching The Qatsi Trilogy—three films directed by Godfrey Reggio, and scored by Philip Glass. These are films without any talking, just imagery and music. The only text comes at the end, when the odd-sounding film titles are explained. Philip Glass's music is an essential component. It’s not the usual situation where the music accompanies a narrative, or helps illustrate it. The music is united to the visuals as if they were one thing. I know people who are maddened by Glass’s music, which is characterized by a lot of repetition. But here it aligns the viewer’s attention and emotions with the images. The repetitive motifs help the mind let go of the scattered, wandering forms of attention that can be habitual for us. Koyaanisqatsi, from 1982, starts with shots of nature in awe-inspiring aspects: mountains, canyons, deserts, and so on, with human beings conspicuously absent. Eventually we shift to footage of modern civilization, and in comparison to nature these images seem bizarre and outlandish. Two techniques comprise most of the film: slow motion and fast motion. The fast motion is actually time-lapse photography: footage of events that take hours or even days appearing to take place in just minutes. The movement of vehicles, traffic zipping through huge highway systems, masses of people, colossal buildings in major cities and the traffic within those cities: time-lapse photography takes away the familiarity of these things and makes them seem alien. In purely visual terms, the images are astounding, weird, beautiful, yet disturbing. Slow motion is used when we are looking at things more close up, especially people. Watching the movement of a crowd in slow motion, the familiar is once again supplanted by the sensation of strangeness. These beings, in the way they move, the way they avoid each other’s gaze, evoke questions and doubts about human nature, our striving and seeking, our ignorance and mortality. Powaqqatsi, from 1988, refrains from time-lapse photography, but it still uses a lot of slow motion. Here the footage is from the lands of non-European people. First we see traditional forms of work such as planting. Then civilization shows up. Instead of fairly well-dressed folks we see a much poorer populace. Modernity has conquered this non-white world, but it hasn’t helped the people. Here’s the theme of injustice and exploitation, and one’s heart hurts more watching this than it did during the more alienated first film. Naqoyqatsi was released in 2002, after a gap of thirteen years. Why this long delay I don't know. The film uses graphics, animation, and rotoscope photography to visualize the mind realm, the world of thinking and science. The mathematical and geometric designs become like a relentless drum beat of “progress.” Eventually the rhythm becomes the marching of soldiers, the creation of weapons, guns firing and the detonation of bombs. It shows the cleverness of humans serving the expansion of war. One thing that makes The Qatsi Trilogy difficult is that it seeks to evoke the impersonal as the source of meaning in the modern world. This

In this special episode, Thomas Flight and Tom van der Linden discuss a variety of experimental documentaries; and classify them into distinct categories to explore what they are, why they are worth watching, and what the best ways are to engage with them.All Light Everywhere (2021); Baraka (1992); Bells from the Deep (1993); Cameraperson (2016); Chronicle of a Summer (1961); Cow (2021); F For Fake (1973); Fata Morgana (1971); Free Solo (2018); Grizzly Man (2005); Gunda (2020); Koyaanisqatsi (1982); Lessons of Darkness (1992); Little Dieter Need to Fly (1997); Machines (2016); Rat Film (2016); Samsara (2011); Seven Up! (1964); Sleep Has Her House (2017); The Truffle Hunters (2020); The White Diamond (2004); Voyage of Time (2015)Start exploring the riches of cinema with an extended free trial of MUBI: mubi.com/cinemaofmeaningListen to our episodes a week early, and completely ad-free, on Nebula by signing up for Curiosity Stream: https://curiositystream.com/cinemaofmeaningCheck us out on YouTube:Thomas Flight: https://www.youtube.com/c/ThomasFlightLike Stories of Old: https://youtube.com/c/LikeStoriesofOldCheck us out on Nebula:Thomas Flight: https://nebula.app/thomasflightLike Stories of Old: https://nebula.app/lsooFollow us:Tom van der Linden https://twitter.com/Tom_LSOOThomas Flight https://twitter.com/thomasflightSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Wow guys. Shit's nuts right now. KA's back from her bachelorette in Atlantic City, we're moving out of our apartment, and we're back with another minisode!! Topics include: gay gentrification vs. hipster gentrification, getting catcalled, stress induced penis shrinkage, the Dolezal effect, and much, much more.We've all heard about Florida Man, but what about Florida Woman? Join us weekly as we explore the humid landscape, absurd crimes, bizarre history, and beautiful fucking maniacs that make up our country's weirdest state.You can follow us on Instagram at:@FloridaWoman.PodEmail us at FloridaWoman.Pod@Gmail.comHelp the show by becoming a patron today! patreon.com/floridawomanpodFlorida Woman theme song is My Heart Is Open by So Sensitive Band from their debut album Bedroom Drama. You can find them on Spotify, BandCamp, Apple Music, or wherever you listen! Follow them on Instagram at @sosensitivebandSOURCES:https://www.democratandchronicle.com/story/news/2018/04/08/cocaine-purse-florida-woman-blames-windy-day-police-say/497899002/https://www.google.com/search?q=why+are+they+called+florida+crackers&rlz=1C5CHFA_enUS860US860&oq=why+are+florida+crackers+called+&aqs=chrome.1.69i57j0i22i30j0i390l2.9748j0j7&sourceid=chrome&ie=UTF-8https://www.orlandosentinel.com/news/os-xpm-1991-07-21-9107191165-story.htmlhttps://www.spacelaunchschedule.com/launch/falcon-9-block-5-dragon-crs-2-spx-25/https://wsvn.com/news/local/florida/deputies-florida-man-tied-up-wifes-lover-cut-off-penis/

The Violet Hour presents - HOLLOW Episode 04 - Koyaanisqatsi On the first world outside the home system, Amelia is first exposed to the realities of this new colonization, and must figure out how to acquire supplies for the journey ahead. A Violet Hour Media production. LISTENER WARNING: This program includes depictions of violence and other subject matter that may be upsetting for listeners. Please proceed with caution. Learn more about your ad choices. Visit megaphone.fm/adchoices

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Through his operas, his symphonies, his compositions for his own ensemble, and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, Leonard Cohen to David Bowie, Philip Glass has had an extraordinary and unprecedented impact upon the musical and intellectual life of his times.The operas – “Einstein on the Beach,” “Satyagraha,” “Akhnaten,” and “The Voyage,” among many others – play throughout the world's leading houses, and rarely to an empty seat. Glass has written music for experimental theater and for Academy Award-winning motion pictures such as “The Hours” and Martin Scorsese's “Kundun,” while “Koyaanisqatsi,” his initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, may be the most radical and influential mating of sound and vision since “Fantasia.” His associations, personal and professional, with leading rock, pop and world music artists date back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Indeed, Glass is the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music – simultaneously.He was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland , Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble – seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer.The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.There has been nothing “minimalist” about his output. In the past 25 years, Glass has composed more than twenty five operas, large and small; twelve symphonies, thirteen concertos; soundtracks to films ranging from new scores for the stylized classics of Jean Cocteau to Errol Morris's documentary about former defense secretary Robert McNamara; nine string quartets; a growing body of work for solo piano and organ. He has collaborated with Paul Simon, Linda Ronstadt, Yo-Yo Ma, and Doris Lessing, among many others. He presents lectures, workshops, and solo keyboard performances around the world, and continues to appear regularly with the Philip Glass Ensemble.From https://philipglass.com/biography/. For more information about Philip Glass:Words Without Music: https://wwnorton.com/books/Words-Without-Music/“The beginner's guide to Philip Glass”: https://www.eno.org/discover-opera/the-beginners-guide-to-philip-glass/“How Philip Glass Went From Driving Taxis to Composing”: https://www.theatlantic.com/business/archive/2018/04/philip-glass-taxi-driver-composer/558278/“Philip Glass”: https://www.interviewmagazine.com/music/philip-glass

Jackie and Greg discuss the highest-ranked documentary on the Sight & Sound list, Dziga Vertov's experimental montage film from 1929. Topics of discussion include the Kinoks collective, Vertov's newsreel background and his aversion to fiction, how meta the film is, the polarizing Alloy Orchestra score, and the playfulness of Vertov's city symphony. Why does Greg keep bringing up KOYAANISQATSI?#8 on Sight & Sound's "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtPhotography: Matt AraquistainMusic: Andrew CoxSpecial Thanks: Kathryn Ferentchak

"Dead Poet's Society" , "Sullivan's Travels" , "Nightmare Alley (2021)", "The Truman Show", "Koyaanisqatsi", "Arrival" Film has been the most powerful art form to shape our attitudes and approach towards life and we are no exception. As we step into the new year, we want to list out the movies that shaped our outlook towards life.

David Byrne's mockumentary about a small Texas town, starring John Goodman, was a fun surprise--Dennis called it "Koyaanisqatsi as a comedy", and to Mary was a marriage of Wes Anderson and The Church of the SubGenius.