It puts it in another level of focus, which means that the image brings more presence to the screen.
It’s a different way to discover, it’s trying to give art a presence in cinema that is beyond entertainment.
We talked with Reggio about practicing slow filmmaking in this era of fast cuts. Not been a filmmaker by living in a religious community, I was outside of that world. I knew in the case of this film that the image itself would be constructed from the visual and I felt that is much effort should go into the music to. Everything we intended to put into it. La question est épineuse tant ces titres se sont peu à peu perdus dans les limbes de la mémoire audiovisuelle ou des cinémathèques.
To me, these forms are terroristic forms because they seem so wonderful and we all want them and it’s changing completely our planet and our way of life and what it means to be a human being.
Almost like a modern Pompeii.
Now especially, but to all of the turmoil that so obvious on our planet. A fairy tale for children.
Born in New Orleans in 1940 and raised in Louisiana, Godfrey Reggio spent 14 years in a Roman Catholic religious order of men (the Christian Brothers) — living in community, dedicated to prayer, study, and teaching.
We shot it like you would shoot Tom Cruise.I try to slow things down to engage the audience in a slow motion event, which for some people is going to make them nervous.
The beauty of life is its diversity. Right now, we’re in the presence of A.I.
Who is Godfrey Reggio?
I look Paradise beach and hellish industry in KoyaanisqatsiAnything that succeeds is consumed by the big beast that eats up everything, so if anything is successful it gets immediately consumed for commercial reasons. This film's desire is to provoke the audience, through beauty, to a truth that they might discover. And I put two soundtracks on it. Now the voice you heard from that building could be vastly different of course from the voice the person sitting next to you saw. If things can be slowed down they stay in memory longer.Godfrey Reggio: A very good question.
That’s the difference in this kind of film because its not telling you what to think, its giving you an image that can transubstantiate into a feeling, and all feelings are different for different people. It’s up to them to grab the opportunity for themselves.
But during that time as a monk, I was working with the street gangs, the juvenile delinquency. [Artificial Intelligence]. All the things we are talking now today, we were talking about in the mid seventies when it was beginning and was already well on its way. During that time, my colleague Ray Hemenez said there was a young man in town who was quite skilled at photography, so I asked him if he was willing to do spots for our non-narrative adverts that would going to appear for the American Civil Liberties Union. It’s the most important event of our time and it is the least seen because it’s the most present.
The beauty of art is that the meaning is in the eye of the beholder.
So I couldn’t have better sets to work with. As a social worker, I encountered a beautiful film of Luis Buñuel called I wanted to see the film as art. So that’s why I chose meta language of art as the driving narrative for the film.Il the very definition of the word koyaanisqatsi, it says a “way of life” that calls for another way of living, unless we figure out somehow another way of living, another standard by which we can be in this world that we gonna lose the edge.
How boring it would be if there was one weather pattern, one language, one culture and our way of life is through the unity of this diversity.