SINGAPORE: COMPOSER PHILIP GLASS IS FINALLY SCORING THE LAST IN A TRILOGY OF APOCALYPTIC CULT FILMS

Record ID: 391459

  • Title: SINGAPORE: COMPOSER PHILIP GLASS IS FINALLY SCORING THE LAST IN A TRILOGY OF APOCALYPTIC CULT FILMS
  • Date: 5th July 2001
  • Summary: MCU (English) GLASS SAYING: "The combination of image and live music has a very special quality, which we found in the '80s that we were able to break through to much bigger audience with this kind of combination."
  • Embargoed: 20th July 2001 13:00
  • Keywords:
  • Location: SINGAPORE
  • Country: Singapore
  • Topics: Entertainment,General
  • Reuters ID: LVA4RGF2N19XISE6B77D20O6W63
  • Story Text: Renowned minimalist composer Philip Glass is finally scoring the last in a trilogy of apocalyptic cult films, first screened 20 years ago. But he is now taking a softer approach to technological advancement.
    American composer Philip Glass created the first score of the trilogy, "Koyaanisqatsi", over seven years, and it was premiered in 1983.
    The film combined film director Godfrey Reggio's wordless apocalyptic images of urbanization with Glass' musical score to sweep a host of awards.
    The Reggio/Glass team went on to produce "Powaqqatsi"
    several years later and explored the encroachment of technology on nature and ancient cultures.
    During his visit to Singapore for the Singapore Arts Festival, Glass said the final installment to the trilogy 'Naqoyqatsi' will eventually be released next year.
    "The new movie, Naqoyqatsi is about the digital world, the digital technology. So, one of the things that we have found with these movies is that they have an universal interest," said Glass.
    The third and the last installment had long been a work-in-progress effort, due to lack of financial backers.
    He said people around the world found it interesting to experience live music performance over films without dialogues.
    "The combination of image and live music has a very special quality, which we found in the '80s that we were able to break through to much bigger audience with this kind of combination," said Glass.
    The first two films were about the way the world is changing through new technology and how that was affecting traditional way of life.
    Glass said that while the trilogy was a coherent set of ideas and images, however intervening time and technological advancements have called for a more retrospective, standback look at technology.
    "With the new movie, it's not the question of being a critique of this encounter because it's too late to, it's not going to change, it's not going backwards. Nothing is going to go back. So, we have, we can certainly preserve what we have, but what we are really seeing is a kind of headlong rush into this technology and it changes the world without even knowing it or to control it," said Glass.
    Glass was a New York city cab driver and even a washing machine repairman before his landmark 4-hour opera 'Einstein on the Beach' premiered in 1976.
    Since then, the 64-year old American, who studied under the hand of Nadia Boulanger, has maintained centre stage with serious opera and symphonic works alongside theatre and film scores.
    His film scores include Martin Scorsese's 'Kundun', Peter Weir's dig at television, 'The Truman Show', and new music for the 1931 black-and-white classic 'Dracula'.
    While Glass' music has been characterized by repetitive rolling chords and melodies often reminiscent of Indian music, the composer is exploring new fabricated sounds for the last installment on technological encroachment.
    "The basis of the composition is still an acoustic orchestra, however, its been flavoured and seasoned with all kinds of imaginary instruments (such as a steel cello), so the total effect is of an orchestra which is familiar but goes beyond what you are accustomed to hearing," said Glass.
    He has already begun scoring music for the third installment.
    By Autumn 2002, it will be 18 years since the premier of the first of its series.
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