I thought I'd posted about Philip Glass' new memoir, Words Without Music, when it came out back in April, but I can't find anything in the archives, so let's do it right now. I was reminded of it after reading this review by Dan Wang, which pushed Glass' book to the top of my queue.
These biographical details are manifestations of a quality I admire. Glass never needed much convincing to drop everything in his life to go on a risky venture. I'm not familiar with the many plot twists in his life, and found the book engaging because I had no idea what new adventure he was going to go on next. It's astonishing how open-minded he is. Consider: His decision to go to India was based entirely on seeing a striking illustration in a random book he grabbed off a friend's shelf. In addition, he never hesitated to go into personal debt, at times quite steep, because his music couldn't wait. The book is filled with instances of him saying "sure, when?" to improbable proposals without dwelling on their costs.
He seemed uninterested in stabilizing his position with more regular income. He never took up an honorary conductor position. He never ensconced himself in a plush conservatory professorship. And he didn't even apply for grants because he didn't like that they imposed terms.
In 2011, the original creators of Einstein on the Beach brought the opera to life again for what will most likely be its last presentation in their lifetime. Einstein on the Beach is an opera like no other. Telling its story requires a documentary like no other.
We completed shooting and editing The Earth Moves and we are all working very hard to finish the film for upcoming film festivals this fall. Now we need your support to fulfill the costs of color correction, media licensing, and sound mixing. Time is of the essence and every contribution helps our mission to complete this film.
Any additional support beyond the goal will go towards expanding the distribution of the film through educational markets and independent theaters nationally.
Ahead of 20th Century Fox's latest superhero reboot of The Fantastic Four, director Josh Trank has confirmed that composer Philip Glass will be scoring the forthcoming film with Marco Beltrami.
Trank, best known for his 2012 film Chronicle, spoke to Collider about his long time admiration for the composer, and said that he had been working with Glass for around a year on the film after contacting his manager.
Previous films scored by Glass include The Hours, Koyaanisqatsi, A Brief History of Time, and The Fog of War. But this actually isn't too much of a surprising departure for Glass...he did the scores for both Candyman and Candyman II, horror films based on a short story by Clive Barker.
Also interesting is that Visitors is comprised of only 74 shots, which with a runtime of 87 minutes means the average shot lasts over a minute. According to a recent investigation by Adam Jameson, an ASL (average shot length) of more than a minute is unusual in contemporary film. Inception, for instance, has a ASL of just 3.1 seconds and even a film like Drive, with many long shots, has an ASL of 7 seconds. But as Jameson notes, Alfonso Cuarón's upcoming Gravity contains only 156 shots, including a 17-minute-long shot that opens the film. But the Hollywood master of long-running shots? Hitchcock, I presume:
1. Rope (1948, Alfred Hitchcock), ASL = 433.9 [seconds]
OK, this isn't a recent recent film, but it has to be noted, as it's most likely the highest ASL in Hollywood. Hitchcock used only 10 shots in making it (the film's Wikipedia page lists them). (As you probably know, Hitchcock designed those shots, then edited them such that the finished film appeared to be a single take.)
REWORK_ is an album of Philip Glass's music remixed by the likes of Beck, Amon Tobin, and Nosaj Thing. There is also an interactive iOS app that lets you play around and remix your own Glass compositions.
REWORK_ features eleven "music visualizers" that take the remixed tracks and create interactive visuals that range from futuristic three-dimensional landscapes to shattered multicolored crystals, and vibrating sound waves. People can lean back and enjoy REWORK_ end to end, or they can touch and interact with the visualizers to create their own visual remixes.
In addition to the visualizers, the app includes the "Glass Machine" which lets people create music inspired by Philip Glass' early work by simply sliding two discs around side-by-side, almost like turntables. People can select different instruments - from synthesizer to piano, and generate polyrhythmic counterpoints between the two melodies.
The app was made by Scott Snibbe's studio...I fondly recall his Java applets. (BTW, "fondly recall his Java applets" is neither a euphemism nor something that anyone will understand 5-10 years from now.)
Occupy Wall Street went up to protest at Lincoln Center last night during a performance of Philip Glass' opera Satyagraha. New Yorker music critic Alex Ross was there and captured the protest on video, which included Glass himself reading the closing lines from the opera, amplified to the crowd by the people's mic. It is an amazing scene.
When the Satyagraha listeners emerged from the Met, police directed them to leave via side exits, but protesters began encouraging them to disregard the police, walk down the steps, and listen to Glass speak. Hesitantly at first, then in a wave, they did so. The composer proceeded to recite the closing lines of Satyagraha, which come from the Bhagavad-Gita (after 3:00 in the video above): "When righteousness withers away and evil rules the land, we come into being, age after age, and take visible shape, and move, a man among men, for the protection of good, thrusting back evil and setting virtue on her seat again." True to form, he said it several times, with the "human microphone" repeating after him. Lou Reed and Laurie Anderson were in attendance, and at one point Reed helped someone crawl over the barricade that had been set up along the sidewalk.
KOYAANISQATSI, [Godfrey] Reggio's debut as a film director and producer, is the first film of the QATSI trilogy. The title is a Hopi Indian word meaning "life out of balance." Created between 1975 and 1982, the film is an apocalyptic vision of the collision of two different worlds -- urban life and technology versus the environment. The musical score was composed by Philip Glass.
Lose yourself in Philip Glass's powerful music for the 1982 Godfrey Reggio film Koyaanisqatsi: A Life Out Of Balance, performed live by the Philharmonic and the Philip Glass Ensemble, as the landmark film is projected on a huge screen above the Avery Fisher Hall stage.
There will be two performances, Nov 2 and Nov 3 at 7:30pm at Avery Fisher Hall. There are still tons of great seats available, but get 'em while you can. Excited!