People may have a preconceived notion that composer Philip Glass is austere, intellectual and serious minded. After all, through his operas, symphonies, compositions for his own ensemble and his wide-ranging collaborations with artists ranging from Twyla Tharp to Allen Ginsberg, and Woody Allen to David Bowie, Glass has had an extraordinary impact upon the musical and intellectual life of his time.
So audiences may be surprised when they see a lighter, more playful side of the composer in Glass: A Portrait Of Philip In 12 Parts, a new documentary directed by Academy Award nominee Scott Hicks, who helms commercials via Santa-Monica based Independent Media, Inc. “I knew Phillip before, and had been a fan of his music ever since my son took me to a midnight screening of KOYAANISQATSI [in 1984]. I met Philip again at the invitation of his management, while I was working on Snow Falling on Cedars [in ’97]. I was using Philip’s music for a temp score, and had inquired about licensing music for the film. His publishing company put us in touch,” said Hicks, who also took on the role of cinematographer for the project–a first for the director.
“What surprises me about Philip is just how easy and sociable and sunny he is, he’s just good fun to be with. I wanted to convey that sense of his character, to an audience probably not familiar with it. It was a surprise for me and there was a delight I felt as I got to know Philip, and I wanted to share that with the audience.”
Glass’ management approached Hicks in early ’05 to see if he would be interested in making a documentary to mark his 70th birthday in ’07. (Glass turned 70 in January.) Hicks started working on the film in August ’05, with the intent to show it at the Toronto International Film Festival this year. Over the next 18 months from the summer of ’05, Hicks followed Glass across three continents, from his annual ride on the Coney Island Cyclone roller coaster to the world premiere of his new opera in Germany and in performance with a didgeridoo virtuoso in Australia. He had unprecedented access to Glass’ working process, family life, spiritual teachers and longtime collaborators. Hicks fulfilled his hopes and the film made its world premiere earlier this month at the festival.
Back In The Saddle Hicks enjoyed returning to documentary filmmaking after more than a decade away from the genre. The last documentary he directed was The Ultimate Athlete, which was released in 1996, the same year as Shine. (Shine received a total of seven Academy Award nominations in all major categories including Best Film, Best Director and Best Screenplay.)
“It was fantastic getting back into documentaries, with the ‘extra ingredient’ of shooting myself, which was a first for me. I’d always been a stills photographer, had always been involved with the cinematographer on my projects. Initially, this was a stop-gap measure to let me begin gathering material, with a plan to get a full-blown cinematographer later. I found that the ‘low impact’ of a small unit allowed an intimate relationship with the subject in front of the camera. And at some point, I realized ‘this was the film I was making,’ that it would be a mistake to bring in a larger crew.”
What Hicks loves most about documentaries is the constant challenge of dealing with events and situations that are completely unpredictable and uncontrollable. “I think it’s useful for any director to understand that they can’t control the world, so sometimes immediacy, spontaneity and the unpredictable can be the very things that make a moment memorable,” he said.
“You might have a little idea of how it will connect to the story you’re trying to tell. Filming is gathering the raw material; shaping, scripting and sculpting that material happens in the editing process.”
He cited an example in the Glass film, which was cut by Stephen Jess, a senior editor at The Whitehouse in New York. In October ’05, Hicks was filming the Philip Glass Ensemble rehearsing “Orion” in Melbourne, Australia. At the time of shooting, he had no idea this would form the basis of a chapter of the film, having to do with collaboration and with the articulation of Glass’ discovery of a new world of music on the borders, the boundaries of East and West.
“I didn’t want just a pure performance piece for its own sake. As I began writing the structure [of the film], I realized what this could become in the story,” Hicks explained.
The director described Jess, who he has worked with on advertising projects over the years, as being a total collaborator who brought enormous energy and intelligence to the process. “We were dealing with a ‘mountain of material’–having shot in excess of 120 hours of footage– so it was a monumental task to process these dailies. His energy and drive were important ingredients.”
Prior to directing Shine, Hicks worked almost exclusively in documentaries, which was cross-subisidizing the development of Shine. Similarly, his work in commercials helped enable him to be in the states and get the Glass project going. He personally financed the production and post on Glass, and Independent Media also made funds available. Independent Media founder/executive producer Susanne Preissler produced the documentary.
“Independent Media really got behind this from the start. They got the financing, and we were off… Susanne really went above and beyond,” Hicks said.
The first Toronto screening was extraordinary, according to Hicks, for a few reasons. First, it was good to watch it alongside the team who had been through the process of making the film with him. Plus it was the first time he had seen the film on such a large screen and with an audience without a connection to the film already.
“It was well projected and looked and sounded stupendous. Seeing and hearing it in this way was stunning,” Hicks said. “And to feel the audience’s connection to the film. I know when they connect with the humor, they’re with you–and I felt that from the get-go.”
Apple and Google Face UK Investigation Into Mobile Browser Dominance
Apple and Google aren't giving consumers a genuine choice of mobile web browsers, a British watchdog said Friday in a report that recommends they face an investigation under new U.K. digital rules taking effect next year.
The Competition and Markets Authority took aim at Apple, saying the iPhone maker's tactics hold back innovation by stopping rivals from giving users new features like faster webpage loading. Apple does this by restricting progressive web apps, which don't need to be downloaded from an app store and aren't subject to app store commissions, the report said.
"This technology is not able to fully take off on iOS devices," the watchdog said in a provisional report on its investigation into mobile browsers that it opened after an initial study concluded that Apple and Google effectively have a chokehold on "mobile ecosystems."
The CMA's report also found that Apple and Google manipulate the choices given to mobile phone users to make their own browsers "the clearest or easiest option."
And it said that the a revenue-sharing deal between the two U.S. Big Tech companies "significantly reduces their financial incentives" to compete in mobile browsers on Apple's iOS operating system for iPhones.
Both companies said they will "engage constructively" with the CMA.
Apple said it disagreed with the findings and said it was concerned that the recommendations would undermine user privacy and security.
Google said the openness of its Android mobile operating system "has helped to expand choice, reduce prices and democratize access to smartphones and apps" and that it's "committed to open platforms that empower consumers."
It's the latest move by regulators on both sides of the Atlantic to crack down on the... Read More