| William S. Hart | ... | (archive footage) |
Directed by | |||
| Bill Morrison | |||
Writing credits(in alphabetical order) | ||
| Bill Morrison | ||
Produced by | |||
| Bill Morrison | .... | producer | |
Original Music by | |||
| Michael Gordon | |||
Film Editing by | |||
| Bill Morrison | |||
Sound Department | |||
| Luke DuBois | .... | sound designer | |
| Jeff Formosa | .... | supervising sound editor | |
| Michael Jordan | .... | sound re-recording mixer | |
Editorial Department | |||
| Jim Finn | .... | negative cutter | |
| Scot Olive | .... | colorist: HD remastering | |
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| Koyaanisqatsi | The Holy Mountain | Candy | Persepolis | Rachel, Rachel |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
I have seen a few films regarding the decay of old film stocks, but this one really brings out the beauty of such images. The slow moving images presented with this progressive avante-garde soundtrack brought back memories of the old school industrial musical movement of the late 70s and early 80s. But when it continues onwards to the scene of the Geisha girl lost in a soup of decay and stains and the music rose with its intensity I felt as if I was witnessing wonderfully horrific. I could actually feel my heart beginning to race with the onslaught of the images and sounds mixing together, moving faster and becoming more agitated and excited.
I recommend anyone looking for the modern "art" in films to give this one a try.