American Cinematographer - May 1984 - 14

More Untold Tales
In

a

classic

display of revisio¬

nist history, your article "Untold Tales
of Koyaanisqatsi" (March 1984) man¬

further obscure the essential
played on
film. The
that remains to be told is that

ages to

role that Christine Pihl-Gibson
the cinematography of the
story
Christine and Ron Fricke

worked to¬
gether during two years of intense plan¬
ning and shooting on location in New
Mexico, Hawaii, Los Angeles, San Fran¬
cisco, Boston and New York. They
collaborated on such things as composi¬
tion, lighting, exposure, camera move¬
ment

and lens selection.
To those of us who knew and

watched them work

together during that

clear that the film was
being made as part of a close creative

time, it
and

was

personal collaborative effort.

Christine and Ron shared ideas and mu¬
tual support while Godfrey Reggio pro¬
vided financial backing and the overall
concept

of the film.

is credited on
associate cinematographer
but this could easily be missed consid¬
Christine

screen as an

ering how low she's placed in the credit
roll. The article mentions that she is
responsible for setting up the L.A. stu¬
dio, but in fact her influence on the

cinematography was much broader and
this should be acknowledged in any arti¬
cle that purports to tell the facts behind
the making of the film.
Ron Fricke is without doubt a

talented filmmaker in his own
right, and Koyaanisqatsi is a tribute to

very

his innovation and energy.

Still, film-

making is a collaborative art and those
who collaborate should receive appropri¬
ate

credit.
-Chris Johnson

M-Pa-

On

' The Scanei ■_.

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American Cinematographer - May 1984

Table of Contents for the Digital Edition of American Cinematographer - May 1984

American Cinematographer - May 1984 - 1
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