Water Crystals and Masaru Emoto

Water of crystallization (definition) – (Chemistry) water present in the crystals of certain compounds. It is chemically combined in stoichiometric amounts, usually by coordinate or hydrogen bonds, but can often be easily expelled. (http://www.thefreedictionary.com/water+of+crystallization)

I’ve been very interested in work of Masaru Emoto for a few years now and I think my experimental film is a great opportunity to try putting still images of water crystals into video for a couple of seconds and to see if it has any effect on the audience.

Masaru Emoto (江本 勝 Emoto Masaru?, born July 22, 1943) is a Japanese author and entrepreneur, best known for his claims that human consciousness has an effect on the molecular structure of water. Emoto’s hypothesis has evolved over the years of his research. Initially Emoto claimed that high-quality water forms beautiful and intricate crystals, while low-quality water has difficulty forming crystals. According to Emoto, an ice crystal of distilled water exhibits a basic hexagonal structure with no intricate branching. Emoto claims that positive changes to water crystals can be achieved through prayer, music, or by attaching written words to a container of water.( http://en.wikipedia.org/wiki/Masaru_Emoto)

“It was 1994 when the idea to freeze water and observe it with microscope came upon me. With this method, I was convinced that I should be able to see something like snow crystals.

After two months of trial and error, this idea bore fruit. The beautifully shining hexagonal crystals were created from the invisible world. My staff at the laboratory and I were absorbed in it and began to do many researches.” –Masaru Emoto (http://www.masaru-emoto.net/english/ephoto.html)

Ever since Masaru Emoto kept experimenting with the effects that the words, music and environment has on water crystals. He created a series of water crystals images which are available for public to buy and to turn water that they drink into water with beautiful water crystals that will have a positive effect on their emotions and well being.

This is a video of how water crystals develop while listening to Russian national anthem:

I would like to put a few images of water crystals into my experimental film and see if they will help me to achieve desired positive feelings that I want to evoke in the audience.

I read one of Masaru Emoto’s books called “The Miracle of Water” and in the beginning of this book he says the quote “No two snowflakes are the same”. I’d like to start my experimental film with these words because it will reflect that my project is personal and unique to everybody. I’d like the audience to experience love and happiness in their own unique but powerful way. This phrase also justifies the images of water crystals that will appear throughout the film.

I believe the original idea of creation by the creator of this universe was “the pursuit of beauty.” Everything is combination of energetic vibration. As vibration resonates, it makes some tangible objects.
Combination of non-resonating vibration can result in destructive energy, and nothing can be created out of it. When some vibration and the other resonate each other, it always creates beautiful design. Thus, most of the Earth is covered with beautiful nature. –Masaru Emoto

A few images of water crystals:





http://www.masaru-emoto.net/english/ephoto.html – official Masaru Emoto’s website

http://en.wikipedia.org/wiki/Masaru_Emoto – Wikipedia, Masaru Emoto

http://www.thefreedictionary.com/water+of+crystallization – The Free Dictionary

http://www.youtube.com/watch?v=NDCHizh-8Gk – Russia National Anthem Water Crystal. Youtube

http://books.google.co.nz/books/about/The_Miracle_of_Water.html?id=bJSfMdlUy3kC&redir_esc=y – The Miracle of Water, Google Books


7331-1 Thierry Arbogast

My chosen cinematographer is Thierry Arbogast, French director of photography who started his big career working on Luc Besson’s movie Nikita. His cinematography work started in 1978 and still successfully continues till present day.

One of the reasons why I find this director of photography so interesting is because he”obstinately refuses to work for Hollywood, in spite of the colossal sums that are proposed to him, and prefers to work with the French directors”.

Thierry Ardogast’s significant movies include:

2008 Babylon A.D.

2005 Angel-A

2004 Catwoman

2003 Bon voyage (Won Caesar Award, France: Best Cinematography)

1999 Joan of Arc (Nominated for Caesar Award, France: Best Cinematography)

1997 She’s so lovely (Won Technical Grand Prize at Cannes Film Festival; Nominated for a Golden Frog at Camerimage)

1997 The fifth element (Won Caesar Award, France: Best Cinematography; Won Technical Grand Prize at Cannes Film Festival)

1996 The Horseman on the Roof (Won Caesar Award, France: Best Cinematography)

1994 Leon: The Professional (Nominated for Caesar Award, France: Best Cinematography)

1990 Nikita (Nominated for Caesar Award, France: Best Cinematography) 

What is an experimental film?

Time to start putting my thoughts together for my experimental filmmaking project and my essay on it! 2500 words seems like a lot of writing but I have a feeling i’ll have no problem writing so much about what I’m doing for this project.

Let’s start from the beginning.

What is an experimental film? Let’s see what google says…


“The term describes a range of filmmaking styles that are generally quite different from, and often opposed to, the practices of mainstream commercial and documentary filmmaking.Avant-garde is also used, for the films shots in the twenties in the field of history’s avant-gardes currents in France or Germany, to describe this work, and “underground” was used in the sixties, though it has also had other connotations. Today the term “experimental cinema” prevails, because it’s possible to make experimental films without the presence of any avant-garde movement in the cultural field.

While “experimental” covers a wide range of practice, an experimental film is often characterized by the absence of linear narrative, the use of various abstracting techniques — out-of-focus, painting or scratching on film, rapid editing — the use of asynchronous (non-diegetic) sound or even the absence of any sound track. The goal is often to place the viewer in a more active and more thoughtful relationship to the film.” –http://en.wikipedia.org/wiki/Experimental_film

“Experimental films are films that push the boundaries of conventional film making. The experimental aspect could be new and different ways of working the camera, using lighting, playing with audio effects, scripting or even acting.” –http://www.wikihow.com/Create-a-Good-Experimental-Film

7331-2 Dance on Screen Tests. The rain machine

Unfortunately we weren’t able to test the rain machine in the studio to see how it would actually look. But our art director Natasha showed us the main principal of how it was going to work. I made a short video and posted it on Vimeo of how it works so if you’re interested to see here’s the link https://vimeo.com/40789204 and the password is danceshoot5

7331-2 The beginning of Dance on Screen 1


The project I was working on for Dance of Screen was based around a poem by Janet Frame “I can take into my arms more than I can bare to hold”


In our first few meetings we talked to the dancers, who were also the choreographers, about the emotion they were looking for to bring up and they agreed that the emotion is overwhelming.

The dance is based on two parts and the final product will be cut between two of them. One dancer shows an external person- this dancer will be playing with different objects (starting with one and getting more and more till she is completely surrounded by them). And the second dancer shows the internal of the same person , she will be reflecting the emotional side and all her movements will be showing how she feels inside while the first dancer is just interacting with all these objects. The more objects there are, the more it starts raining onto the second dancer <I would like to go into a detail on it in my next entry>

At the end the internal part gets so overwhelmed by everything that she starts drowning. Suddenly everything disappears. The first dancer is lying alone on the floor and the second dancer is lying soaking wet on the ground. The first dancer notices the original object she was interacting with in the very beginning. She picks it up, foreshadowing that everything starts all over again just like with the objects in our real life.

Shoot date: 4/04/12
Location: Studio

Director: Arthur Gay

Production Manager: Amy Cotterell

Director of Photography: Mariya Pogodina

Gaffer: Taha Alwash

Camera assistant: Luke Oliver

Lighting assistant: Cody Armstrong-Paul

Location Sound: Luke Ripley/Jesse Mitchell

Art Director: Natasha Pearl

Editor: Sabrina Lai

Dancer/Choreographer: Sarah Mills

Dancer/Choreographer: Ellen Chitty

Melancholia – initial scene

Melancholia (2011, by Lars von Trier)

I love the way the images move in this opening sequence. Yes, they are depressing but so is the movie! They fully reflect the mood of the film and it is amazing. I think they are just beautiful. It’s almost like taking a still shot and breath life into it.
That is what i’d really like to do. The opening of “Melancholia” is made to move slow and almost backwards. I’d like to create a sequence like that that is moving forwards.