Every artist dreams of seeing their work find a life of its own--somewhere meaningful that expands the creative conversation they began. Today, I get to share a piece of news that feels like exactly that kind of moment. My 2014 song "Snake Dance" has been officially included in the Original Motion Picture Soundtrack for Once Within a Time, directed by the renowned filmmaker Godfrey Reggio. "Snake Dance" is the 12th track on the album, featuring vocals by Sussan Deyhim. Composed by longtime collaborator Philip Glass, this visionary soundtrack unfolds as a fusion of orchestral minimalism, avant-garde textures, and cinematic soundscapes.
From visionary filmmaker of Koyaanisqatsi (a Hopi word meaning "life out of balance"), Godfrey Reggio's new film Once Within a Time is a playful apocalyptic fairy tale, and a poetic critique of the modern world. The film is a non-narrative, experimental work, told without dialogue, where the music informs the imagery and vice versa. Philip Glass's score, as expected, plays an essential role. Glass has been Reggio's musical partner for over 40 years, and his compositions have always served as emotional, structural counterpoints to Reggio's imagery.
Here, Glass delivers one of his most playful works in recent memory. The music dances, pulses, and oscillates with a childlike buoyancy, yet beneath the whimsy lies a nervous tension--a sense that the brightly colored world is tilting toward catastrophe. Glass's score becomes a kind of heartbeat, guiding the audience through the film's oscillation between enchantment and dread. To have "Snake Dance" woven into this tapestry feels profoundly affirming, and I couldn't be more thrilled to share this milestone with you.
A Film That Defies Categories
Godfrey Reggio's Once Within a Time is a visually arresting film that continues the director's lifelong exploration of humanity's relationship with technology, nature, and consciousness. Like his earlier Qatsi Trilogy: (Koyaanisqatsi (1982), Powaqqatsi (1988), and Naqoyqatsi (2002), the film dispenses with dialogue and conventional storytelling, instead weaving together a stream of striking, symbolic imagery that feels at once ancient and futuristic. Reggio constructs a surreal, mythic world--part dreamscape, part cautionary tale--where human figures, masked archetypes, and swirling digital environments interact in a ritualistic dance of creation, destruction, and rebirth.
At the heart of the film is an inquiry into what it means to be human in an age defined by acceleration and fragmentation. Through distorted perspectives, rapid-fire montage, and hypnotic rhythmic pacing, Reggio contrasts the innocence of childhood with the overwhelming spectacle of modern technology. The film blurs boundaries between the physical and the virtual, suggesting that contemporary life has become a kind of enchanted spell--mesmerizing, disorienting, and spiritually destabilizing. Rather than offering direct commentary, Reggio relies on visceral, symbolic images to evoke reflection in the viewer, inviting interpretation rather than prescribing meaning.
Visually and sonically, Once Within a Time is an immersive experience. The cinematography combines practical effects, digital manipulation, masks, and theatrical staging to create a world that feels both handcrafted and otherworldly. Accompanied by a mesmerizing score from composer Philip Glass, the film becomes a meditation on the collective psyche--its anxieties, its hopes, and its unresolved tensions. Ultimately, Once Within a Time is less a story than a cinematic ritual, calling the viewer to step outside linear thinking and encounter the modern world as a living myth unfolding in real time.
The Journey of "Snake Dance"
My inspiration for writing "Snake Dance" came from the biennial dance of the same name, which has been performed for thousands of years by the Hopi Tribe in northeastern Arizona. The Snake Dance is the grand finale of a 16-day ceremonial to pray for rain and the renewal of nature in their arid environment. The Hopi people believe their ancestors originated in an underworld, and that their deities and the spirits of ancestors live there. Rattlesnakes are regarded as powerful spiritual intermediaries between the people and the spirit world. They call rattlesnakes their "little brothers" and trust that they will carry their prayers to the rain deities beneath the earth.
Thus, the Hopi dancers sway rhythmically around the village plaza carrying snakes in their mouths to impart prayers to them. The snakes are respectfully handled, purified, and eventually released in the direction of the cardinal points, symbolically delivering blessings and rain petitions to the life-giving powers of the Four Winds. The movements of the dancers, the rhythmic accompaniment of songs and rattles, and the carefully choreographed roles of various participants all contribute to an atmosphere charged with reverence, intention, and transformation. I tried to evoke the dance's transformative power when I wrote "Snake Dance."
Over time, "Snake Dance" became one of those evocative pieces that seemed to generate its own mythology. Listeners told me they used it for meditation, spiritual work, ecstatic dance, and creative flow. It was never just a song; it was something living. When I learned that it would be included in the soundtrack of Once Within a Time, it felt like the filmmaker had seen the same spirit in the piece that I did. The connection made sense: the film is, in a way, a dance of its own--a serpent twisting through symbolic landscapes, changing shape as it moves. "Snake Dance" finding a home in that world feels like the song has completed a full circle.
How It Feels to Be Part of This Vision
Being included in a film soundtrack is always special, but being included in this soundtrack is something else entirely. Godfrey Reggio's films have influenced generations of artists. His work has shaped the visual language of music videos, documentaries, and even entire genres of cinema. The chance to have a small voice within that legacy is something I'll carry with me.
But there's also a more personal layer to this. As artists, we often create in solitude. We write, record, revise, and wonder if what we're making will ever step beyond our own creative space. When something we've made breaks into the wider world--when it becomes part of a larger work of art--it feels like confirmation that our impulses were understood. That the energy we put into the world was received.
To hear "Snake Dance" within the context of the film--woven into its textures, its rhythms, its surreal cinematic heartbeat--was deeply moving. It reminded me why I make music in the first place: to connect, to express something elemental, to be part of a continuing conversation about what it means to be alive in this moment.
A Celebration and a Beginning
The release of the Once Within a Time (Original Motion Picture Soundtrack) is a celebration, not just of the film, but of the collaborations and creative cross-pollinations that made it possible. I am profoundly grateful to everyone involved in bringing this dreamlike project into being--and grateful beyond words to have "Snake Dance" included on the album.
This moment also feels like a beginning. A doorway. A reminder that art, once released, can journey to places the creator never expected. My hope is that listeners who discover the song through the soundtrack feel the same serpentine pulse and transformative energy that first inspired me to write it.
Where to Listen
The full Once Within a Time Original Motion Picture Soundtrack is now available across streaming platforms, and "Snake Dance" is the 12th track on the album. I invite you to explore the soundtrack in its entirety--it's a powerful, immersive experience in its own right. And if you're new to my work and arriving through the film, welcome. I'm honored that our paths are crossing in this way.
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