The first thing which struck me was the spontaneity with which Mr. Taylor was shown creating one of his new works. Standing side-by-side with one of his dancers, the two just ... moved ... and then conjectured about what might go next: "you could start this way ... and then, maybe ..." Very interesting. While there is a generous offering of studio footage, the recurring stereotype of the intensely driven dancemaster imploring his subjects to understand the gravity of his holy creation (you've seen this in movies) does not exist in this film. No cinematic exaggeration here: it's just the truest depiction of what happens as dance is created. In reality, the emotion and interaction between Mr. Taylor and his dancers is often more characteristic of a family than of a teacher/student relationship.

Aside from following people around, Mr. Diamond's camera gets to many places I've never seen before. I loved the views from the wings in the opening sequence ("Esplanade"), and also during the performance in India when the sound system went dead and the crew was trying not to be frantic during the silence (the dancers continued on without missing a step until the sound was restored!). I also got a kick out of the dancer in his hotel room explaining what he had to go through to wake up after a night of performing.

The film highlights two dance pieces, "Aureole" and "Piazzolla Caldera," and even though they aren't seen in their entirety, there is no diminishment in their strength and beauty. Mr. Diamond, who has also directed episodes of PBS's "Great Performances," was adept at interspersing the contrasting performance film (color) with studio footage (black and white) so that the two meshed perfectly. The editing during the dance numbers was the best I've ever seen, incorporating both the more typical audience vantage point with the more dramatic on-stage perspective from amongst the dancers. The proximity and the viewing angles were stunning; a wonderful surprise. There's also a fair amount of footage from the Paul Taylor Dance Archives, showing a younger Mr. Taylor and company performing signature works.

In maintaining the foundation of a storyline, the film incorporates a biographical aspect, showing the evolution of Mr. Taylor's role as a dancemaker as an outgrowth of his boyhood years. The interviews with his long-time friends and associates, as well as the words of Mr. Taylor himself, are proof of the depth and seriousness with which he reveres his art. The film also touches on the troubling business realities that weigh on dance companies: having to remain financially solvent, and dealing with the picket lines which materialized in New York after the company hired non-union musicians. There's even a scene involving the firing of one of his dancers ("I just didn't want to work with her"), a somber sequence of dialogues, but one which lends strength to the reality of this film.

As far as DVD features go, nothing extraordinary, but lots to read about the "inspirations and interpretations" behind the dances, biographies of selected dancers, and a scrolling list of the company's complete repertory (through 1999).

Overall, this film's portrayal of the ways in which modern dance is created and portrayed make this a DVD I'd recommend to anyone. Every minute was fascinating.