It took my good friend (and fellow bandmate & awesome drummer) Jeff Arthur years to get me into Massive Attack. I don’t know why I resisted for so long, but the album that did it for me was “Mezzanine” (1998). Probably because it featured more guitar; but damn, that album has some great songs on it. I know there may be purists that scream “Blue Lines!”, but it didn’t take with me back then. (And if “Blue Lines” didn’t cut it for me, “Any Love” and “Protection” had no chance.)
But “Mezzanine”. Damn. I’d basically forgotten how great this is until someone reminded me that “Teardrop” is the House television show’s theme song (basically, kinda, mostly). Which got me to go play “Teardop” again.
The song features lyrics and vocals by Elizabeth Fraser of the Cocteau Twins. And the story has long been she wrote it in memory of her incredibly close friend and fellow musician, Jeff Buckley, who died a year before the album’s release. (So, probably, about the time the album was being created).The two had even recorded a song, “All Flowers In Time Bend Towards The Sun”, but it’s not commercially available…
Even without that backstory, the song is great, truly touching. The video carries the mood, and is equally enigmatic, and was directed by Walter Stern.
Fraser’s no longer participating in Cocteau Twins. She’s been doing a lot of other musical collaborations, and released a solo single in 2009. Word is she and husband Damon Reese may be working on an album.
Director Stern continues to make music videos as well as TV commercials.
And Massive Attack? They released the “Heligoland” album this year, and there’s talk of another studio album next year.
Another week, another new music video. This one is definitely a labor of love on many fronts, but first:
As you can see, this combines a lot of different visual and video styles (from regular taping to stills, to animation, stock footage, and other variations). But that variety serves to push forward a specific vision, based on a specific (and haunting) song by Future Islands, masterfully voiced by Samuel Herring.
Here’s what director Jerry Stifelman has to say:
“I’d been thinking about how all relationships in life — from human lovers to the way gravity holds us to the planet — are all about push and pull. I think this push and pull is at the root of all ecstasy and misery. And the sweet spot between this, is intimacy. This is what I feel when I hear Samuel Herring of Future Islands sing ‘so far away’ in the song, An Apology. It’s what I feel when I hear him sing ‘Here, in my chest where you burst, I keep the crush and the weight of the world.'”
“The moment where we connect with each other against ‘the weight of the world’ is the essence of this video. To get at this, we focused on people being, uh, facially intimate. Most of our subjects were real couples we found. In one case, we used an actor. And in three cases, we paired people together who had not kissed before. A big part of the video wasn’t just this interpretation of the meaning of the song, but its sound, which feels less like the conscious creation of a group of musicians than something they teased out of the world. It’s like a song found in the ruins of an ancient amusement park where lovers once walked together. To play to this feeling with the imagery, we used a lot of grain and visual noise, actually having images break apart into static, almost like the way nothing lasts in the world. Even the camera angles, were chosen to feel almost impersonal. I kept pretending the camera was actually an alien probe trying to figure human beings out. The distance between what the camera’s not feeling and what the people are adds to both the tension and the sweetness. To help universalize the emotions, we included the stop-motion footage of the wooden figures, along with the dolphins, the pigeons, and the goats. Because, you know, we’re all in this together.”
But the REAL story is we shot this in North Carolina, late one January evening, hoping we’d get some great nighttime footage, illuminated by just hand-held lights, lanterns, candles, etc.
Our first set-up was around 6pm. It started snowing about 6:30. And not just “North Carolina snowing” — these were real, fat, heavy flakes coming down in a hurry.
So we thought about that, and discussed it for a while. Our options were to either stop, because there’d be NO WAY to match any snow scene on any other day or night in North Carolina; or keep going that night until we had everything in the can. Yes, continue shooting in a snowstorm.
…So we went for it, with the full support of the band. I believe we wrapped up about 11pm that night; wet, shivering and frozen. But heck, Ari did most of the shoot without a jacket (he wasn’t wearing one during the first scene, so…) , a lot of the band members had to keep holding their instruments (including a very large, cold, snow-covered tuba), and people had to keep running up and down a very dark trail just to keep up with the set-ups. In the snow. Did I mention that?
And personally, I think it looks great. The snowfall looks fantastic and has production values we couldn’t have bought with Jay-Z’s platinum card.
Hats off to Jerry and Ari for making that call and sticking with it, and for the creative vision we now have with this music video.
For even more background, here’s Jerry’s description:
“The concept of is simple — Ari leaves his cabin in the night, walking through the forest, picking up members of the band along the way. Unlike many music videos, this one was as much about mood as concept. We wanted to convey a vibe that was appropriate to the song and the band. There is a feeling of timelessness to Lost In The Trees’ music. We wanted to be true to this by shooting under the light of the full moon supplemented only with candles — and by keeping the band dressed in simple vintage clothing. The idea was to make the “walk” to feel like it could have taken place 100 years ago. This made things hard for band members, many of who had to carry both their instruments and a candles while walking in the freezing snowfall. (This was especially hard for Mark, since he had a tuba to carry around). Another aspect of Lost In The Trees that makes them special is the genuine sense of family. Filming the whole group singing the song was an important part of this, and it turned out so special that we added the live audio of the band singing to backing track of the final video. If you listen, you can hear Ari laughing as he sings. The extreme cold and snowfall made even the most simplest things, like turning cameras on and off, became a challenge, but everyone hung together. Originally, we were going to film Ari actually walking into the lake, but it was so cold, we were afraid he might not come out alive. But ultimately we think the video’s open-ended finish is better leaving it up to the imagination of the viewer.”
I’d posted a link to this music video a while back, along with a brief story about the team behind it (Creato-Destructo Imagery, which is rolling with a number of projects).
Given the nature of the video’s “story”, we’ve received some interesting and thought-provoking feedback over the last few weeks. (Full disclosure, I officially served as the 1st AD on this, although everyone performed multiple duties — driving, to animal-wrangling, to prop mastery, to traffic coordination; among a few of the more interesting tasks).
To add some perspective, I got the director, Jerry Stifelman, to reveal some of his thoughts and artistic insights:
“‘Working Women/Lazy Demons’ is a catchy, bouncy song with a dark side. It is an ode to working woman, yet it’s also an insight into the singer’s dark side. It’s almost like he’s a vampire, sucking energy from working women to enable his torpor.
“We came up with the idea of the protagonist (who we named ‘Cal’ in honor of James Dean’s character in ‘East of Eden’) living inside his car and watching the world at a distance as a way to symbolize this. So on one side, the video depicts working women, yet always from the at-a-distance perspective of Cal.
“To cut against the upbeat theatricality of the song, we kept the imagery very naturalistic and documentary-feeling — while still doing things with slow-motion and camera angles to idealize the women, since we’re seeing them from Cal’s perspective. Unlike pop songs, films work best when there is some type of narrative arc, so we decided to bring the video to a resolution, when Cal actually breaks his lazy bubble and engages the worker at the gas station.
“To keep the ending from being too sentimental, we kept this shot very wide. This shot breaks from the rest of the video, which either focuses solely on Cal or sees via his perspective. The last shot is the film equivalent of breaking into third-person narration. Personally, to me the song has always felt a bit like one of those songs that used to open 70’s TV shows like ‘Mary Tyler Moore’, the freeze frame montage was a nod to those shows, which used freeze frames to celebrate characters.”
Who doesn’t love them some David Mamet? No one, that’s whom.
This famous “Coffee is for closers” scene from “Glengarry Glen Ross” has been a hit at least three times I know of: when the film version first came out; when the film version came out on DVD, and when the scene made it onto YouTube.
Note that I didn’t say anything about the buzz when the play first premiered.
That’s because the scene doesn’t exist in the original play script — it was written specifically for the movie version, and Alec Freaking Baldwin absolutely nails it.
So, why not take those words, strip them of cultural, historical, and social context, screw with the time period and setting, and see if it holds up? Why not indeed…
Ladies and gentlemen, the Confederacy of Awesome Players present their homage to David Mamet’s most famous scene:
Oh, and in the same announcement, George Lucas said he’d do the same. But few people ever doubted that Lucas’ heart was in the right place. With Ellison, it was less certain.
During the 1990’s tech boom, I worked for a nonprofit that doubled as both a (free, open) news and information service, and as a service provider to nonprofits — we went around the country teaching 501(c)3 groups of all stripes how to use tech to further their missions (and that covered a lot of ground).
It was a great job — even after 60-hour weeks living in hotels far across the country from my own bed, I always felt my work had helped people in specific, quantifiable ways.
It was also an exciting time to be reporting in that sector, because fortunes were being made overnight. (Looking back, we now know most of these fortunes were only on paper, but still, it was exciting.)
And it was particularly exciting because many of these tech entrepreneurs were giving away big chunks of their new fortunes in very public ways. The attitude at the time was that the people drawn to the tech/start-up culture were more in touch with their core values through their work, more in tune with how social networks can bring real benefits to society, and that the type of people working in that field were driven primarily by the thrill of innovation and discovery; not simply greed and profit.
I believe a lot of these (positive) stereotypes were true, although it would have been interesting to see how these newly rich folks would have held on to their values if the tech crash hadn’t removed most of their fortunes.
But I digress.
I was reminded of that time by Ellison’s announcement. He apparently was motivated by the VERY public appeal by Bill & Melinda Gates, and Warren Buffett, as part of their “The Giving Pledge” effort.
And during the time of the tech boom, the three biggest tech bazillionaires that HADN’T publicly pledged much of their personal fortunes (as opposed to corporate gifts and donations) were Bill Gates, Larry Ellison and Steve Jobs.
Melinda Gates and Bill Gates Sr. went first, announcing plans were underway to create a massive foundation that would funnel the trio’s fortunes into specific areas of global health initiatives, global development (economic aid to the poor), and tech/access and education initiatives in the U.S.
Ellison, not so much. At the time, he was fairly closed-mouth.
It turns out he has been giving away millions, but in a quieter, far less public way. Okay, there was that little dust-up with Harvard University, where he rescinded a $115 million gift because of their ousting of Lawrence Summers. (But Ellison also stated he’d increase his other giving to medical research.)
The reason he’s coming forward and signing this pledge now is that his example may lead other wealthy folks to give and/or make other commitments to the social good.
“Warren Buffett personally asked me to write this letter because he said I would be ‘setting an example’ and ‘influencing others’ to give. I hope he’s right,” he stated in his pledge.
Maybe one measure will be when (rather than if) Steve Jobs announces plans for HIS vast fortune, and how exactly he plans to give it away. That should be fascinating.
For our first foray into animation, and specifically using the really neat Xtranormal service, we present a brief discussion of Apple’s recent communications regarding the new phone, and their iPhone OS update.
Also, it’s Friday, so we wanted to lighten things up.
Did you hear? YouTube is celebrating five years of dominating the world of online video.
Yes, the company is milking this for all it’s worth, but the extended celebration makes sense: YouTube was founded in February 2005, got their initial big funding in November of that year (from Sequoia Capital, as an FYI to all those start-up folks out there), then “officially” launched in December.
…And ever since has been the premier resource and destination for uploading and sharing video clips online.
Quick fact 1: Five years in, visitors log 2 billion views a day. That’s billion with a “b”. Every single day.
Quick fact 2: For every minute that passes, YouTube users load 24 hours worth of video. That’s up from 15 hours of video every minute as of last year. So all this uploading is feeding the viewing, and all that viewing is feeding this uploading.
To celebrate these acheivements, YouTube is sharing the fun with the world. They’ve set up the “YouTube Five Year Channel“ and have invited, well, everyone — including you and me — to join in.
That doesn’t mean you can upload just anything and expect it to get posted; but it does mean there are some really interesting, insightful, funny and touching videos already up, posted by regular people sharing stories about how YouTube has affected their lives.
It’s not just regular users, though. The company has savvily invited celebrities to curate their favorite clips.
This effort is more than just puffery; you can watch his intro below, then check out what Conan O’Brien likes:
When the Breitbart clip and resulting propoganda first broke, I was immediately suspicious because of where things originated — a partisan group with a history of questionable tactics, and a proven record of editing video to support a specific agenda.
To say the initial reactions from the administration, the NAACP, and much of the mainstream media were disappointing, is to let these groups off with minor slaps on the wrists. They deserve a proverbial whack on their snouts, followed by “bad dog!”
“Unprofessional” is one word I’d use. “Amateurish” is another. “Incompetent,” “negligent,” “unsuitable”, “naive,” “sloppy” and “half-assed” are some other words I’d suggest, and that’s only because I’m trying to be safe for work.
There’s a lot I want to say about the political and racial implications of what’s happened, but that’s a detour from the basic facts as they appear to be:
Shirley Sherrod, a woman who’s had a tremendously difficult background that might break many of us, worked hard to get to a position where she could help members of her community. She fought through her own biases and prejudices and was rewarded for it with a federal appointment, one that enabled her to do even greater good and on a larger scale.
Then she was targeted by an agenda-driven group, and a video of a speech she gave was edited, taken out of context, and spun to serve craven political purposes.. The group behind all this pushed claims of racism by Ms. Sherrod, and nearly every group that could and should have done some fact-checking… didn’t.
Their first reactions were FAILS. Working professionals that should know better took the edited clip at face value, failed to do basic vetting and verification, and the woman wound up being hounded from her job, her reputation smeared.
Things are now looking better for Ms. Sherrod — the full video and complete context is now out there, and if anything, she looks far better than even her personal narrative would suggest — and she’s reviewing multiple job offers, including her former post.
But those groups that first reacted have a lot of explaining to do.
As a former journalist, magazine editor, and now video producer, I’d like to offer a few tips and questions these groups should ask themselves — and they’ll work well for anyone else that has to deal with “shocking, controversial” online content .
1. Carefully review the clip in question. Do you see any edit points? If not, look again. If you do see edits/transitions, WHY? What’s been cut out, and why would anything be cut/edited/trimmed?
2. Where’s the raw/full clip? If you’re going to make any judgements, or if there are any possible negative repercussions, get the original clip.
3. Remember to keep context in mind. Personally, if there’s any question about context, possible edits, or any manipulation at all, you need to do your job and make sure the original, authoritative source has been vetted thoroughly.
4. Once you have the original/full/raw clip… REVIEW IT. (It turns out that a few of the groups in question had this clip in hand shortly after the controversy began, but it was too much effort to sit down and watch it. That’s just shameful and unprofessional).
5. If for some reason this original material isn’t readily available, consider that a red flag. Hold off on any next steps until the source material is available.
Yes, it’s more work, but doesn’t this action involve people’s lives, careers, and reputations? It’s just basic double- and triple-checking
If the tables were turned, how would YOU like this to be handled?
Pavlov’s dog reacted quickly, but so what? You’re not a trained dog. You’re a working professional, right?
My last post — which displayed a photo of midget professional baseball player Eddie Gaedel of the historic St. Louis Browns above a photo of U.S. Senator John Boehner — led some people to believe I was inferring that Boehner was perhaps a mental midget.
That’s not the case. As the writer, I wasn’t inferring anything. That’s the job of the reader. My job is to imply, if not overtly suggest.
And to let the chips fall all over the place, had you heard the news about Chuck Schumer’s recent statesmanlike action? In the face of massive unemployment, staggering deficits, and acid-flecked political discourse at all levels of the national dialogue, Schumer bravely whipped off a letter — to Steve Jobs. Complaining about the iPhone 4. And asking for a free fix.
To the senator from New York’s credit, he at least remembered to ask for a free fix for everyone that bought the new phones, not just himself.
James Hyatt 