From the inception of this project it started with a treatment following Joe around this decrepit house at the crack of dawn, to aimlessly walking the early maroon streets of LA, hopping into cab to a recording studio, to a bar, and then to a rehearsal studio with the band playing against these wild projections...that just never came to fruition, and probably for the better.
Things kind of died down a little but after a few months or so we regrouped and Joe had a really good idea about keeping this "tunnel vision" look by having the camera remain in one spot the whole time and just capturing him in different angles with different lighting. I loved the idea and so we went to Annie Hardy's house to film it a week later.
We kind of just let the wind fly trying a bunch of different performance ideas, messing around with lights, adding smoke by blowing cigarette fumes from the side of the camera, dumping water from a bucket above the camera and slowing it down, and Joe even fell backward into the pool as a wrap shot.
I knew right away when I dumped it into FCP that I was gonna have a field day with the footage. After I did my first cut and sent it to Joe I thought it was 'the one'. Although, Joe came back at me with some really great ideas for the edit which made me delve deeper into what I was originally doing. We went back and forth about 7 times and with each edit it was growing into this uncontrollable beast. That's what we wanted from the start. We just had to coax it out of its dark den.
But I really got to hand it to Erik Andrews for helping film the behind the scenes footage and assisting on the video with lighting and direction; and of course big thanks to Annie Hardy for letting us use her backyard and for operating the audio for the live track.