I personally dig this one. This is my original DIRECTOR'S CUT of the video, which is radically different from the one Ladytron put out. Structure, visual effects, edits. Gone were my camera stabilizations, my psychotronic split screens, freeze frames, dirt marks, my flash edit progressions...for something more...conventional. Pretty much a completely different vision. Happens. Was pretty much a bummer for me since I really liked this edit and video. Also, they and the label put in $10,000 total while I personally put in $70,000. So there’s that.
I paid $70,000 extra to shoot this on 35mm film and move the respective crew out in the desert to support that camera. I didn’t shoot 16mm because I wanted the wider gate aperture, allowing wider lenses to fall off depth of field quicker. It was an indie video but I ripped through film like a stripper through cocaine. I think this was a turning point for me where I actively looked forward for the film age to quickly die. If I had done this today, it would have easily been done on a 5D and a whole lot less money. As far as I’m concerned, any tool that gets filmmakers closer to making decisions based on art and not finance is the only way to go.
A couple notes:
-Locations were stolen, no permits.
-Some might think I shot this on swing shift lenses. Nope. My DP Probst and I actually found shards of broken glass in the rubbles of the desert and just held them in front of the lens.
-All the props in the video were found in the desert (aside from Ladytron can), mostly next to an old broken house. Children's dolls just laying out there...creepy.
-One of the band members, Mira, couldn’t be there on the shoot so I shot a body double. Then I flew myself to London and photographed her head against greenscreen, black, and white backdrops. I head replaced every shot of her in there.
-The girl in the video was the daughter of someone at the Outback Steakhouse we ate at out there.
-As the sun went down, I suddenly had this image in my head of them smashing the car with bats. Not my car. I bought that windshield on the spot. I just needed to see that image in my head.
-There's a ghost effect in there where Helen splits in three. I shot that with THREE 35mm camera mounted together and then morphed the shots together.
-Did you know rabbits and coyote’s cost money? I do now.
I've never been afraid of spending money on my own work. My new movie Detention is a big example of that. I'd rather own a dream than a yacht.
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