We want to do something that we really believe in, that isn’t just having us playing our instruments and stomping and clapping again. But that video was working with two people that were in their twenties. It is different than the order that we shot it in, but it just helps place each of these vignettes that we were going to be passing. We shot it on a RED Epic, and one of the things that Kevin and I started doing tests for right away was ways to shoot this video without taking a million years and having a crazy car rig and a gazillion lights. I’m really excited to get to know her. She’s not an actress, she doesn't need to fully take on what’s happening. He talked about how he used to work at a coffee shop, and some kid came up and was really interested and looking at what he’s doing. Doug: Why was that important to you to have them a part of the video? I’ve seen so many kids who get stuck as actors and it’s really hard to discern whether they’re doing it of their own volition or if they’re doing it because their parents are saying that they should. I think the combination of those two conversations was where the large idea came from, where to me the video has both meanings at once. Li Rong Hao: Top 3. When we talked about maybe having the band in it or not, to me it just seemed so natural that we would be able to complete that cycle of when they’re in it. But just the idea of auditioning kids for a music video to me seemed terrifying. To be say, “Hey, this isn’t something that we signed off on and let happen, it’s something that we were actively a part of and actively supported the whole way through. She’s really excited about being able to do the OMG camp as soon as she’s old enough. Isaac: It’s interesting because in some ways it was and some ways it wasn’t. I’m sure it’s not standard actor/director relationship. Doug: You’ve known the band and you’ve been friends with them for a while now. I’ve done a bunch of car shoots over the last six or seven years, mostly not as a director, and I tend to avoid going to shoots with cars because of that same problem. Doug: I didn’t imagine you wanting to introduce the concept of divorce to a child just for the purposes of a music video. And the idea that - for kids at least - "keep your head up" could mean not just be strong and carry on, but could also mean keep your eyes open and keep looking around at the world. That's why when working with five year old Talula Paulson, star of "Stubborn Love" by The Lumineers, director Isaac Ravishankara used some unique tactics to get a wonderful performance out of Talula. Stelth and I spent a lot of time talking about the idea, I think Wes was in Pairs at the time. Just to watch if people have an appreciation for this music basically. Incredible!!!!!!! A lot of it is this idea of being curious about the world and having a kid’s perspective and keeping your head up, meaning paying attention to the world that’s going on around you. When you have kids in front of the camera, they’re technically actors. Login or register to post comments; Music Tales. This was the first time I’d ever even heard of doing this, the HDR mode on the Epic. I personally really feel uncomfortable about the child acting industry in Los Angeles. All of the little vignettes of things that we passed, those were all planned and those were very much part of a tangible road map, like "Here are the emotions that she’s going through and here is the change that’s happening in life as outwardly manifested by things that they drive by." And I have to say, the mawals ... А мне показалось, что это повторение здесь ... Angelo Manna - Care paisane, 3 Rignante, duche, princepe, marchise. And the truth is that it’s not complicated - and that’s the point. They’re good-looking people and it’s fun to watch them play music. I think part of it is the combination of directing and editing that you try to nail in a roundabout way. Read about music throughout history Read. Kevin Hayden shot it. What they found is, as people are going about their day, when they’re going doing to the subway, they’re going from A-to-B, they’re going to work, their heads are down, they’re not paying attention. There were a few more serendipitous ones that weren’t planned, but because of the possibility of getting rights to show other people, and just in general being able to have control over the things we were passing, and the lighting and everything like that, we just very quickly realized that we had to plan all the things we were passing or it wasn’t going to happen. The idea was always to have those as anchors, and maybe have some others that feel more natural by just shooting them by just essentially shooting her in the car looking out the window passing by certain things. Kids invariably would stop and would listen. The car felt like this very safe space and it’s all very natural. We talked a lot about maybe not having them in it, especially because it became this big logistical nightmare to find a time when they could be in it. Giving these little thought experiments, like, "Let’s think about this, or watch this, or right now we’re being really happy and it’s fun." You can find him on twitter at @doug_klinger. And the only people who did pay attention were kids. It came to me that way and then I ended up just writing a treatment, without actually even telling them that I was going to submit it because I know it got sent back to a bunch of people to pitch on. It starts with how kids - kids with dogs mostly - kind of see the world in this different way than adults do. It’s really special being able to have Talula in it because she’s amazing. It was really nice to shoot something that looks so great, but was shot in a way that still feels totally natural. I thought about approaching it very similarly as this video I did for this band Okkervil River about two years ago. Then the band actually ended up not really necessarily feeling like they were on the same page with me on the first idea. We would get to hang out and learn to be friends with each other and have a much more intimate relationship so that it wouldn’t feel like a job and it wouldn’t feel forced. Doug: What was the process behind shooting in the car? One of the things that I’ve learned through working with 3OH!3, and just by knowing these guys, it’s one thing to be friends with the band, but especially with bands that are operating on a bigger level, at a certain point it’s not just you and them making it. We got on a few video phone calls and he and I talked about the concept to Wes and the way to incorporate that into this concept that Stelth and I had been developing. He’s the one that plays piano, accordion, and some other things, he also does backup vocals. All Rights Reserved. There’s this emotional process that I want to go through over the course of the video, but not a straight way to get there. It was just the four of us in the car, and then there’s all this stuff happening outside of it, but you didn’t feel any of that when you were in the car. I think that’s why the video works more than anything else. He’s one of the best violinists in the world. This writer for the Washington Post did this off-the-cuff research experiment with Joshua Bow before he played this giant concert hall show in DC a few years ago.