Director: David Barker
Video: Bad Reality
You can read more about David Barker including news on his upcoming feature film 'The Second Coming' at his website Mini Sumo.
You can watch the 3 interactive videos for Rad Reality here:
How were you approached for the job?
After the first clip we did for Stonefield’s first release, “Blackwater Rising”, Michael Parisi, who runs label Wunderkind, came back to see what we could do for “Bad Reality”.
What inspired you on your idea for the video?
The idea for a “crime piece” came from songs title - Bad Reality. Originally, we wanted to shoot in Tasmania, doing a pulpy, narrative-based clip in the hills. But the dollars didn’t stretch that far, so we decided to stay local, and try a different concept. I’ve always loved the running scene in Requiem for a Dream, so that was definitely an inspiration. But I’d never seen it used in reverse, so we did some tests and it looked cool, and energetic, which I felt the song needed.
Then the idea for stunts came into the chase sequence. Again it was the idea of those being run backwards that excited me. In addition, the idea using the four girls playing the same character seemed interesting – like Todd Solondz did in Palindromes. Finally, I wanted to try something that could extend into interactive, try and push the idea of what a clip can be. In the end though, I think it’s really the music that inspires.
What was the budget?
Tell us about the production process?
We shot two big nights in and around Chinatown in Sydney. A lot of ground was covered in the chase scenes, plus a number of stunts, it was tiring. In the end, we closed of a couple of lanes for the stunt work, which allowed us freedom and authenticity. We did a lot of body rig work. On set-up, with Holly the bass player, she was riding a bike – that was pretty cool.
What were the limitations you faced with the production?
What was the turnaround?
About a month. Michael knows that if you don’t have a lot of money, then a lot of pre makes a world of difference.
Who were your key collaborators?
My partner, Marianne Khoo edits, and helps with concept.
Nev Fordyce at the BMF agency did all the interactive website design and back-end, plus we work-shopped the loop idea together. It’s really essential to get these guys in early, as the interactive is integral to the concept.
Rupert Brown was the DOP. And Hannah Bella Bowden styled.
Have you worked with any of them before?
Most of my work involves Marianne. Plus, we do all the post together in house here @ Mini Sumo. Rupert was first time, but we really clicked. Nev and I worked on a comedy web-series we did a few years ago called, The Future Machine. Nev’s a digital genius.
What did you shoot on? What lenses did you use?
We shot mostly on a RED Scarlet, with Arri MKII 35mm prime lenses. All the body rig shots we used a 5DMKII with Zeiss ZE primes. And they cut together fine.
Do you feel that the client understands the production process? How involved were the band and label?
They do and they don’t. The interactive was even tough for us to get our head around. But the label and management are great. They seem to trust me. You can’t ask for more. With both clips, they wanted something that was a little different. With this in one particular, they didn’t want a performance clip, so it gave us a lot of freedom to use the girls in a narrative.
And the girls (they’re all sisters) are amazing to work with. They are up for anything and just give it their all. They’re young, learning as they go, and with that youthfulness comes an energy and enthusiasm that inspires everyone.
If you had a chance to approach it again, what would you do differently?
I’m very happy with the way in turned out, actually. Probably the one thing that I learnt was that narrative interactive clips are few and far between, and I think that’s because predominately audiences are more into gimmick-based ideas: they’re easier to follow, and in some ways are more fun.
We had that discussion early on, Nev and I, so it was a conscious decision to do narrative… to try and break some new ground. In the end, I think we achieved a good balance: a traditional clip that can play for TV, plus a digital interactive version (based around the ideas in the TV version), that allow the users an opportunity to dig a bit deeper.