Director: Matthew Chuang
Director: Matthew Chuang
Artist: Fire to the Stars
How were you approached for the job?
I had known Cat, the lead singer, for quite some time and we had talked
about doing a clip together but nothing really came of it. I contacted
her out of the blue to see if she had any new tracks she was working on. I had
been doing commercial shoots back to back for some time and creatively wanted
to do something more personal and in tune with something darker and more of an
abstract nature.
It all came from hearing the track. The track is all about the loss of
love and wanted to create a series of intimate suburban portraits of characters
who find themselves in a moment of realisation. Gregory Crewdson was
certainly an inspiration at the beginning, I’d share his images with the cast
and crew to show what we’re going for in terms of mood but it was all a
starting off point, we’d build off that and create our own moments and our own
characters that worked in line with our concept.
Tell us about the production process?
During the shoot we relied on that concept, and that one line has so
many different interpretations. Each actor who came in was given that one simple
concept and we built upon that, certain ideas were preconceived but most were
really a result of discussions on set, within the space… it was a very
collaborative process with everyone throwing in ideas. If it felt right, we’d
shoot it. We’d build on a moment, try alternatives, it was very instinctual and
fluid. Often we’d shoot continuously, sometimes directing the cast to do
particular actions, other times just letting it go and see what happens.
I called in favours from the crew, who are people I often work with on
commercials, and were generous with their time and knew that’d be working on
something that was quite different. When people are offering their time, you
want to make sure the work they’re a part of is worth their while. I am very
selective with the people I choose to work, people who I know will bring a lot
to the table creatively. I trust their input and I try to create an environment
on set that allows an open dialogue. We were conscious to keep things very
instinctual on the shoot, to keep ideas new and to not reference anything in
particular or to repeat ourselves. The cast would arrive at different times and
we’d just move from room to room.
Tell me about the casting process and the cast you selected.
We put out a call for actors who might be interested,
actors I had already worked with and people recommended to me. Victoria put out
a call too to see who would be interested. We were conscious to have diversity
amongst the cast but mostly anyone with an interesting presence about them. Before
coming onboard, I discussed the concept with them and showed them examples of
mood and made sure they were comfortable with what we were going for, something
darker in tone.
How did you prepare the cast for filming and how did
that translate on set?
We had a few initial ideas on who might be doing what on screen, once
they were in wardrobe and in the space, we’d find a prop for them to work with
and just talked about possible actions and reactions. The lighting and ambience
played a big part in creating the atmosphere and that helped get everyone into
the right mood, even if the emotion itself was still developing. It all stemmed
from instinct.
What were the limitations you faced with the
production?
Originally I wanted to have a variety of suburban locations, locations
that had a similar feel but noticeably different. The logistics of moving
around and the amount of days required was just too much to ask. Then through
some favours from a location manager, I was presented with one house that had
so many layers and character in each room that we could go for that same
feeling, yet still felt intimate. It allowed us to maintain everything in the
one location.
What was the project turnaround?
Everything was shot in one day. Editing took some time since I was
fitting it in-between other jobs but it also allowed us to step away from it
for a bit and revisit. The band were still finishing their album so time wasn't a
concern for us.
Who were your key collaborators?
Hugh Marchant was our art director who I’ve worked with many times. He
has a great understanding of how an environment creates a certain mood and
giving our cast tangible items that help bring out certain actions.
Jesse Moyes was both the gaffer and movi operator. Once again in tune
with creating a certain feeling and atmosphere that felt right for each
character. For certain shots, we had the mimic feature on the movi. I’d rig it
onto a fluid head and I could operate pans and tilts, more keeping an eye on
framing while Jesse focused on the movement.
Elizabeth Taylor was costume. She had brought a lot of her own items.
Our cast also brought a lot of their own clothing and together with Elizabeth
they’d talk about which pieces provoked a certain emotion. They’d present me
with options and we’d go from there.
Victoria Thaine and Thuy Vy helped with certain portraits. Often cast
were overlapping and I’d work in one room and move onto another while Thuy
continued to shoot alternative options and sometimes Victoria and Thuy built
moments together where they’d run by me. Their instincts were spot on.
Rocky Amaranto was the editor. The edit was more laying these portraits
and building small arcs in what’s withheld and when to reveal moments.
Colourist Martin Greer also added more depth in the visuals. I had
approached the cinematography on set to be very close to what you see in terms
of colours and tone… once again it was all about an atmosphere and creating a
certain feeling, the grade was more keeping in line with that but enhancing
certain details. The key was to not do too much otherwise we had lost that
feeling. Martin had a few little things up his sleeve that really brought an
extra layer and depth.
What did you shoot on? What lenses did you
use?
We shot on the Alexa Mini on the movi, and an Amira that was hand-held.
We shot on Zeiss Standard Speeds.
How involved was the band and label?
The band were very receptive to the concept. We knew we’d want to say certain
things in regards to representation of same-sex couples and characters that had
more depth. Once we all felt like we were on the same page, they’d let me move
forward creatively.
If you had a chance to approach it again, what
would you do differently?
I would have loved to have shot this on 35mm with steadicam.
Photo credit Clare Plueckhahn
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