Director: David Barker
Director: David Barker
Artist: Stonefield
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?
$12.5K
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?
Always the same - money vs time. Though we did strike a hurdle in the first scene of the shoot. Holly, the bass player was only 14 at the time, so when I wanted to put her in a bra on a bed with blood from a head wound soaked into the sheets, it occurred to me that I never had asked her mum. Mrs Findlay had come with the girls from Melbourne, and she was in the next room. So we talked her through the shot and why we wanted to have Holly do it (it was to do with the order of the girls appearing in the clip) ... and she approved what we wanted to do, as long as it wasn't lewd, or in bad taste. She's got four daughters in a rock band, so I guess she knows that sometimes you need to push boundaries. Mind you, it wasn't like we were making The Exorcist
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.
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