The track has also been used in an enormous number of videos, TV shows, movie trailers and advertising campaigns, including the trailer for The Hunger Games: Catching Fire, an episode of MTV’s Teen Wolf, and on the soundtrack for the movie Divergent.īut what is just as fabulous as the song itself is the black and white video Woodkid produced for ‘ Run Boy Run‘. Quite a feat for the French artist, whose chamber pop, industrial music doesn’t usually get attention from the mass market. It was the second single from the powerful album, and hit the charts in six countries. The song itself was written by French singer songwriter, producer and music video director Woodkid, aka Yoann Lemoine, for his incredible debut album The Golden Age. What was the trickiest element of the project?Ĭompositing! Every monster was shot separately, the last massive fresco had more than 400 layers of explosions and dust and characters.‘Run Boy Run‘ was played on episode 2, “ Tape 1, Side B“, as Tony’s car passes Clay’s bicycle and then Tony meets Hannah’s mother. I’m a big video games player, I specially enjoy the final fantasy series. I think it’s a world that has to be renewed and that you can very easily mix with fashion, cinema and contemporary art. I love the idea of recreating a whole society, from religion to geography, to cults and costumes… It’s a perfect ground for symbolisms and metaphors, which are my favourite tools to create stories and emotions. It felt like there were a lot of ideas from and visual nods to fantasy literature – did you have any particular influences? It was great to see him evolving like that. I had to direct him chronologically, from his fears to be cabled, his tension, to his release after two days of shoot where he was laughing and playing with the stunt. It’s really about the transformation of the child to an adult, his future collision to the city, the delusion that’s gonna happen next, his imagination versus the social moral. How did you go about coaxing this performance from your actor? And what does his transformation mean to you? I love the evolution of the main character from fearful boy to triumphant hero – just as the boy picks up various weapons and helmets on the way his expression also changes. She did an amazing job interpreting my visions. I worked with an amazing French costume designer called Rosalie. I wanted something very organic and woody, in opposition to the city that was very cold and mineral. The monsters are amazing – what inspired the character design and who helped you create them? I actually never really feed me with music really. ![]() Sometimes when I watch a beautiful sad movie, I want to write a song right after, just transcribe this thing that happens in my body into vibrations. I needed to express those bad emotions and transcribe them into an art piece. When I did Iron (see Related Content) I was in a very angry and rebellious state of mind. There is something very psychoanalytic in this album, it’s a real testimony.īut I’m mainly inspired by anything emotional. It’s not an autobiography but I inject a lot of my personal stories and feelings in it obviously. The video seems to draw from childhood fears, triumphs and make believe – did you draw from any personal experiences or memories?Ī lot of course, I get inspired by my own sexuality, my own childhood, my own demons. Not really, it’s much easier as I start thinking of the visuals as soon as I start the track! I can go much deeper as I agree with the artist on every point! What chord sequence would perfectly represent nostalgia, or a sense of revival for example? Which sound texture would be marble, or wood? Which sound would be a very bright light?Īre there any particular challenges that arise when working on both the track and the music video for a project, when compared to creating a video for another musical artist? I try to find links between images, sounds and emotions. I make it come to life by gathering images, sounds, it comes from a very blurry and abstract starting point and then I elevate my visions, I sculpt them by gathering more images or more sounds, and I try to reach a momentum where all these references together make perfect sense to me. ![]() It’s like memories or colors, textures sometimes, a sense of light. As a director I need to see images, ghosts. When developing Run Boy Run, did the project start out as a collection of visual ideas or musical ideas? We spoke to Yoann about combining filmmaking with musicianship and flipping between the two. His latest video, Run Boy Run, was created for one of his own songs and the resulting synthesis of sound and vision is both epically impressive and deeply personal. And it turns out that, as a musician, he has pretty much the same effect on our ears. ![]() Don’t we just love Yoann Lemoine? For some time now he’s been a director who has regularly caught our eyes with glints of genius and flashes of beauty.
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