How does the idea develop when you’ve heard you’ve won the pitch? There is no set rule for treatments, but this punctual communication worked very well for this piece. I worked the hardest in trimming the fat from the script and telling the story in short, punchy sentences: like a film script. This helped this particular piece not feel overwhelming. Considering how fast-paced and action-packed the video was, the treatment was very short. I put together a 4 page document (2 pages of writing). After living in London for 6 years I returned to driving… and gas stations! Going to gas stations in the middle of nowhere can be really creepy, even in California. The concept of the showdown at a gas station was partly inspired by living in Los Angeles. The animation and comic timing is incredible. That show is one of my all time favourites. The main influence for this piece came from my fandom of SUPERJAIL! and the work of Christy Karacas. Usually you have about 5 days to put a treatment together. The full script of a music video script never just falls into your lap, but getting the bare bones down can take a day or two. If there’s a sense of excitement I’ve learnt that it needs to be protected and nurtured, and over time it could blossom into a great idea. It can be very easy to feel unoriginal or be too hard on yourself. I work very hard at maintaining that feeling of excitement and not letting it turn into despair at any point. As with the majority of writing there’s the excitement at the beginning, where images fly into your head.
What is your process when it comes to pitching on a music video? They were also heavily involved in working with The Directors Bureau to manage costs, structure the timetable and bookings of crew members and keeping on top of post production. Colonel Blimp were the direct line of communication for the client (Warner Music), and would keep them regularly informed of progress. This project was a bit more convoluted than usual as I was shooting in LA, and so we worked with The Directors Bureau (the company that reps me in the US) to line-produce the piece. Timing wise, this was the last single of the band’s campaign for their self-titled debut album, so I feel like we were given a bit more extra time than usual so we could make the animation as good as possible. What was the brief and timings (was the project a pitch?)įrom what I can recall, the brief was open in regards to concepts and the band wanted to feature in some way, but the video shouldn’t be treated as a performance video. This one came from the UK, and the company I’ve been with for over 8 years now: Colonel Blimp. Tell us a little bit about where the project came from and the history with the client.Īs with the majority of music videos, this project came in through my rep.
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