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Ferraby Lionheart's Pocketknife by Manny Marquez

Jimmy Brown - 21st Apr 2011

"Ferraby and I have done several videos together, but this one was a little different - we didn't want to over think it like our productions of the past," explains Marquez. "Ferraby was touring through Portland, and I asked him to stay with us a day on a stop off. I took him out to the woods near my home here in Hood River and we just filmed all those old locations that I had seen on my hikes around the area. "We knew that at the bridge of the song, everything slows down so we shot that in slow motion, which transitioned us to the dream sequence. Ferraby had an idea that he wanted to take what we'd done in the Oregon forest and really make a surreal version of it later on stage. So we took a few months to look at the footage, and two months later in LA we shot the ending on a stage. "That was all great too, because we brought in the very talented Topsy design crew to art direct that scene. They built these incredible handmade tree suits, which would represent Ferraby's fight against nature. So you go from this naturalistic wandering through the forest, to the classic music video surrealism. And they both are in their own version of a forest!"

"Ferraby and I have done several videos together, but this one was a little different - we didn't want to over think it like our productions of the past," explains Marquez. "Ferraby was touring through Portland, and I asked him to stay with us a day on a stop off. I took him out to the woods near my home here in Hood River and we just filmed all those old locations that I had seen on my hikes around the area.

"Ferraby and I have done several videos together, but this one was a little different - we didn't want to over think it like our productions of the past," explains Marquez. "Ferraby was touring through Portland, and I asked him to stay with us a day on a stop off. I took him out to the woods near my home here in Hood River and we just filmed all those old locations that I had seen on my hikes around the area. "We knew that at the bridge of the song, everything slows down so we shot that in slow motion, which transitioned us to the dream sequence. Ferraby had an idea that he wanted to take what we'd done in the Oregon forest and really make a surreal version of it later on stage. So we took a few months to look at the footage, and two months later in LA we shot the ending on a stage. "That was all great too, because we brought in the very talented Topsy design crew to art direct that scene. They built these incredible handmade tree suits, which would represent Ferraby's fight against nature. So you go from this naturalistic wandering through the forest, to the classic music video surrealism. And they both are in their own version of a forest!"

"We knew that at the bridge of the song, everything slows down so we shot that in slow motion, which transitioned us to the dream sequence. Ferraby had an idea that he wanted to take what we'd done in the Oregon forest and really make a surreal version of it later on stage. So we took a few months to look at the footage, and two months later in LA we shot the ending on a stage.

"Ferraby and I have done several videos together, but this one was a little different - we didn't want to over think it like our productions of the past," explains Marquez. "Ferraby was touring through Portland, and I asked him to stay with us a day on a stop off. I took him out to the woods near my home here in Hood River and we just filmed all those old locations that I had seen on my hikes around the area. "We knew that at the bridge of the song, everything slows down so we shot that in slow motion, which transitioned us to the dream sequence. Ferraby had an idea that he wanted to take what we'd done in the Oregon forest and really make a surreal version of it later on stage. So we took a few months to look at the footage, and two months later in LA we shot the ending on a stage. "That was all great too, because we brought in the very talented Topsy design crew to art direct that scene. They built these incredible handmade tree suits, which would represent Ferraby's fight against nature. So you go from this naturalistic wandering through the forest, to the classic music video surrealism. And they both are in their own version of a forest!"

"That was all great too, because we brought in the very talented Topsy design crew to art direct that scene. They built these incredible handmade tree suits, which would represent Ferraby's fight against nature. So you go from this naturalistic wandering through the forest, to the classic music video surrealism. And they both are in their own version of a forest!"

"Ferraby and I have done several videos together, but this one was a little different - we didn't want to over think it like our productions of the past," explains Marquez. "Ferraby was touring through Portland, and I asked him to stay with us a day on a stop off. I took him out to the woods near my home here in Hood River and we just filmed all those old locations that I had seen on my hikes around the area. "We knew that at the bridge of the song, everything slows down so we shot that in slow motion, which transitioned us to the dream sequence. Ferraby had an idea that he wanted to take what we'd done in the Oregon forest and really make a surreal version of it later on stage. So we took a few months to look at the footage, and two months later in LA we shot the ending on a stage. "That was all great too, because we brought in the very talented Topsy design crew to art direct that scene. They built these incredible handmade tree suits, which would represent Ferraby's fight against nature. So you go from this naturalistic wandering through the forest, to the classic music video surrealism. And they both are in their own version of a forest!"

Jimmy Brown - 21st Apr 2011

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Production Company
Streetlight Films

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debs@yilondon.com

Jimmy Brown - 21st Apr 2011

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