Davis Silis - 16th Oct 2013

Ever wonder what kind of music video Michel Gondry would have made if he were a 13 year old kid in Detroit, hanging out in his bedroom in the projects after school on a scorching hot summer afternoon, letting his imagination run wild while watching PBS documentaries about the procreation habits of rabbits? It would look like this.

You can almost see that young Gondry, sprawled on his bed wearing a Fubu shirt and a pair of pristine LA Lights kicks, a heavily used box of Crayola next to a frayed Trapper Keeper as he frantically colours in page after page of animation that's half work-out video and half middle-school hip-hop fantasy where bottles of Dom are filled with Orange Crush, leopards and bunnies bang on TV and a parrot just watches the whole thing take off.

London director Ewen Farr's fantastic and totally out-there video for the Quelle Chris track 'Super Fuck' comes out of nowhere, does all that and then some. The colours, characters, textures and patterns are like nothing else you've seen, at least not for a long time. It's raw, bold, honest and just out-there enough that you'll find yourself watching it again and again.

How did collaborating with Quelle Chris work during this video, or were you just left to your own devices?
Yeah, pretty much. The lyrics were self explanatory, and we were given a lot of freedom with it. So with guidance from Ruff, we got all the basics down and then I just tried my best to visually portray Quelle's charming sense of humour.

What animators or illustrators have been influential for you, not just in this video but the style you've developed?
Ruffmercy (of course), CRCR, Rubber House, Joseph Pierce, Moth, Julia Potts... I'm sure I'm missing some big ones in there but you get the idea.

Your work in general is bold and vivid, but this video in particular feels like it's in a world of its own. How did you develop the aesthetic for it?
I just bought a load of nice coloured pens and watched a load of porn. I guess that put me into a world of my own.

The textures and patterns all have a very hands-on look, like you feel the craft that went into it. What was the technical process like?
Fairly long-winded, but once you get a rhythm down it's alright. Actually, it's a bit like working at a supermarket checkout. I'm now a wizard on the scanner.

Anything stewing at the moment we can look forward to, or that you'd like to do more of?
Hopefully some Illustration work in the pipeline, but I definitely want to do more music videos.


DirectorEwen Farr
LabelMello Music Group

Davis Silis - 16th Oct 2013

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