A Quote by Russell Mulcahy
We wanted to not necessarily tell the story of the video or the song, but create an ambience. And I think now, I think that's gone now. There's nothing wrong with that. But I think we were all trying to make mini feature films. I remember when we were making the Duran videos, I would crop the top and bottom of the screen with black. So that it looked more like cinema.
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I think the long-term effect of video on cinema is good in that what we are now getting up there on the screen is of superior quality. Videos are just so much more sensitive to the world.
I wanted to make mini features. And there was a wonderful creative freedom; not necessarily copying the lyrics, but just trying to create emotion. Like the songs, you know? Just like how the song creates an emotion, I wanted the video to create an emotion.
I take things a little bit more critically now, like, "What did I think I was saying in that song? What is this song about?" I thought the lyrics were incredibly descriptive, and now they sound really cryptic and weird. I'd like to also think that when I listen to songs from Something About Airplanes that I'm proud of my development as a writer. I don't think I was doing anything poorly at that time, but I can certainly see how my writing has changed.
As a kid, I'd watch MTV and think how great it would be to have my own music videos on those shows. Now I turn on MTV and, along the bottom of the screen, it often reads, 'Coming next... Pixie Lott.' That's so strange that I can't even begin to make sense of it.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
The funniest people I know were, not necessarily troubled, but had a harder time in school or were shy or picked on or something like that. I think that you rely on it. 'Well, I don't think I'm cute and no one wants to hang out with me - I'd better start trying to make people laugh.' I think there's an element of that in there.
The funniest people I know were, not necessarily troubled, but had a harder time in school or were shy or picked on or something like that. I think that you rely on it. Well, I don't think I'm cute and no one wants to hang out with me - I'd better start trying to make people laugh. I think there's an element of that in there.
I would say that an RFC-like thing might make sense. I probably would do it myself. But I don't think trying to combine that with what's going through now, I think what is needed now is liquidity.
I don't think all films should necessarily look like they do on digital video. I think it cheats the audience, at some point. If you try to make an epic and you shoot it digitally, that doesn't make much sense. I think there's a certain kind of film that could be a "digital film." But it shouldn't be interchangeable with other films. It should be something more than just a capture medium. It should be a different form altogether, something new.
Sometimes I think that if it were possible to tell a story often enough to make the hurt ease up, to make the words slide down my arms and away from me like water, I would tell that story a thousand times.
The problem with working with a record label is they maybe a song I want to make a video for that they will refuse to make a video for because they don't see that song as a single. And I found that very frustrating. I realised what I was doing was making these short films for the blind. They were films and all you had to do was put some headphones on and close your eyes and listen to my voice and you'd be able to visualise the images that I'm putting into your brain. And so I started calling what I was doing 'films for the blind'.
I think in the '80s, when I started making films, we were all suspicious of these technologies. We were all convinced they would filter out any emotion and sense of intimacy, and the films I made during that period reflected that. In fact, what has happened is the opposite. I think we're saturated with a degree of intimacy we would never have expected, and we're trying to sort through this idea of complete access to each other's lives on an ongoing basis. Our emotions aren't filtered out at all. They're actually accelerated.
I did a lot of music criticism. I don't think much of it was any good. I think I wanted to show off a lot when I was younger. Now I just want people to enjoy the story. If it were possible to publish anonymously, that would be awesome.
I carry my own film guys with me now. People think that's a huge expense, but with technology like it is these days, it's not. You can film videos and everything with a Canon Mark II, and shoot a movie. They're doing it for next to nothing, by comparison. I can do ten videos for a project for the price of one mainstream video in the past.
I come from the best era of film I believe; when people were taking chances on films. It's time for us to bring more truth to the story and not necessarily carry a torch for every Black person in America; just tell a story, and a good one too.
Were the stars out when I left the house last evening? All I could remember was the couple in the Skyline listening to Duran Duran. Stars? Who remembers stars? Come to think of it, had I even looked up at the sky recently? Had the stars been wiped out of the sky three months ago, I wouldn’t have known.
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