Tuesday, October 31, 2017
"Kim Wilde, clad in a skin tight black PVC catsuit, battles zombies, vampires, werewolves and demons, as she fights to attract the attention of the man she loves, but what will happen when they finally come face to face?"
ROFFEKE: If you could take one prop and one character from the "Toadlickers" music video and use them in the "Everytime I see you..." music video:
a. Which ones would you pick?
PAUL D: Huw Heftoad would have a ball in the club featured in 'Every Time I see You I Go Wild'...though he might have to swap his smoking jacket for a green leather outfit.
(Watch bluegrass-flavoured "The Toadlickers" by 5-time Grammy Award nominee, Thomas Dolby)
ROFFEKE: Lighting is important in horror projects. Tell us about some of the lighting techniques/tricks you used in the "Everytime I see you..." music video.
PAUL D: I discuss the lighting techniques/tricks we used in an extensive behind the scenes feature that's published on my blog: http://paul-d.tv/blog/2013/07/24/b-e-f-kim-wilde-behind-the-scenes/
In brief though, my approach to filming and lighting is old school in that, where possible, I like to get it right in camera, rather than to fix it in post, or rely upon grading to create a look. In the club scene there's a big reveal that's punctuated with a change of colour palette. Many DPs would have spent hours going through the tortuous process of taking test shots, creating & exporting LUTs, colour calibrating cameras & monitors and importing those LUTs into them, before shooting; whereas we spent about ten minutes simply re-gelling the lights. As Wing Chun teaches us, the shortest path between any two points is a straight line.
ROFFEKE: What was it like working with Kim Wilde?
PAUL D: Kim was an absolute delight to work with. She is a consummate professional, took direction extremely well, and worked very hard.
(Watch "Kids in America" by Kim Wilde)
ROFFEKE: Advice for aspiring music video directors?
PAUL D: Get a proper job!
ROFFEKE: Your favourite female directors?
PAUL D: Nora Ephron, though more so as a screenwriter than a director;
Sophia Coppola - I loved 'Lost in Translation';
Dawn Shadforth & Claire Boucher for their music videos;
Molly Dineen for her documentaries;
George Hencken for her film 'Soul Boys of the Western World', which is by far the best documentary that anyone has made about music in 1980s Britain. I know that much is true.
Juliet Forster is one of the UK's best theatre directors. She is consistently brilliant.
About Paul D.