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The second promo for Panic Cell for the track "Save Me", became the most voted for promo in the history of the rock satellite channel Scuzz, remaining in the top ten for eighteen weeks and at number one for six weeks. This was another three day shoot starting with the band performance. We wanted to shoot them in a confined metallic space like a shipping container with very low light. Unfortunately the logistics of filming in a freight container were too great so we came up with the idea of using the back of a truck. The truck we had in mind was too expensive to hire so we used the AFM lighting truck. We dressed the interior and hung 40 light bulbs only three of which were actually live, then cheated the band around into different positions to give the feeling of an enclosed space. The interiors were shot in the bathroom and living room of my flat and were lit by Tim, the master of understatement, with one kino tube and a bit of reflective milar. The exteriors were shot in a drainage pit at the bottom of a field in east sussex. The week before the shoot I'd dug a hole and sunk a plastic barrel into the side of the pit, the idea being we would stand our actor in it then fit a kind of sleeve around his waste and dress the earth around him. Unfortunately the barrel filled with freezing water. Add to that, he was topless and it was January. We shot quickly.
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Oasis: "Lord Don't Slow Me Down"
What happens when a film maker follows one of the world's biggest bands on a year long world tour? What happens when the film maker is granted unique access to that band, is present for the ups and downs, the moments of greatness and the periods of the same interview in 10 different languages in as many days? What happens when that band is Oasis, travelling across 26 countries on their biggest world tour to date playing to a total of over 2 million people? The answer is Lord Don't Slow Me Down (Big Brother/Hip-O/UMe), a double DVD set that not only gives you the definitive feature length documentary seen in selected cinemas last year, but also the option of voice over commentaries from the band, a Noel Gallagher Q & A session with fans from New York City, out takes from the film, and a second 90 minute bonus disc capturing the band's homecoming show at the City of Manchester Stadium together with footage sent in by fans from around the world who attended that show. If you wanted to know what the members of Oasis make of their lives on tour and their audience, then the answers are on these two discs. Directed by Baillie Walsh who has previously worked with Massive Attack (he made 'Safe From Harm'), Spiritualized, New Order and Kylie's Slow, and is now working on a film with Daniel Craig, this DVD set is a compendium of Oasis entertainment par excellence.
This video of The Pacifics was created by Xylophone Films. The PACIFICS are People Accumulating Creative Ideas Foregoing Ignorant Conclusions of Society. The mighty trio of KP, Strike3 (aka. Mr. REXford) and Norman Rockwell create uncut "go ill" hip hop designed to serve the soul and snap the neck. Striving to bridge the gap between the old and new generations of hip hop, the Pacifics bring versatility to the forefront without sacrificing creativity in their music. A slew of hometown and coast-to-coast performances have earned them a reputation as showstoppers. While all three bring the rhymes, KP also shines on much of the production, Norm showcases his other passion on the cuts and Strike3 holds it down as the host of SubT's 606/Open Mic Nite on Tuesdays. "It's hip-hop with a cleverness that overwhelms its ruggedness. It's like early Tribe Called Quest or De La Soul. It may be Chicago's answer to Jurassic 5." (Sun Times, Feb. '03) The PACIFICS earned and have maintained their place in Chicago hip hop through their consistently high-energy stage shows. Throughout the years, they've not only performed alongside some of Chicago's best acts, but nationally, they've also opened up for artists like DJ QBert, Mountain Brothers, Fifth Platoon, World Famous Beat Junkies, Triple Threat DJs, Bahamadia, Slum Village and most memorably, KRS-One. In 2000, The PACIFICS took their show on the road with the highly acclaimed spoken word group, I Was Born With Two Tongues, on the YellowTechnicolor Tour (which continued through 2002), performing their 1 and 1/2 hour collaborative show at schools like Stanford, Columbia, UFlorida, Rutgers, SF State, Ball State, Pomona, UofC, Duke, UMichigan & UPittsburgh. The YellowTech show wound its way around the country, leaving scorched stages from the Bay to NY - rooted in the language and rhythm of spoken word and hip hop. The PACIFICS independently released their highly-anticipated debut album, "The September First Project: Long Overdue", in April 2002. The album, said to "offer a well-crafted manifestation of hip-hop optimism," (URB, 8/02) showcased production by KP, Bay Root Production & Chops (while also offering vocal contributions by Chops & Peril-L of the Mountain Brothers). With the help of Xylophone Films/KidHeroes Production, The PACIFICS were able to take their classic joint, "Especialty", from audio to visual, in their first ever music video. In the summer of 2002, they hit the road once again, on the Urban Architecture 606 Tour, with other Chicago-based hip hop acts: The Primeridian, Typical Cats and DJ Presyce. With followings new and old, stage shows to match and undeniable buzz, this tour's purpose was to bridge the gaps, share the shine and take it all back to homebase - by making stops in LA, Montana, Seattle, Portland and San Jose. KP, Strike3 & Norm have just completed their second album, "Sunday's Chicken" - due to release in March 2005 on All Natural, Inc. The contributions to the album span nationwide with support from Illmind, DJ Rhettmatic, Rakaa Iriscience, Pep Love and fellow chicagoans like The Primeridian, Iomos Marad, Ang 13 and Denizen Kane, as well as Artek of 606 Entertainment on production and behind the boards. The partnership between The PACIFICS and All Natural, Inc. marks a milestone in the group's journey, being the perfect step in taking themselves and their music to the next level.
Panic Cell decided to re-release "Away From Here" as a follow up to Thousand Words. As the band's look had changed they needed a new video for this re-mixed version. Set in a club during Panic Cell's performance, the narrative follows a girl as she meets her apparent assailant. We had an industrial niteclub location in mind when writing the script but decided to recreate the club in a studio which was logistically beneficial and kept costs down. We hired the loading bay at Black Island Studios. The set for the narrative was built adjacent to the bay where the band were performing, enabling crew to jump between sets so the band's performance could be shot while the actors were going through make up changes. We achieved the look for the club by using long lenses and low key lighting, shooting on an Arri 435 from Panavision so we could easily adjust the shutter angle between shots. Robin Brigham had lit the original version and has a great gift for getting creative under pressure, managing to keep up with our tight shooting schedule. Our two production dynamos Carolyn and Isy sourced actors Jennifer Glyn and Danny George who's parts were pre-blocked and rehearsed enabling efficient shooting. The whole shoot was storyboarded and planned down to the last detail in order to accommodate the amount of set ups. We used Panic Cell's fans as extras to add to the realism of the club. A free bar as part of the set was unfortunately derogatory to their behaviour but despite alcohol induced issues the extras did a great job and we shot as planned with long lenses to create the illusion of a larger crowd. For practical reasons all the scenes with the extras were shot first. The flashbacks of Jennifer getting ready were filmed in a house in Wimbledon. Danny wasn't available so Yan body doubled during the exterior attack scenes which were shot in the back garden. Finally we dragged poor shivering Jennifer into a nearby alley to shoot her post attack scenes, covering her in a blanket between takes. Robin lit this sequence with one sungun maintaining the high contrast look of the club interiors, shooting everything wide open on the lens which gave us a very shallow depth of field. Dave at Framestore provided us with another superb grade and once we finished the cut, the final stage was the subtle CG sequence as Jen turns into a vampire. Chris Shaw created a rough transition, tracking vampire eyes and teeth onto Jen's face. He had planned to do a more detailed version but the first one worked really well as the sequence only lasts for a second, so we used this in the final cut. More information is available at www.visualabuse.com
The Constantines: "Nightime/Anytime, It's Alright"
When the Constantines headlined the Sub Pop showcase at the 2004 SXSW Festival in Austin, Texas; the band's show concluded with them standing on the speaker stacks clapping and keeping time for the audience as the room sang the band's recent set closer (Lou Reed's "Temporary Thing") back at them. This scene lasted a full five minutes, five minutes of finale without the band playing a single note and thus the increasingly impatient promoters, fearful of running over their strict Texan curfew, couldn't even unplug the band to get them off the stage. But then the purpose of the stage is constantly called into question at Constantines shows. Bryan and Steve will regularly move their mic stands into the crowd and Doug frequently hands out percussion to the faithful gathered together near the band. The greatest rock and roll is always transformative, a concept that the Constantines grasped from their inception and one which was so readily on display at this show. The boundary between band and crowd is blurred; inhibitions are lost, along with voices, and ultimately you feel more alive than you did before the band took the stage, before you stopped noticing the stage.
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Prizefight: 'Guitar Hero 3' vs. 'Rock Band'
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The record, the second long player by Swedish octet The Concretes, is very aptly entitled "In Colour." Although previously and persistently described as making some kind of European glacial pop, "In Colour" sees the band painting their musical canvass with a full rainbow palette. Whereas the eponymously titled debut album was "The Ronettes" lit only by the Northern Lights, "In Colour" makes the leap into glorious widescreen. Recorded in Stockholm and Omaha with Nebraskan producer Mike Mogis, "In Colour" is classic Americana and Southern Soul rerouted via Northern Europe. Evocative of a line of records that veers between Dusty in Memphis and Fleetwood Mac's "Rumours" through to Cat Power's "The Greatest" and Bright Eyes' "I'm Wide Awake It's Morning," The Concretes have effortlessly become one of the most unique and beautiful pop groups in the world, a Swedish national treasure.
