Surprisingly, this was not something that was buttoned down ages before the shoot. In fact it was not even buttoned down the day before the shoot.
"The biggest issue was the fact I had to shoot the video in Australia without my usual art director." says Kahn.
"It meant that I couldn't map out my moves completely until the day of the shoot." Therefore, at the start of each of the two shoot days, Kahn did exactly that.
"I'd walk on set, and I would conceptualise things for the first two or three hours of each day." Rather remarkably, it was then that Kahn would work out the moves, and probably most importantly, how the set was changed around each repeated action: it is the set that subtly changes while the action for each 182 member has to stay reasonably alike; the clock that changes, and the view from the window, are not immediately obvious, but they are clues that these are stories happening at different times. |
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Meanwhile, the different run-throughs were scrutinised to match up, but not too much. "I wanted moments that matched up almost perfectly, but there has to be an element of difference - it has to be random," says Kahn. Over two long days this was hugely demanding on the cast and crew, especially the Steadicam operator who shot the whole thing, and the result is a video which Kahn admits is new for him, even stylistically.
"I usually like smooth, linear camera moves, but this needed that floaty, dreamy feel," he says. But ultimately this was all about taking what is already for all intents and purposes an illusion and extending it further, and Kahn admits, "To be honest. I thought I'd never get a chance to do it."
David Knight |
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