| It was a luxury compared to a music video where you have to get every shot yourself. In a film, you say, I want this, and they do it. The hardest thing about doing the stunts and stuff was the political aspect of it and trying to convince people that this is hyper-reality like we’re used to in music videos. There isn’t really a music video “style,” because every music video director has their own style, even directors that use special effects, use them in different ways. Music videos are kind of similar when it comes to tone. Music video directors use the concept of hyper reality; we can stylize things, live in a comic book world. We share our roots more with animation and comic books than with realistic movies. So while making this movie, I wanted to get as hyper-real as possible and take the audience by the hand, because I knew there was going to be a learning curve. I started off with a fairly realistic action scene, like the fast and furious sequence. |
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Little by little I designed layers of more and more extreme action until by the end it feels like an animated movie has unfolded before your eyes. When you walked in to Torque, you expected to see The Fast and the Furious, but when you walked out, you think you saw a Pixar movie.
I worked very closely with the visual effects producer, Eric Durst, who had done a couple of music videos for me. One of the funny things in Torque is the famous going-through-the-engine shot like the one from The Fast and the Furious (also produced by Neal Moritz). People are saying Torque ripped off Fast and Furious, but there was a Janet Jackson video with a flying-through-the-engine scene too, which came out before Fast and Furious and before that there were commercials with that shot. The very first one to use it was a Volkswagen commercial that Eric Durst directed. |
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