music video

Better Oblivion Community Center "Dylan Thomas" Music Video

A quick word about working on the first video for Conor Oberst and Phoebe Bridgers’ Better Oblivion Community Center. Director Michelle Zauner came to me with an expansive treatment that we developed into a color saturated visual, pulling references from Kubrick’s Eyes Wide Shut and Cary Joji Fukunaga’s Maniac. Translating that on set in LA with a crew of (mostly) new faces was a fun challenge. On a personal note, i’d been a fan of Conor’s since first hearing his album Fevers and Mirrors in 2002, so obviously I was excited to be on set with him.

Check out some bts below, taken from a series of photos by the talented Dustin Liu, who’s work you can see here: www.dustinzliu.com

Making one of the 10 Best Music Videos of the Year (according to Pitchfork)

Boyish was named #10 on Pitchfork’s Best Music Videos of 2018 list. To have something that Michelle and I made be listed alongside Director/Dp teams like Rian Johnson & Steve Yedlin or Hiro Murai & Larkin Seiple is frankly overwhelming.

Below are some bts images from Boyish. The team that made this video is comprised of some of the most kind and talented people that i’ve ever had the pleasure to share a set with, and their hard work is entirely why this project has found the success that it has.

Source: https://pitchfork.com/features/lists-and-g...

Things that should've been on this blog, if only it had existed: Vol. 1

This blog wasn't around a year ago, but if it had been, this would've been the first post. In August 2017, The Roxy Cinema invited Michelle Zauner (Japanese Breakfast) and I to host a screening of our music video collaborations, and to curate the feature film of our choice to follow it. It's an exceedingly rare opportunity to see an anthology of your own work screened in that way, especially with projects that were never truly intended to be projected or consumed all at once. I loved it. At that point we had shot 5 projects together (that number is up to 8 at the time of writing this), and seeing them played on the big screen was a humbling reminder of where we began, where we were, and what lied ahead. We followed up our work with a screening of Paul Thomas Anderson's The Master, which I hadn't seen in theaters since it's original 70mm run. It remains one of my favorite films.

The Roxy published a write-up of the event, complete with a video of our Q&A, which you can check out here.

Photo Cred: Carly Lovejoy

Photo Cred: Carly Lovejoy