Free Show!
This is for all you Cali cats.
Hoobastank will be having a FREE show at a club in San Fransico, CA called Slims
Check em out if you can!
Next Single
The follow up to there smash single "Crawling in The Dark" is confirmed to be "Running Away."
The video is going to be shot on February 23rd.
Here Is The Video Treatment by Paul Fedor
Running Away will be a one of a kind performance video that
uniquely blends heavy post-production with old school analog film gags. My
ultimate goal is to give the viewer that Hoobastank is rocking inside
someone¹s twisted and confused mind. Through graphic laden images and crazy
editorial, I will create a choreographed representation of synapse taking
place with Hoobastank at the center and up front.
The video will take place inside
a four walled projection room
(three walls and a ceiling) with a reflective floor. Hoobastank will give an
intense performance inside this room made of projection silk. The walls will
consist of abstract images distorted with graphics of a sexy woman running
away from love.
Doug, Dan, Markku, and Chris
will be shot with a variety of
techniques inside this Pandora¹s box of a mind. The first technique will
be
a ³Round Robin² approach, consisting of shooting multiple takes of
Hoobastank in multiple positions. In a series of shots Doug can be
passionately singing a chorus in the foreground. Then with a flash of a jump
cut he can be in the extreme background as the vocals trail off. With
another jump cut to Doug in a medium shot. This world is in disarray,
frantic, emotional
³Round Robin² will
also add to Hoobastank¹s performance on a
coverage level. I feel like we will be creating the ultimate performance
video with the band huge in frame, powerful and inspiring. Members of the
band change location when a specific section happens. Dan can be playing a
guitar solo with the rest of the band. To emphasize a guitar riff Dan¹s
position can jump to a close up. Shots from behind Chris in the middle of a
drum riff blend well with other shots of him in the background. Another
change of position and Markku¹s intense bass riffs are captured in
celluloid.
This round robin style also works
in accenting individual band
members like Doug. One moment Hoobastank builds up to a verse. A jump cut
later, Doug is caught alone in the room to emphasize a special lyric. A
quick cut jumps into Doug¹s intense expression of the lyric. Another cut,
Doug leans against the wall almost as if he¹s singing to a past lover.
Another cut and the camera is whirling around him low angle with ceiling
flashing cool images.
To add a touch of surrealism
a split-field diopter will be used
to meld the moving background with a killer Hoobastank performance. A
split-field diopter (used by Francis Ford Coppola and Scorsese) is famous in
such movies as The Outsiders, Good Fellas, and Pulp Fiction. It allows Doug
to be in focus with the moving projections behind him creating an illusion
of endless space.
To give the film a different
texture from time, an old school
hand-cranked Mitchell camera will be used. The Mitchell camera will give a
strange effect with its four-pin registration. Super crisp and edgy. The
hand crank can be used for the visuals of the girl. The tri-mount lens of
the Mitchell also allows the DP to switch lenses in mid-take. Doug can be in
the middle of a chorus and in mid -take switch from a wide to close up. This
camera will also lend itself to the style of the piece
The projections will consist
of abstract, super-sexy images of
beautiful woman¹s love affair and her running melted to hallucinatory
animations. The live action will be mixed with trippy animations to produce
stunning visuals set to Hoobastank¹s music.
The projections will have a graphic
feel. The live action will be treated or
have graphic overlays to keep the visuals abstract in nature. I would like
to emphasize that my goal is not to build a story, but to create sex and
emotion through the use of this girl and ripping editorial and graphic
effects. The portraits of the girl will seem like flashes of memories
clouded by hallucinatory visuals that accompany the song.
The graphics will incorporate
variety of special techniques I have
developed over the years. Moving video lines, film flashes, bits of words,
broken down stills, scratching on the neg, and stock footage of fluid will
be part of the repertoire. They will pace the piece and give a visual
representation of the audio. It is also important to note when doing a
graphic-heavy piece it is important to start with a fundamental base (like
the vignettes). Keep in mind most of the time the vignettes will be shot
with a graphic approach and be naturally abstracted behind Hoobastank¹s
killer performance. Hoobastank is driving the images through editorial.
This video is all about the band.
We see images of a couple enjoying
a sensual life. Their sexuality is
highlighted through imaging and flashy editing as to be skewed, sexy, and a
bit twisted. The images respond to the music makers, the tempo and beat.
It is extremely sexy. We steal moments from a passionate love affair
filled with sexual tension. Film flashes, out of focus imagery, and weird
camera gags make the moments more and more indiscernible. The moments seem
like memories taken from the girl¹s life and we are watching them projected
in her brain in random synapse.
Macro-photography allows us to
create abstractions of the human body. At
time we don¹t really know what it is we are seeing, but then it reveals
itself in a series of flash cuts. This macro-photography is also important
in the underwater scenesŠ
We see the woman under water
in slow motion. The man slides down into
frame as the couple begins to make love under water. We see a combination
of shots of the girl alone holding her breath and passionately making love.
The viewer begins to feel her unrest, her suffocation. We see bubbles and
the light working on the waters surface. We see a figure distorted through
the water as if we are looking up at someone or something standing at the
side of the pool.
In every location we visit we
examine the environment. Landscape photography
reveals empty streets, industrial landscapes, the tunnel empty, and the
tunnel tiles flipping by frame. The focus is not entirely this woman, but
also the world around her and the details of a visual assault that seems to
be constantly closing in and moving around us. Chain-link fences, swerving
vehicles, dark and moody skies, looming architecture. These elements
combine with graphics to flicker through frame.
Because of the frenetic nature
of the graphics it is also important
to shoot frenetic live action as well. To blend the graphics and animations
with the vignettes, cool shots of her running will be shot. Even though
running is literally related to the lyrics they will be used as flash frames
in an editorial and graphic way. These running shots will be abstract in
nature and will be treated later in post to avoid stereotypical images of
running.
An assortment of locations will
used to add a sense of motion. We
see a shot of her running down the middle of a tunnel, washed in fluorescent
light. Through an industrial park. All the time we are seeing elements of
what is whipping by, the landscape, stark and desolate. The architecture
closes in. The girl would be running on the back wall, while the other
three walls would have flickering tunnel lights and cars passing by. It¹s
important to note switching up the screens so that all the walls are not
playing the same thing all the time. The video is hallucinatory.
Hoobastank is playing in someone¹s
mind. And to heighten this effect, we
will jumble things and overlay them. These images are coming at us from
every direction behind the band. They are not laid out from start to finish
in some easily conceivable story. They are an assault. If you¹ve ever sat
up at night looking blindly at the ceiling considering your life under
stress, you know how the images play out in a muddle of poetic, powerful
moments disconnected but making some overall sense. This is what we see on
the walls behind Hoobastank.
The graphics will blend with
the film projections to create a
visually stunning backdrop for Hoobastank. The variety of techniques are
numerous and complicated for a video concept that has never been done before
on this level. Combined with an incredible Hoobastank performance it all
makes for highly visual performance video.
To also make the video stand
out as an original video I would like
to shoot letterbox to give a ³movie² quality. The letterbox will accentuate
compositions and add a tremendous cinemagraphic element. This will enhance
Hoobastank¹s performance to create a stunning performance video.
“ Copyright Notorious Pictures
2001
