Commercial short film, 2014. 13’38’’. Color. 16 mm
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Fur Voice
By Maria Sosa
When David asked me to shoot a music video for one of the songs in his new album I was particularly thrilled for several reasons.
Mirror Image. Oscar Muñoz
Water is the unifying thread in almost all the video. The idea was that no matter how crazy each image was, they should all be linked and David, the singer, should only appear in “liquid form” to somehow become the narrator of the whole trip.
Underwater Study #1608. Howard Schatz
The shot that takes this photograph as a reference is my favourite. I’ve already told Conrado (VFX artist) that he should register a patent of the formula!
The first one being that the music David makes, from my not so wide musical perspective, is unique. It goes beyond rhythm and beyond melody and it envelops you in strange universes in which most of the time he makes you feel uneasy, as though there were hidden things around you. It somehow reminds me of the atmosphere in David Lynch’s films, in which you let yourself get carried away by that hypnotic touch that hooks you up, but at the same time there’s something weird that you can’t describe, but you know it’s there.
The second was more a worry than a reason: the last Fur Voice music video, , by Pablo Maestres, is very good and it became quite successful. That always makes you feel the pressure much more, especially when the differences when it comes to resources are so huge. But I guess that pressure was also a kind of motivation.
The landscapes included are discarded material from other projects. Most of them were shot by Luis Cerveró in Iceland and I think they are the most amazing landscape images I’ve ever seen. In fact, when Emi showed me those images I thought it was mental for that material to be there, stored in a hard disk, in super high-res quality, all tidied up in folders… It made me really happy!
La traviata. Verdi. Rafal Olbinski
Most images were inspired by Rafal Olbinski or René Magritte’s surrealist paintings, this one in particular.
The third one ended up being the trigger of the whole thing. The song talks about the first few dates in a love story, as most songs in the history of music, I know. But when David told me about it, I thought it was mental the way he had managed to transmit that feeling with words that were so far removed from the usual way in which we talk about love but at the same time so real.
If you come to think of it, you realise how universal love is and how falling in love provokes the same brain imbalance in all heads suffering from it (no matter the age, gender or culture). Endorphins go mad and all of a sudden an absurd and “involuntary” touching of the knees is like a volcano erupting. The truth is I wouldn’t like to sound too corny, because it’s not my style at all, but that’s what this music video is all about: transmitting the first hints of love from an ultra-sensorial, almost surrealist, point of view; and not only because David’s song tells it like this, but because deep down, when you come to think of it, this is just the way it is.
Dune. David Lynch 1984
There are seven different eye shots. As a simple curious fact, none of the irises belong to the real eyes.
Making of
