by David Domingo
I was very happy to have Josep Prat Sorolla collaborating in three short frames of the video and making them work as autonomous pieces, with his marked style so evident and different from the rest of the video.
This music video for Fangoria was conceived as a total pastiche. I felt like mixing many different ingredients: real image, elements from David Marmota’s paper collages, animated illustrations (of the kind I love so much, like the ones by Josep Prat Sorolla), a bit of 4D cinema, cut-out photographs animated with anime pro studio, masks and things borrowed from Motion’s kitsch library. With the little time we had, more than trying to construct something coherent, the goal was building a huge mountain of layers.
From the start I knew that the band would grant me total creative freedom to do exactly what I wanted. The only thing I was told was that Alaska had to be on it, something I thought was quite obvious. But maybe they had seen s. XIX, in which Carlos and Genís don’t appear too much, and thought “this guy is not going to feature us in the video!”. I explained it all very well: I had lots of images of Carlos and Genís recorded with my mobile, but then, when I was editing it, they said they would rather appear really tiny. So in the end they almost didn’t appear at all!
From the shooting session with Fangoria I’d only like to highlight a moment that defines my great professionalism. Alaska had brought several outfits. We chose a purple one for the playback before the Chroma and shot a first take: I was horrified because the dress was all wrinkled up. I went to Alaska and told her. She said that the dress was meant to be like that, but if it didn’t look good she could put another one on. I went to the monitor and I asked Emi and Fiona, and they said it looked OK. Well, those wrinkles, even if they were meant to be, couldn’t appear on the video. So we changed the dress for a black one that was a lot nicer. I still don’t have a clue about clothes, but the conclusion I’ve reached is that such a dress, when you wear it normally, keeps on getting wrinkled and then you try to smooth it out, and so it’s all part of a game: wrinkle up-smooth out. But that wasn’t very fitting for a video in which you have to dance and do a playback, because you just can’t smooth it out then.
Nacho Canut had brought beautiful outfits too. He asked me what should he wear and I said “this with this and that with that”. It could have been the other way around because they were all beautiful. It wasn’t a difficult shoot and Elías M. Félix made it even easier because he knew exactly how to capture what I was looking for with the few indications I gave him.
The video’s arrangement and editing process has been one of the most joyful moments I’ve ever spent doing a video. During the whole process Toni Poni, a member of Jessica and The Fletchers, joined me. We were cutting out and animating and creating masks and senseless 3D things non-stop for ten days.
Being able to use David Marmota’s collages was a luxury. I was worried to twist them and mix them with the rest of the images, because they’re tiny gems in themselves. His fantastic collages can be seen at: https://www.instagram.com/davidmarmota/