MUSIC VIDEO EXCLUSIVE – TEXT LUKE TIERNEY
So what happens when the self-described director/creative/designer works with the self-described genre playing alternative tumble weed rock, grunge, psych surf? An unexpectedly emotive result as man interacts with nature. The viewer is given an aesthetically pleasing visual that gives the audio centre stage whilst glitchey touches remind us that all is not well.
To find out a bit more about Morgan’s video we sat down with the director and talked realistic approaches, how he met the band H.GRIMACE and why he found himself in a quarry in Wales.
Word Is Cheap: What was the aim for this video before you went into production?
Morgan Faverty: Before I wrote the treatment for this music video, I had a conversation with the band and the two elements that were talked about the most were man and nature and man’s interference with the natural world. Coming away with thoughts all over the place, I had to be realistic. My approach was for the video to be more visually led, with only a few elements that were shot and created with beauty and precision.
WIC: How broad a role did you play in the creation of your video?
MF: This music video was a relatively small production, so I had to be involved in most areas, all the way from perfecting the marbling technique to doing the edit and compositing. I even found myself in a quarry in mid Wales in search of the perfect rock.
WIC: How did you come to work with H.GRIMACE?
MF: Last year I completed a short film called We Can Hula. Through that process I worked with Asher Preston one of the band members from H. GRIMACE. Asher composed the score for my film and I wanted to return the favour in someway, so I offered them a treatment.
WIC: What do music videos mean to you?
MF: This is the second music video that I have directed but my first is yet to be published. My first music video unfortunately didn’t get to see light of day due to the artist being signed to a larger record label. It was just bad timing. Bit of a shame as it was a good one. Even so, I see music videos as a place for a director to stretch their ability creatively. You often work with limitations, making you think of different ways to achieve your vision resulting in some amazing unique pieces of film.
WIC: What are your favourite music videos?
MF: I’m a massive fan of the visual variety and tone that can be captured in some places in America. Flying Lotus – Until The Quiet Comes, directed by Kahlil Joseph for it’s beautiful and surreal approach to unveiling the narrative. Jon Hopkins – Open Eye Signal, directed by Aoife McArdle for creating a completely mesmerising piece of film with such simplicity. I always love a music video that has some sort of experimental process what holds it together and Grizzly Bear – Gun-Shy, directed by Kris Moyes is up there for me.
WIC: What can we expect next from you?
MF:I’m producing a short film called WONDERKID which follows the inner turmoil of a young unnamed gay footballer as he comes to terms with his own identity, struggling to reconcile his sexuality. WONDERKID provides an insight into the trauma caused by homophobia, and challenges preconceptions about what it is to be ‘masculine’. This is going to be shot by the end of July and hoping to premier it in mid October. Along with working on this film I also want to be directing a few more music videos and anything else that comes my way.