Olivia Wilde On Directing Her First Music Video

Actress Olivia Wilde, star of films such as In Time and Rush and TV shows including Doll & Em and Vinyl, recently helmed her first music video which itself is only her second directorial job.

The video for Edward Sharpe & the Magnetic Zeros is a visually arresting and provocative film shot in New Orleans and, remarkably, filmed entirely on an iPhone 6s. Created through Anonymous Content No Love Like Yours is a sometimes gritty, sometimes beautiful but always captivating film and below Wilde talks to shots.net about the making of the video and why she wants to be behind the camera.

How did the directing job on the video come about?

I was approached by the band's manager, Bryan Ling, who knew I was a big fan, and had wanted to direct a video for the band for years. He played me an early version of No Love Like Yours and asked if I had any ideas. I came up with a pretty wacky pitch, but luckily Alex [Ebert, lead singer] was into it, and we had a really awesome collaborative experience from that point on.

Why was it something you were interested in taking on?

I've always been fascinated by music videos. They are a chance to be truly experimental, in a medium that has become less and less so. A music video is so liberating to create, because it can be completely non-linear and impressionistic. The director's only job is to create something that evokes emotion. 

Where did the idea for the video come from?

I was inspired by the fact that the album was recorded in New Orleans, a city I love deeply. I knew I wanted to tell a story that reflected that city's history of resurrection. It is a place that views death differently than the rest of our country. They mourn death by celebrating life through music and dance.

I knew Alex was letting go of the "Edward Sharpe" persona, so to speak, and I wanted to celebrate that death in the style of a jazz funeral. I also felt moved to incorporate his own daughter, Eartha, into the piece, as I truly believe our children are our afterlife.

Do you have any particular directors, or other artists, you look to for inspiration?

Mark Romanek was a huge inspiration to me for this project, and I was fortunate enough to have him as a mentor as I put this video together. His body of work is unparalleled, and his wisdom is endless. I was so lucky to be able to call him and say "Mark, check out my treatment. Is it too weird?" and he would reply "No. Not weird enough.".

Why did you decide to shoot on an iPhone 6s and what are the positives/negatives of that choice?

I enjoy a challenge, and was intrigued by the puzzle the iPhone presented. Luckily I had an incredible partner in my DP, Reed Morano, who really cracked open the mystery of this new technology, and figured out how to truly make it do things no one had ever seen before.

This is your first directorial job; what made you want to get behind the camera and was it a nerve-wracking experience?

This is the first music video I've directed, though I've written and directed a short film [Free Hugs], and produced a few movies, so I've been itching to get behind the camera for a while now. The thing I appreciate about our industry is our ability to move fluidly from role to role, from director to actor to producer to writer, seamlessly.

All you need is a deep curiosity, and the ability to start from scratch after having established yourself in another role. I have been on hundreds of sets as an actor, so I've spent a lot of time shadowing directors, and peppering them with relentless questions. I have those directors to thank for anything I've managed to pick up along the way.

What was the hardest part of the production?

The new technology was certainly a challenge at first, but also a real asset. We were able to shoot with several cameras, and be relatively unobtrusive with the performers because of the small equipment.

And the most rewarding?

The greatest feeling in the world was watching my first cut, and realising we had managed to incorporate everything I had put in the (very ambitious and unrealistic) treatment.

Do you plan to spend more time behind, as well as in front of, the camera and is there anything in the pipeline?

I can't wait to direct a feature. I'm slowly putting one together now. Before that I'll direct a short this summer, and hopefully a few more videos, if I'm lucky.

Photograph at top of page courtesy of Dani Girdwood