Good Egg's Callum Cooper Twists Perspectives For Metronomy

How did you get involved with the project?

Through Good Egg, a production company I have just signed with... and a back catalogue of video art and short films also helped.

Was it daunting making a vid for Metronomy? They've got a pretty amazing history of music videos under their belt already.

I didn't have time to be daunted, the piece was made in two weeks. But Michel Gondry did their last video...I grew up on his videos and many of them have never been matched (even with the huge advances in technology). I also have respect for Megaforce. So it was exciting to be part of that lineage.



Was the concept one you had from before you heard the track, or was it something that came from listening and collaborating with the band?

A combination of both. I was really just given the track and no brief or script. For me that is the best starting point. I have seen many briefs that if they would have had more fluidity they also could have been realised into a really brilliant project. I don't intend to be a job-in director, if I'm going to make something, I put my soul into it.

Anyway, my response to the track was perhaps left-field. My interests tend to be more things that I have read, visited or experimented with rather than just found on the internet. The internet is an amazing resource but I think that it also homogenises creativity.



How was working with the band? Were they convinced on the concept or did they need some pushing to catch balloons / lie down on steps?

I'm very calm and relaxed on set, everyone seemed to enjoy the process of creating the work. That lightness is reflected in the bands performance. There are enough videos out there with bands performing to the camera, being rockstars, I wanted to show something different. The tone and style of the song demanded it.

Anyway, as soon as I was granted the project I spoke with Joseph (from the band) about my concept and the intended tone of the piece. In terms of their performance I wanted to construct something subtle and that reflected the kind of purgatory that is a band's downtime on tour. Evidently being mid-way through a 50 show world tour he knew what I meant.

Joseph was really encouraging, so after this phone conversation I was confident that we had a shared vision. Therefore he, the band and the label let me do my job. Consequently, the resulting video is pretty much exactly what I pitched, if anything a little better than expected.



Were the shots all planned out beforehand, or did much come from visiting the location?

As I only had 8 hours with the band and the video has over 50 shots.... I certainly had everything planned very, very, very precisely.

Onset I like to be overly prepared otherwise you can't speak with confidence about what you are doing.

Had you done many tests in prep? It strikes us as a film that's difficult to conceptualise without actually giving it a go. What was the rig you used? The film depends on this nice fluid motion, so we guess that must have been a priority on the day?

This technique is something I have been developing for a number of years. Over that time I have crafted a series of sculptures to achieve films such as this. With these projects I'm looking at techniques to create a more visceral viewing experience. In making these sculptural camera contraptions I researched a number of things from cognitive function to ideas of circular vection. I even had an email discussion with a physicist at MIT about how best to create disorientation on a 2 dimensional screen.

From its birth, cinema has been a visceral, illusionary curiosity. In the late 1800's the first films travelled with circus carnivals, audiences would see them for the same experience as any of the other fairground ride or curiosity. Since then, to me, many of the best music videos, adverts and experimental short films have had that same visceral, illusionary intention at their core.



How did you piece together the edit? Were there any points where you got vertigo/seasick? The reversal of the motion from one shot to the next is brilliantly disorientating. Was that something discovered in the edit/tests? Were you chuffed when it worked so well?!

Well the video attempt to mimic what physicists might call circular vection. I am happy that this illusion of self-motion has been effective. From the online reaction the piece walks that between disorientating, entertaining to giddying. I'd like people to come out of the 4 minutes like they had stepped off a carnival ride.

Are you pleased with the film? Were there any moments you wanted to capture but couldn't?

It's probably the best it could be considering the turnaround and nature of the production, but I'm a perfectionist. I feel it's a unique perspective on the band and hopefully it has the artistic merit to entertain not just fans but a larger audience.



As you mentioned, you've just signed with Good Egg for worldwide representation. What attracted you to the company?

Well over the past few years I had been approached by many different production companies/agencies working in the advertising sector. I wasn't really that interested in signing to any because I have been lucky enough to get by working on my own projects. But when John approached me, he had just signed the duo tellnoone. I have a high level of respect for their work so it made me think about it a little more deeply. After a year of thinking I signed and did this video.

Good Egg has a tiny slate of directors and a supportive attitude to their personal practice. This will hopefully be represented in the quality of their work in the future.

What's up next for you?

I enjoy what I do and I'm constantly working on something. In terms of commercials and music videos Good Egg are filtering those opportunities.

But the next thing for me is a really exciting interactive project that will be announced in October.