quarta-feira, 3 de dezembro de 2008
Vencedor Do melhor Clip
A ele estão associadas imagens futuristas, de liberdade, sentimentos únicos, comoventes e emocionantes. A imaginação humana não tem limite e sempre procurou freneticamente a projecção do nosso futuro. Há uns anos atrás falávamos de cowboys, de romances vividos no deserto agora transformamos os cowboys em robots e o deserto em salas de montagem. Em comum encontramos o fascínio e o enigmatismo que sempre nos provocam e nos levam a entrar dentro da própria história. Chris Cunnighan* consegue emocionar-nos com uma simbiose perfeita entre dois corpos robóticos, com gestos tão humanos e tão perfeitos deixando-nos com uma questão. Será que estamos assim tão longe desse futuro robótico???!!!!
Mágico e perfeito!
*Chris Cunnigham - Director
"Most video directors have one trick that they use all the time. Then there are people who build a whole world around them. Chris is like that. We have only seen the tip of the iceberg with Chris."
All is Full of Love is an elegant, moving description of two Björk robots in love. As they are pieced and wired into existence, they sing to each other and fall in love. The video reaches its harmonious climax as the robots join in embrace while still being detailed by the industrial machines beside them. Each robot was designed by Cunningham, faces reminiscent of Björk's own delicate features.
"When I first heard the track I wrote down the words 'sexual,' 'milk,' 'white porcelain,' 'surgery.' [The video]'s a combination of several fetishes: industrial robotics, female anatomy, and flourescent light in that order." (Dazed and Confused)
"I think I mentioned that I think it should be ... something that's white and frozen, and then it sort of melts, because of love, and making love."
The robots were built by Paul Catling, who also sculpted the masks for Windowlicker, and mentored Cunningham about model-making. He sculpted the full-sized robots in clay in two hours.
"Every single shot in the video has about four layers. The first element is the shot of the set and the robot prop doing nothing, which we'd film for about 21 seconds. We'd then remove the prop Björk robot and put (the real) Björk in with her face painted white and wearing a blue suit. Using a mix of the (master shot and a live feed of Björk in frame) on the video monitor, we'd then try to match up as much as possible. It was a pretty crude and fairly terrifying method of shooting the video. For the Avid editing, I basically had a series of stills of a robot on a set and some crude shots of Björk wearing a blue suit with her face painted white. There was a definite feeling of insecurity all the way until the first couple of shots were finished in post, when I could finally tell whether it was working or not." (American Cinematographer)
"[Then] I started ... having ideas for ways of making the video better... So we were kind of improvising stuff in post. Up until that point I had absolutely no faith whatsoever in computer graphics, and now I'm more of a convert, really."
"I guess when you come across someone as special as Chris ... you just go humble. And you kind of realize that your role is more to make sure that there is a connection between the tune and the video. And then you set up a space, or like a place where he can work with no interference. And that sort of ... ends up being your role." http://www.director-file.com/cunningham/bjork.html
2000 MVPA Awards .. Best Direction of a Female Artist
2000 Music Week CAD Awards
Best Art Direction in a Video .. Julian Caldow / Chris Oddy
Best Special Effects in a Video .. Paul Catling / Pasi Johansson (Glassworks)
2000 D&AD Awards
Gold .. Pop Promos .. Direction
Silver .. Pop Promos .. Video Direction
Silver .. Pop Promos .. Cinematography
Silver .. Pop Promos .. Animation
Silver .. Pop Promos .. Special Effects
2000 MTV Video Music Awards
Best Special Effects
Imagina 2000 Prix Pixel-INA
Videoclips Meilleur Scenario .. Second Place
2000 International Monitor Awards
Best Special Effects In A Music Video
Best 3D Animation Music Video
2000 London Effects and Animation Festival (LEAF) Awards .. Music Videos, fx and animation
2000 Fantasporto .. Best Fantasy Music Video Award Fantasporto'
2000 Australian Effects and Animation Festival .. Music Videos
1999 Ericcson Muzik Awards .. Best Video
2000 42nd Annual GRAMMY AwardsÆ .. Best Short Form Music Video
2000 MVPA Awards .. Best Video of 1999
2000 Music Week CAD Awards
Best Alternative Video
Best Cinematography .. John Lynch
Best Editing in a Video .. Gary Knight