July 2014

Sometimes something happens that shifts things irrevocably. "Elysium" calls to mind the AG Rojas shortfilm Cody — They were in Taft, CA for a video shoot when a school shooting occured, thus providing an opportunity for a haunting and personal look at how to get by in a world like that.

This time we're in Settle, where director James Marcus Haney was shooting a video with his brother and friends — presumably a lifestyle piece — but then reality hit in the shape of a camus shooting... 

James Marcus Haney, director: [h/t: NPR]

"'Elysium' was one of those tracks that became very personal to me very quickly. It made me think about my younger brothers and their transition from kids to adulthood — how they are carving out their individuality and quickly leaving youth, innocence, and wide eyes behind.

"Brother don't grow up.... /Just hope that age does not erase all that you've seen/Don't let bitterness become you/Your only hopes are within you."

With the video, I wanted to capture elements of that transitional experience in my brother, Turner's, life. I wanted to film him and his real friends doing actual things that they normally do. I wanted to document the actions and emotions of people at this age — the highs, the lows, the noteworthy and the mundane. I wanted to get inside what it feels like to be a teenager today. On a personal level, I wanted to freeze the last remnants of youth still left in my brother — to record him in this tender, fleeting age of early college years.

Soon after I arrived in Seattle to begin filming, an armed man walked onto Turner's college campus and shot four students. One of them died. I was staying on my brother's couch in his campus dorm room, living amongst sixty or so sophomore boys. The name of the slain student was not released, and no one knew when it would be. As hours passed by into night time, one student was still left unaccounted on my brother's floor, four rooms down from us. One of the dorm-mates decided to sleep in the hallway just outside the elevator to wait for the missing student, so that he would wake up when the missing student came home. Others followed suit until the entire dorm floor hallway was filled with mattresses and students unable to sleep, all waiting for the elevator door to open.

"When the victim's name was released the next day, the fears were confirmed. Turner's friend and dorm-mate, Paul Lee, was dead. With the music video as a last priority, I was thankful just to be with my brother — to support him, to be near him. In his dorm room, he played the song 'Elysium' over and over. A few of the other kids played it a lot too, and sent it around. While in the midst of a dormitory full of very broken and lost students, I couldn't stop listening to the song either — it took on a whole new weight and meaning.

That weekend, my brother and his friends wanted to finish the video, in honor of Paul. The end result is a video that depicts real friends, real teenagers, experiencing something far too real."

We open with pure beauty — a stunning vfx pass that's part Unknown Pleasures and part Han Solo in Carbonite. Both are cool in their own right, of course. But things move quickly to a coming-of-age story set in the marshy backwoods that slowly unfurls over nearly 10 minutes.

Yoann Lemoine aka Woodkid, director:

“The Golden Age is the last single and video for my first album.   Throughout the process of directing videos for this story, I slowly removed all digital and post-production layers of my work to finally create this piece. It is somehow a postcard from my childhood, with memories and emotions from the countryside assembled together in a long, free, mellow piece. It's about the child trapped inside, the haunting memories, the beautiful and the dark ones. I wanted the camera work and acting direction to be very organic and carnal, in opposition to the digital, rigid and super-composed aspects of the previous videos. That's why we decided to shoot everything handheld, without any mechanical movement and with no post-production. In that way, I would say this video is very different from the other ones.   It all started when I bought an original print by my favorite photographer, William Gedney, friend and contemporary of Lee and Maria Friedlander, who shot families in rural America in the sixties. I decided that this piece would pay tribute to the beauty of his work and the way he shoots boys and men in their environment, to the sensuality of his eye, which describes so well what I felt for other boys when I was younger.   In order to extend the song and create the right mood for this piece, I collaborated with composer Max Richter. He extended and re-recorded his piece ‘Embers’ to adapt it to the pace and tonality of ‘The Golden Age.’ Together, we created this very free ‘hybrid’ edit of the track, which tells so much about the pace of never ending childhood summers.   In a way, this piece is a final goodbye to four years of work and tour for this album.“