@JosephKahn I don’t know if I can finish MIDSOMMAR because I am not its demographic: rich white people who drink wine. 1 day 15 hours ago
@dougstern This sounds terrible, but I also recall breathless reports about impressionable young people and 'lips… https://t.co/RpqhCkl9cz 22 hours 17 min ago
@JosephKahn 99% of being a visual effects supervisor on big Hollywood movies is making them build sets that will be completely roto'd out. 1 day 2 hours ago
@JosephKahn Hey . I need more princess content. They must sing every 10 minutes. I need this stat. Get going. Chop c… https://t.co/2Wk4QGLgh8 21 hours 42 min ago
@JosephKahn Slavery reparations doesn't really matter to rich people. How the poor and middle class want to divide up tax revenue is up to them. 1 day 8 min ago
@JosephKahn I will not buy anything more rewarding this year than my Toto 700H Japanese Supertoilet. 1 day 9 hours ago
@questlove RT : Everything Prince said about the music industry is true. 13 hours 46 min ago
@kanyewest When you go to your boys house and you’re both wearing orange 🍊 https://t.co/IyPOdEKaVY 1 day 5 hours ago
@dougstern RT : No country on earth has successfully contained Covid-19 without closing nonessential businesses and paying people t… https://t.co/aTiRg27A3E 22 hours 15 min ago

Benjamin Kutsko

Edward Sharpe and the Magnetic Zeros "Perfect Time" (Benjamin Kutsko, dir.)

Maybe as close as you could expect Alex Ebert of Edward Sharpe and The Magnetic Zeros to get to a crooningly classic studio performance. Instead, he's decidedly (and literally) off-kilter as the video shifts away from the studio and into a deep dream (literally, again), with director Benjamin Kutsko using Google's Deep Dream Generator to get hypnotically weird.

Edward Sharpe and the Magnetic Zeros "Life is Hard" (Benjamin Kutsko, dir.)

What looks at first like a collection of vintage newsreels turns out have a Zelig suprise with singers Alex Ebert and Jade Castrinos integrated into some unlikely places...

Benjamin Kutsko, director:

"The only shooting I did was a day of green screen with Alex and Jade. We had to shoot all of the plates specific for each shot to match the lighting, so the edit had to be done before we ever shot anything. It was a much larger undertaking than I anticipated, so much time researching all of the history and finding the moments that felt right. And then there was the issue of rights and working within the budget, trying to find as much public domain as possible and saving the budget for the shots we had buy."