When your DP is in the airport during a gunfire scare and you decide to make a music video out of it.
Carlos Lopez Estrada, director: "We had just filmed 2 videos for Watsky in Mexico City and our director of photography, Albert Salas, found himself back in New York, stuck in what seemed to be a terrorist attack. They later found out that the alleged gun fire had been the sound of a pistol signaling the start of an Olympic race, which was playing on multiple televisions at JFK." [via Vimeo]
Jackson Adams, director: "We knew we wanted to make something highly visual that not only matched the energy of the song but also gave George a grand re-entrance since he'd been away working on this album and his book for two years. For some reason I'm really attracted to circular camera moves, and since I'd never shot with a Phantom before I thought it could be cool to combine the two into something that I'd also never really seen before. Phantom footage is so compelling on its own that I hoped a single good take would be enough to sustain most of the the song -- and if that were the case, then what if we shot a dozen cool takes? Our goal in the end was essentially to nail the song's energy and themes — primarily freezing time and celebration -- while also throwing in a variety of callbacks to previous Watsky videos."
Recapping a life as you take a taxi ride to heaven... The new Watsky video takes place almost entirely in a car where a camera constantly revolves to capture the driver, the passengers and the surroundings...
This might be Watsky at a more ruminative speed, but even this simple rooftop performance can't help itself from pinging off in a creative direction as a window array leads perfectly to a persona; Zoetrope.