The Fate Of Ophelia Music Video Behind The Scenes [HD]

The idea I came up with for this music video was sort of a journey throughout all these different ways in which over time periods, historically, you could be a showgirl, right? Like how you would be in the public eye back during the 1800s when you'd sit for a Pre-Raphaelite painting, or you could be a showgirl by, you know, being a cabaret burlesque club performer. You could be a theatrical actor putting on a performance. You could be a Vegas showgirl. You could be one of the girls in the Busby Berkeley, you know, screen siren era of the 30s and 40s. You could be a pop singer on the Eras tour. And so it's kind of a journey through all these different time periods and different characters, really. So I called up all my favorite people, all my favorite collaborators. So we thought it was a painting, but when the painterly effect fades and I become a real person, I move, then the frame moves, the set pieces move right behind me, and I walk out of it. The first verse goes, I heard you calling on the megaphone. There could even be like someone with a megaphone that comes like right, that walks right past with a megaphone. Everyone places, places, you know what I mean? You haven't seen me all along. As legend has it, you are quite the pie. What we could have with a fire breather come across the back. Like you like the maps to watch it flow or whatever. And then I could be in the, and then the pre-chorus goes, and if you'd never come for me, and it could be this big makeup area where we kind of have that, the mirror, whatever mirror trick we're going to do, we do in that first pre-chorus. And then I imagine something being like a big like dance thing in the first chorus, like something very glamorous, something very showgirl-y. The final image of you and Noir, you were saying that it's mimicking the image of the painting. I kind of wanted to match the framing ideally to the album cover and kind of just frame it exactly like that so that people are like, oh, so the cover is a reference to the Ophelia painting and this ending is a reference to the cover. Yeah. So art history for pop fans. Do we have it where I'm striking the match or am I just being handed a lit match? It's not one of those things where I could strike it like on something weird, right? Like I strike it like on something strange. What's the weirdest thing I could strike it on? Yourself. That's what I thought. Quite the pyro. I'm gonna try it. And we might do like a little little Parisian poodle or something with a loaf of bread and some grapes. You know, it's just some grapes. Oh, I can bake the bread. Can you be my bread? Can my bread be in the music video? Yes. Come on, that would be fun. Surgical table from 1820. And only that will do. We're never going to see it, but we just love to hear the squeaks. Our role is to bring in this frame, but it's difficult because it has to match the background and it has to be right in time. Perfect timing and it's exact and it'll be wild. So we are here starting the beginning of June, just the very first scene. It's really exciting to be able to shoot it in order, at least for a period of time. We'll be shooting the first scene and then the second scene concurrently. So I'm really stoked to get to do this and try it a couple of times. We're watching them in person. We're just kind of trying to take care of little details. And what I want is to really fill the frame with tons of details that you see when you go back and watch it over and over again. So it's easier said than done. So off we go. It's a really exciting day for me as a baker because my bread is actually a music video star as of today. So it's over there. I've had to adjust it several times just to make sure that the perfect environment was his lines. Look at playback. Yes. Can I have one more? That's a really great take, but let me try to do one perfect. Great moment with Cam. I've seen stuff fall in the back. Pyro. Okay, it's good. No, it's good. And I did a little cinema. I think we're done. Yeah, well, I don't really know what happened. I was trying to carry two bowls that were glass and they crashed into each other and then hit the like the counter and kind of exploded. Like something bit me and it's like it's you'll see it's fine. It's better than if it were a burn or like a break. Wow, guys, amazing. Planning on getting up from here. So there is a little one thing we can do for the four of you where I would always do that. There's a way you can kind of. Yeah, there you go. Just like a butt and then I'm sitting and then I wonder if I wonder if like 40 you can cross. So if you guys are chatting there, so they go down just to get in before you get up. So if you had like this kind of moment, you're like, oh, you know, yeah, I love that. You know what I mean? Yeah, we have a little fun in here. Yes. Now that I'm seeing it, make it more dressing room. Yeah. And also like if you can do the choreography while you're sitting in a place where you're like a schoolboy, you know what I mean? That was very good. You guys are so good. OK, we have a perfect one in that one. Can I just try to be a little bit better? I have more to give. So right now we are sitting on the set of what we're kind of calling our sort of our Busby Berkeley inspired MGM, you know, scream queen, 1930s and 40s kind of inspired look. We've got it looking kind of a little bit like a beach swim pool thing. And that's a play on like the thing with Billy, they got Billy Brown. So we've got these life savers, these life saving devices, which could have prevented that from happening. Hi, guys. Thank you so much for being with us today. You guys look amazing. I'm so excited to see you guys. It's going to be so great. The rehearsals have looked so amazing. And I am going to try really hard not to fall down. You're going to be amazing. Someone step up like a director and talk to you. Well, I'm just looking at my shadow right now. I just love it. Or should I make it all the way down the stairs instead of stopping on not even dreaming of not even dreaming, you know? OK, now I need to figure out how to get you down here. We're going to I think it's not going to stop on that step. Keep walking. Get down here. It's going to be fine. So we go lean six, seven and one and one, one. And I like a little easy, just a little easy. OK. Yeah. OK. So as a choreographer, you know, of course we can and whatever. But I find that a really good way of explaining what I'm feeling or what I need is by just making weird sounds. And also, you know, we're in secret sauce. No one's hearing this this track. And so all anyone's hearing in the room is just click. So I also have to be able to inform the dancers that you need to feel this in this moment. And plus, it's just it's funny and I like to do it and I like to have a good time. I walked in and it just took my breath It's just so special to get to be part of this. Wow. Love it so much. Oh, my God. Really nice. Yeah. Wow. Amazing. Amazing. I'm blown away. You're amazing. You're amazing.