A two-minute animated voyage through some of the most iconic masterpices of modern architecture:
Ville Savoye by Le Corbusier, Rietveld Schröder House by Gerrit Rietveld, Farnsworth House by Ludwig Mies van der Rohe, Glass House by Philip Johnson and Fallingwater by Frank Lloyd Wright.
Animated music video for Wild Beasts ‘Mecca’ the third single to be taken from the band’s fourth album.
Directed, Animated and Edited by Kate Moross
Commissioner: John Moule
Record Label: Domino Records
Art Direction: Kate Moross
Assistant Art Director: Guy Field
Producer: Harvey Ascott
Exec Producer: Jamie Clark
Production Company: My Accomplice
Post Production Company: Studio Moross
DoP: Matt Fox
Focus Puller: Mike Linforth
Camera Assistant: Daniella Kitchiner
Jib Operator: Dan Lobo Pires
Gaffer: Andrew McBrearty
Spark: Adam Bell
DIT: Sarah Peczec
Hair & Make Up: Natasha Lawes
Runner : Jamie Adams
Runner : Tom Coley
Background filming by Linus Kraemer & Chelsea White
Intern at Studio Moross: Chelsea White
Illustrations by Nicholas Stevenson nicholasstevenson.tumblr.com/
Animated by Carlos de Faria, Peter Dodd, Peter Baynton
Additional animation by Tom Rourke and John O’Connor
Artworking by Beth Carson, Nefeli Petika and Tom Rourke
There are filmmakers we love and then there’s Michael Bay. Even if you dislike him (as I do), Bay has something valuable to teach us about visual perception. This is an exploration of “Bayhem” — his style of camera movement, composition and editing that creates something overblown, dynamic and distinct.
For educational purposes only.
For further reading/viewing, I recommend
Letterboxd user sydney’s review of Bad Boys 2: bit.ly/1iZe7SX
Michael Bay watches West Side Story: nyti.ms/Vg7ErY
Werner Herzog Talks About Wrestlemania & Anna Nicole Smith: bit.ly/VfQ9Iu
The Sound Defects - Take Out
Leonard Bernstein - West Side Story Overture
Radiohead - I Might Be Wrong
For a guy who has spent six months and more than $32,000 turning the bedroom of his Manhattan apartment into an old-school video arcade, Chris Kooluris is very put together. He greets me at his Murray Hill flat dressed head to toe in designer casual wear—Ralph Lauren jeans, pristine white Y-3 Yohji Yamamoto sneakers, and a crispCaptain AmericaT-shirt. He’s trim and athletic-looking, his shaven face boyish for a 37-year-old. This is not the obsessed nerd I was expecting. Then again, looks can be deceiving. He invites me in. The living room is bright and accented with brass everything—brass sconces, brass lamps, ornate brass mirrors. But I’m not here to see the living room. I came to see what Kooluris is hiding in the 180-square-foot bedroom. I look down the hallway: The door is closed, but from the other side I can hear a faintting-ting-ting.
We make our way down the hall and he ceremoniously opens the door. It is a portal into the past. The first thing I see is Donkey Kong cabinet, but then my eyes are drawn to a row of pristine gumball machines that look just like the ones at the Yellow Balloon where I got my first haircut on Ventura Boulevard in 1984.
Everyone who enters this room, Kooluris tells me, has the same reaction: They tell him about the part of their childhood it reminds them of.