Press Releases - Iconoclast - Iconoclast Press Releases at en-us Copyright 2021 Iconoclast Director Emily Kai Bock Gives Us Private Moments With Lorde With New Video For “Yellow Flicker Beat” Iconoclast director Emily Kai Bock treats viewers to private moments with Lorde with the music video for her latest single “Yellow Flicker Beat” written for The Hunger Games: Mockingjay – Part One soundtrack. The clip launched on Vevo at 6AM EST, exactly timed to coincide with the singer’s 18th birthday in her native New Zealand.

From the striking image of an 80s-styled Lorde bathed in the cherry hues of a neon motel sign (with her trademark wild curls slicked neatly into a pompadour) to the dark party scene evoking a modern Gatsby - Emily Kai Bock creates a world of arresting vignettes. From scene to scene, Lorde’s dancing moves from jolts of frantic motion to moments of tense stillness, yet our eyes stay magnetized by her composed visage.

Emily Kai Bock explains how the collaboration came about, “Ella [Lorde] emailed me during the summer while she was on tour with Magical Cloudz, who I made a video for a couple years ago. I was amazed that she would reach out to me directly. Usually with such a big-name artist, there is a team of people you have to go through, but she kept a close connection to me from start to finish - from feedback on the treatment to editing notes, we were in constant touch.”

As for the inspiration behind the video, Emily explains, “Ella is a true collaborator. She had sent me a reference video of Mae West being interviewed by Dick Cavett. In the clip, Dick Cavett walks across a massive airplane hanger to this tiny lit set, where Mae West is reclining in this chair - it's a really surreal interview setting.”

“I wrote her a treatment with a bunch of these kind of set ideas, of things that could live within a dark void of a large vacant space, under a singular light - a motel room, a confessional, a chandelier, a streetlamp, and so on - and she loved it. I was really excited about the idea of using black as a way to transition between the worlds, losing the context of what is exterior and what is interior.”

Emily’s unique perspective as a director and editor, as well as an occasional cinematographer, played into how she envisioned stitching the worlds of physical light and darkness together. Within each environment, the camera could move towards and away from the concentrated light source – revealing more and becoming brighter, losing information as it fades, or going out completely. Emily shot on 35mm, attributing to the cinematic quality achieved in the footage.

Due to Lorde’s busy schedule, the exteriors were shot in north New Jersey, and the interiors in the Park Avenue Armory during Fashion Week. The crew managed to squeeze just one day in between the Marc Jacobs and Tommy Hilfiger shows – with only 24 hours to build, shoot, and take down the sets.

“Yellow Flicker Beat” was shot while Lorde was on tour, with her playing shows in Canada between shoot dates. Emily says, “We would wrap set and she would get on her tour bus to drive overnight to a new city and play a show. She didn't seem tired though. There was one scene where she had to fall off a four-foot platform onto these mats repeatedly, and she was really excited about it. I think even complained that the platform wasn't higher.”

Captivating us with a study in contrast, Emily Kai Bock delivers a visual for “Yellow Flicker Beat” that is as confidently modern and artistically unique as Lorde herself.

2014-11-12 00:00:00
Iconoclast Director Yoann Lemoine Creates a Haunting Visual Journey for Black Atlass’ “Jewels” Iconoclast director Yoann Lemoine (AKA the experimental pop-folk musician Woodkid) takes us on a beautifully surreal journey for emerging indie artist Black Atlass. Set to the track “Jewels” from the Young Bloods EP off of Fool’s Gold Records, the highly visual film features Polish supermodel Anja Rubik and Black Atlass singer/songwriter/producer Alex Fleming in a mysterious futuristic world.

From the opening sequence of darkling lights reflecting off the surfaces of strange and fantastical shapes, Yoann’s sunless imagery evokes a disturbing yet seductive world of form and movement. The CGI-infused visuals are hypnotic, as liquefied metal and gilded cages cover Rubik and Fleming’s hauntingly expressionless faces. The flowing movements of the metallic textures reflect the inky smooth rhythms of the music, playing the perfect accompaniment to the track’s lush R&B-tinged vocals and experimental alternative-meets-electronic sound.

The technical challenge was to create a video that looked photorealistic, but that would not come from a real camera. Yoann explains, “For this piece, I worked in a completely different way than I'm used to. I went back to my first love of being a director and CGI artist, and worked in post production on my own for 8 months to digitally create every single shot of the video with a very limited budget.”

“I used a DIY 3D scan system that rebuilds models from multiple still images, and what we call camera mapping, and played with this material on my computer. All of the camera, light, and texture movements were animated at home and on the road, as I was touring, far long after the 3D shoot of the real actors in February.”

As for how the digital elements played into the film’s narrative, Yoann remarks, “I thought the coldness and strangeness of the images was an interesting take on the concept of beauty and computer-generated images. I was born with computers but I’ve always thought it was strange to use them to fake or replace reality. The whole quest for 3D, 4D, pixel resolution, frame rate, and progress in the CGI world only seems to be driven by a fascination for reality emulation, and not that much by artistry and fantasy. The reality pictured in this video only exists in the computer I used to create the piece. It's fascinating and alienating too.”

“I loved the idea of humans golden like objects, like pieces of furniture. I treated them with the same precious care that we treat Jewels. I wanted to question the limits of incarnation, of organic versus digital, creating a piece that was equally beautiful and intense. Something equally organic and digital.”

Black Atlass had previously captured the attention of Yoann, with the Montreal crooner opening for Woodkid’s European tour back in February. As for enlisting Rubik, Yoann says, “I really want to thank Anja Rubik for saying yes instantly when I presented her the treatment. I thought the vision of her and Alex [of Black Atlass] was the perfect, beautiful and cold combination for the video.”

Yoann Lemoine is known for effortlessly moving between creative endeavors, whether creating his own music as Woodkid, or directing vivid and often reality-bending visual narratives for fellow artists such as Drake and Rihanna, Lana Del Rey, and Katy Perry under the Iconoclast banner.

The “Jewels” video made its exclusive premiere on Fader November 4th.

2014-11-05 00:00:00