Black eyed peas i gotta feeling uncut
I was 22 years old, and I went to some convention, and there was a guy there selling bootleg tapes, and he had a videotape of Howlin' Wolf. No matter what the question is, someone will answer their question. JW: Yeah! What's the point of that? Nowadays, everybody assumes, when they wake up in the morning, if they have a question, it will get answered.
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OMM: Is the whole reason for going to all this trouble that you find the modern style of music film-making too up close & personal? Often you can make out the make, model and serial number on the FX pedal. Yeah, but incidentally, the guy that put that DVD together, he did ours. Not Communication Breakdown - it was The Immigrant Song. The bootleg stuff they used on there was Super 8. OMM: Were you inspired by the Led Zeppelin DVD? It was an incident rather than an MTV Special. The way they film it, it has a warm feeling to it. A lot of modern digital videotape, it's just too bright. I just think old old movies, they make you concentrate and pay attention so much more. JW: It would've been great to maybe even have a section of the film where it might be silent. I forgot the guy's name - I was too busy looking at his table! I never knew there was a guy who just did that - a colourist. Such a great job! I'd love to do that all day long! And just pick and make the right colour. Really cool! Just colours and shades and contrasts. It's just a table with three red spheres on it. There's no numbers, or any chart on there.
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Sometimes they'll turn yellow, the balls. They have lights underneath them, and they glow. He just looks at things and changes colours, and darkens things when he wants to. All he does, he just sits at this space-age desk and he has three red balls in front of him, and he plays with them. (To Meg) I don't know if I told you about this. I never met this person before, but there's a person that I think has the greatest job on earth. I went through the whole process with them, the editing, and mixing the movie. But a really really warm feeling to the whole thing. Sometimes there were big spaces, depending on how long it took someone to load a new cartridge. He had to line them all up on a computer, and work out where it landed in the show. I could see from the balcony whether the Super 8 camera was on or not from the red light on top. But they were just guessing where they were.Īnd I think there was some kind of light thing too. Like film Jack's face, or, film Meg's face, or, film Meg's hand. So I think he was kind of barking out orders in general. He had everyone on walkie-talkies but there's no fade back monitor for the director to sit in, so he can only kind of guess what they're filming. They had six different cameras, and the cartridges only lasted for three minutes, they had to keep changing them over and over again. I was wondering how they were gonna do it. Jack White: That was a lot of work for them. Andrew Perry (Observer Music Monthly): Let's start with Super 8 film.