Опять! =) проголосовал!

Не помню такой темы)

dina
Спасибо) правда, качественно)

RockerGirl, тени от фанов нарисованные...

dina
спасибо)) класные фоты)) было б видео )))

я тут недавно перепутала Gotte Be Somebody и Aerosmith
начало у Aerosmith - I Don't Wanna Miss a Thing   -   http://www.youtube.com/watch?v=Vo_0UXRY_rY
и  у  GBS   -    http://www.youtube.com/watch?v=-HuoJEgQZcQ
похоже правда?

Об истории сьемок клипа-откуда такая идея и прочее.

MMVA Video Spotlight: Nickelback, Gotta Be Somebody
Leah Collins
Published: Monday, June 15, 2009

We're ticking off the days until the MMVAs by profiling 2009's Video of the Year nominees.

Video: Nickelback, "Gotta Be Somebody"

Director: Nigel Dick

Notable Credits:
Band Aid, "Do They Know It's Christmas?"
Britney Spears, "...Baby One More Time"
Guns N' Roses, "Sweet Child O' Mine"
Oasis, "Wonderwall"
Nickelback, "If Today Was Your Last Day" (nominated for the International Video of the Year MMVA this year)

The Video:
As we hurtle through space, Nickelback's Chad Kroeger sings of his search for his very own El Uno. Lest these soft and fuzzy feelings in our hearts and pants get too carried away, we suddenly hurtle back to Earth. It's also possibly some 2,000 years ago, but no worries, Nickelback are as ubiquitous then as in our modern times. In fact, the band is rocking a Roman coliseum -- so hard that they cause an earthquake. Literally. (We have it on the director's authority.) The band then zaps across space and time to bring the carnage to the modern day Brooklyn Bridge before once more quantum leaping to a desolate airplane graveyard -- all the better to rock out in safety. But wait, they're surrounded by a mob of bouncing rocker chicks. Ladies, in this case being a Nickelback fan is -- literally -- a sign of bad judgment. If you fall down one of those rock-generated chasms, it's nobody's fault but your own.

Where the Concept Came From:
Director Nigel Dick says it was a direct call from the band that led to him spending 12 hours in a Burnaby, B.C. studio filming "Gotta Be Somebody." After helming 12 film projects for the band -- including their 2002 concert DVD, Nickelback: Live at Home -- any casual Wikipedia reader might guess Dick was just biding his time by the phone, waiting for an offer from Chad Kroeger. Jack Rooger, however...

"I was back in England," says the director, who's typically based out of L.A., "and there's this phone message: 'Hi Nigel! It's Jack Rooger! You've got to give me a call, man. I need to talk to you about this job coming up, it's really urgent, you've got to call me back.' And I'm sitting there thinking, 'Who's Jack Rooger?'"

"I was trying to think of who it was and then I got a message on my cell phone about two hours later: 'Nigel. It's Chad. Where are you?' And I thought, oh my god. It's Chad Kroeger, it's not Jack Rooger," says Dick -- of what's now a running inside-joke between him and the Nickelback frontman. "And I might never have returned the call -- in which case somebody else would have gotten the job," he says.

Once their wires were suitably uncrossed, Dick says the band was ready with a fully fleshed-out pitch -- a fact which he says is not uncommon, and in fact, "very refreshing."

"I've been very lucky in my career. I've worked with probably 200 different artists [including Britney Spears, Paul McCartney, Elton John, Guns N' Roses] and it's crucial that not all the videos that I make look the same, so that the artist's fingerprint, if you like, is quite clear," he says. "Also, it avoids the absolutely heartbreaking process of me trying to pitch an idea to the artist and have them shoot it down."

After so many music videos together, Dick says that he and Nickelback are "comfortable" working together. ("I certainly like working with them," he says.) "Certainly they have a very specific idea of what they want to do and what they don't want to do which I think is very good," he says.

As for what they wanted, what you see is what you get. What notes did they present to Dick? "Just 'we're going to be in the coliseum, we're going to be on the Brooklyn Bridge and in the desert.'" (Dick says he added the detail of the desert being an airplane graveyard. "I thought it would be cool," he says simply.) "And really, the basic idea was the band is rocking so hard that they're making the world quiver."

Biggest Splurge:
Working a Nickelback video, says Dick, is unlike most productions in this era where directors can shoot, edit, mix and produce a music video with digital equipment they probably keep in their living room. He speaks from experience; he's currently working on two documentaries and a comedy "that I'm literally working on by myself and editing in my spare room, with props I've made in my garage."

"The budgets for Nickelback, I'm very lucky, they're decent healthy budgets -- like they used to be back in the day." According to the director, "hundreds of thousands of dollars" were dedicated to capturing Nickelback traversing space and time while causing a tectonic shift via drop-D tuning.

Most of the budget, he says, was dedicated to the visual effects created in post-production. "There was about four weeks of post-production work with about 10 people working, around the clock," he says. "Every grain of dust, every pillar in the coliseum, every piece of wood on the bridge, every cable, every wire has to be created in the computer," he says -- and every last pixel was worth it.

"Certainly shooting it digitally can be enormously expensive," he says. "The beauty of that is your ideas or your scope of creation is as vast as your vision and your intelligence. The only thing that can hold you back is your imagination at that point."

Biggest Challenge:
The video concept didn't have to be plausible, but the end product still had to feel real. "The thing that was very difficult for me on that particular job was how I could make sure that I felt I was on this bridge, how could I make sure that I felt I was in that auditorium," says Dick. To do that, the director had to create a sense of perspective on the set -- even if he couldn't quite picture how the band was going to appear on a lit-up Brooklyn Bridge or surrounded by bouncing fans in a desolate airplane graveyard. Some key props were built to give a sense of perspective. However, matching the real-life footage with the special effects can still leave gaps. "The sequence in the airplane graveyard, my initial reaction on seeing the footage once it had been processed was I should have placed the camera much further away from the band, but my initial reaction was 'Oh god, that's terrible! This isn't looking anything like how I wanted it to,'" says Dick, who eventually came to like the effect. "By the time we'd finished the process, sticking everything together, I actually felt, ironically, that it really worked. Because it seemed as if these people were really really close to the band. It made it much more intense."

Why He'll Always Remember This Shoot:
The making of "Gotta Be Somebody" has stuck with Dick like -- ahem -- a bad cold.

"What I remember is I had a terrible cold, and I felt like sh*t," he says, quite affably, about his memories of the 12-hour shoot. "Every time I get a cold and I'm on a shoot I'm really, really paranoid about making sure and making the right decisions," he says, noting the perils of working under the influence of DayQuil, never mind the effects of flying from the UK to B.C. the night before.

"You've got 12 hours to get it right, you're spending an enormous amount of money. That's actually my memory of that particular shoot is I was very, very careful" -- a situation exacerbated by the fact many of the shots had to be captured in single takes due to time restrictions.

"Normally I get to do three or four takes for everything," says Dick, "It was interesting to see that we still managed to make it work." And though Dick wasn't accustomed to being limited to single takes, the band responded well to the situation.

"By and large, without minimizing their involvement, they're just like 'OK, I stand here and I play,' 'Where's the camera now' and 'Can we go home now? It's getting late.' So I'm always playing that game with them, or any band, [saying] 'It's looking great, guys, we're getting close to the end.' You just got to keep the enthusiasm going."

Спасибо, прочёл, улыбнулся ))))
В основном разделяю мнение Милочки

блин, самый бесячий клип с альбома занял первые места - пипец ))))
Прёт нашим ребятам удача просто!

Это получается GBS стоит наравне с Far away)) пипец!! Может ваще не надо париться над клипами? снять на мобильник, сидя на толчке, дома у Чада и всё тут.... (впереди burn it to the ground.....)

Отредактировано Martiness (22-06-2009 21:37:06)