Why is there completly different scene for each band member?
Each one of the guys had their own tribute to their own classic
film. For instance the scene with the dry lake bed and Kirk being
chased by the biplane, was a tribute to North by North West, the
Hitchcock film. We wanted to do it one step better. Now we have
the technology that was not available to them at that time. The
rotunda scene with Jason was a cross between Midnight Express
and Brazil. In Midnight Express everyone is walking in a circle
and the guy walks in the opposite direction which is a tribute
to that as well as the uniformity of Brazil. James did a sequence
from Bullet, the Steve McQueen film. Finally, the scene with Lars
jumping out of the building was a tribute to the Die Hard movies.
What were some of the challenges shooting on top of the butte?
The hardest thing about shooting on the butte was getting the
equipment up there and making sure that all the necessary equipment
was with us. On a regular set, if something was left behind it
would be easily accessible, but on the butte we would have to
take a helicopter down. We used three helicopters and spent the
morning shuttling equipment, dollys, generators, steady cam etc.,
to the top of the butte. We were up there the whole day from sunrise
What were some of your concerns when you were shooting the chase
scene with the biplane?
As opposed to doing a lot of blue screen work, we tried to shoot
it as real as we possibly could. Kirk was worn out
by the end of the day, being chased by the biplane. He must have
ran fifty miles by the time we were finish with him. He was up
and down the dry lake bed all day long.
Mounts were placed on the plane, the biplane and the helicopter.
We also had the westcam (a gyro mounted stabilized camera) on
the helicopter, which was above the plane chasing Kirk.
How were you able to achieve the close up, unbalanced look of
Jason in the rotunda?
The body mount camera is a vest he is actually wearing with a
pair of rods that pushes the camera away from him. Jason actually
became the camera operator because it was physically mounted to
his body. We wanted it to have that crazy manic feel to it. We
had approximately fifty extras, just enough people to fill the
stair case. In post we built the rest of the people around them.
How did you have the cameras set up with Lars running through
Well we had two cameras that were running high speed as well as
the steady cam. There were three cameras inside the building and
we ran anywhere between 7-8 cameras outside the building using
helicopters, cranes, mounts and all the toys!
Working as the director of photography with Wayne, what (in your
opinion) makes him such a great director?
Its always a challenge to work with Wayne because youre
always trying to do more than you should be doing. You are dictated
by the time and the budget, but you always seem to pull it off
because he always has that driving force. I adore working with
Wayne, he pushes you and always has great ideas. The final product
always turns out to be absolutely brilliant.
Is there anything unusual that happened during the shoot?
Each one of the scenes is unique in its own way. The scene
on the butte was actually shot on a sacred American Indian holiday.
We had to get permission from the Indian council in order to shoot.
We had to go through a whole ceremony. Everybody and all the equipment
had to be blessed.
visual effects artist Nathan McGuiness
FFX: How did you create the storm chasing the Camero?
The car scene was basically created by two of our visual effects
artists. They actually busted out the idea of the whole building
ripple effect and the storm coming towards the camera. Basically
they worked on that using their Maya work stations. The scenes
were completed within a couple of weeks which was pretty fast
for what they accomplished.
What is it about the I Disappear video as far as the
visual effects are concerned that you think really make the video
Its an effects joy ride! Its just the intensity of it all
and the shear number of effects rolled into one.
with director of photography Dave Rudd