Director: Josh Groom
Josh
Groom is an experienced and multi-talented Sydney creative whose diverse skill
set encompasses direction, production, editing and writing. Gaining proficiency
across a variety of formats over the past 12 years, Josh has worked on music
videos, documentaries, TVCs, news items, trailers, corporate videos, shorts,
feature films and promo spots.
Since
going freelance, Josh has specialized in overseeing music videos for artists he
is passionate about. He’s worked on varied projects with vastly differing
budgets, and is keen to continue challenging himself to inventively articulate
exceptional music through this visual medium. He has directed, written and
edited popular clips for Angus & Julia Stone (‘Babylon’ and ‘Just a Boy’),
Yves Klein Blue (‘About the Future’), Birds of Tokyo (‘Wild Eyed Boy’), Sneaky
Sound System (‘UFO’) and The John Steel Singers (‘Overpass’).
He
won an IF award for Best Music Video (2008) and has received nominations for an
ARIA and J award.
http://www.moresauce.com.au/directors/josh-groom/
http://www.moresauce.com.au/directors/josh-groom/
Director: Josh Groom
Band: The Snowdroppers
Video: White Dress
What inspired your idea for the video?
This is the kind of music
video I have always wanted to make. I've been a splatter movie junkie since I
was a teenager, and the old school exploitation horror films of the 80s have
long been close to my heart.
I grew up in the dark and
dusty corner of the video store horror section, renting shitty VHS copies of
Nightmare on Elm Street, Friday the 13th, The Evil Dead and Halloween. Being
given the opportunity to create something in this genre was an absolute
pleasure and something I could not possibly pass up.
What
are some of your favorite horror films?
My
favorite all time horror flicks would have to include The Texas Chainsaw
Massacre, Dawn of the Dead, Wolf Creek, A Nightmare on Elm Street, The Shining,
Evil Dead, Halloween and Friday the 13th part 4: The Final Chapter.
How were
you approached for the job?
One of my best mates plays
bass for the band and we've been looking for the right project to collaborate
on together for a few years now. On his recommendation, I received a phone call
from Cougar Jones (drums), and he explained to me the band wanted to do
something in the genre, and he even had a rough idea of the framework for the
narrative.
He and I shared a common
vision for what this clip could be and he encouraged me to take it to some very
dark, yet tongue-in-cheek places. I took a few notes, went home and spent the
weekend throwing every sick, bloodthirsty and twisted idea at the wall,
thankfully most of them stuck and all of them left a mark...
What was
the budget?
It was a low budget. I
won't say a specific number, because music videos cannot be sustainably made
for this sort of budget and I'd hate to set a precedent. Thankfully, lots of my
co-contributors loved the song, the concept and the genre and came on board to
make this passion project possible. It would have been an ambitious project for
twice the budget - but having a great producer in your corner is half the
battle.
What were
the limitations you faced with the production?
Well, first off, as
previously discussed - the budget - but that's no surprise in a music video
these days. The availability of the band and my travel schedule was the second
major hurdle to overcome. I was leaving the country for a 2 month road trip in
the USA (I am currently writing this from a truck stop in Austin, Texas on our
way to New Orleans for Halloween) and the whole band were only available for
one weekend in Sydney, just two weeks before I left.
This meant that the ingest,
edit, grade, VHS degradation and delivery process would all need to take place
in just 10 days. This seemingly insurmountable obstacle was overcome thanks to
our incredible editor Aaron Petersen and the unbelievable support of Postbox
Sydney. Aaron did an incredible job, cutting two versions of the clip within a
week, graded the project and oversaw the degradation process. His talents and
skills were invaluable.
Who were
your key collaborators?
The key collaborators were
headed up by Glenn Hanns, my DOP for all my music videos thus far. A brilliant
cinematographer and a great friend. He's a brilliant guy to have on set and our
long working relationship has established a communication shorthand which comes
in very handy on these fast moving, high-setup-count shoots. His lighting and
ability to create tension or beauty in an angle choice or camera move is
exceptional.
Adam Cantley was the
producer, another fantastic guy who even managed to keep a straight face when I
talked him through the ridiculously ambitious treatment and then told him the
budget. Nnot only that, he got it done, ahead of time.
The special effects and
makeup department was Makeup Effects Group whom I'd encountered last year
whilst working on the feature horror film, Redd Inc. Headed up by the
unflappable and delightfully deviant Mariel McClorey. These guys gave the gore
that glorious 80s aesthetic and in-camera realism.
Our production designer was
Chris Tselepi, who did an incredible job dressing out 13 different scenes, with
antique, unusual and individual props... always serving the narrative and never
distracting. He also lit somewhere in the vicinity of 1000 tea candles.
Tell us
about your production process?
The production process was
a lot of long hours, over the course of one massive weekend. We shot Friday
night, our only location stuff in the graveyard. From dark till 1am, then on
set in the house of horrors from 8am Saturday till 11pm and finally 7am Sunday
till 3am the following morning.
Despite these seemingly gruelling
hours, spirits on set were good, very good in fact. It was probably the most fun
I've ever had on a shoot. I suppose it helped that there were body parts, blood
and nudity in almost every sequence. I must remember this formula for keeping
the morale of a crew on a high. There was an all-pervasive sick and twisted
sense of humour and everybody seemed happy to marinate in the filthy good
times.
The cast, including the
gorgeous/amazing Nikki Collins as the corpse bride and the band as ghoulish
versions of themselves, were incredibly enthusiastic and always prepared to go the
extra mile for the sake of a shot. Except for Johnny Wishbone, who cried like a
little bitch when he had to climb into the cold bath tub filled with blood. I'm
kidding of course, in fact Jonny's manic performance (reminiscent of a young
Bruce Campbell) was key to pulling off the tone and content of the clip without
spilling over into Cannibal Corpse territory.
We kept the most complicated
sequences till last. Shooting the band performance on Sunday morning and the wedding
sequence Sunday evening.
We decided at the start
that we wanted the VHS look to be as organic as possible, so once the edit and
grade was complete we played the clip out onto VHS tape. Then dubbed that VHS
tape onto itself 5 times, each time losing a generation and keeping each step
of the process as we went. We then ingested all these VHS versions back into
the Avid, giving ourselves digital control over the analogue degradation.
As I said before, the
turnaround was 10 days from shoot to delivery. Thankfully, we had about a month
of pre-production to get ready for the sprint to the finish line.
How involved
were the band and label?
The band were very
supportive of the concept and process. The band manager, Dan Hennessey, was
perhaps a little perplexed at the choice of genre. Not being a big fan of
horror himself, but he certainly gave us all the room we needed to create
something that everyone was happy with. To be safe, we shot and finished two
versions of the clip. A PG (TV-Friendly) version
and the explicit R-Rated Version.
In the end, the label
decided that they would lead with the R-Rated version which was the best
possible outcome for me as it was the showpiece for all the good stuff that I
love about the treatment... ie all the demented and perverted stuff.
If you had
a chance to approach it again, what would you do differently?
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