videos:
we bought shares in eveready that day
we bought shares in eveready that day
the cure - pictures of you 7" - march, 1990.
muscially speaking, towards the end, there's a great moment, where the song literally shifts into a whole new level - very cure and very great to make videos for. i always describe it as being like when tectonic plates shift beneath the earth. i asked smithy to explain once what happens technically there, and to be honest it was the last time i ever asked him a sensible question. filmed on a bloody glacier in scotland, we wanted snow, and when we arrived there was none - of course! but during the night, it came down like manna from heaven - and then on the day of filming itself the snow came faster and thicker still, as you see in the last few shots where the camera tracks into smithy's face. the trucks, lights and equipment all got stuck on the glacier and the whole thing was a bit bothersome from the producerial angle. the cure and everyone had to lend a hand to move stuff. the way we worked to shoot was that there was a free-for-all policy with the super-8 cameras, to give it the home movie look and feel - anyone who fancied a spot of filming could do so - runners, producers, crew, sparks, drivers, band, oh, and directors. i can easily tell which shots i do, by smithy's reactions - though you can work that one out for yourselves. see if you can. the camera batteries kept running out after each take [because of the arctic temperatures] and some poor bugger was duly dispatched, on snow chains, to a nearby bastion of civilisation to procur a lifetime's supply. we bought shares in eveready batteries that day. the cure did their makeup and stuff in a nearby pub toilet, and the surreal sight of them puckering into mirrors while hardcore climbers with rucksacks and crampons went about them remains. smithy et al came after me, when we'd wrapped, with a shoot-to-kill policy about his eyes, and a snowball in his hand. p.s. the guy in the polar bear suit was bruno, the band's driver, who also played the octopus in the close to me remake.
muscially speaking, towards the end, there's a great moment, where the song literally shifts into a whole new level - very cure and very great to make videos for. i always describe it as being like when tectonic plates shift beneath the earth. i asked smithy to explain once what happens technically there, and to be honest it was the last time i ever asked him a sensible question. filmed on a bloody glacier in scotland, we wanted snow, and when we arrived there was none - of course! but during the night, it came down like manna from heaven - and then on the day of filming itself the snow came faster and thicker still, as you see in the last few shots where the camera tracks into smithy's face. the trucks, lights and equipment all got stuck on the glacier and the whole thing was a bit bothersome from the producerial angle. the cure and everyone had to lend a hand to move stuff. the way we worked to shoot was that there was a free-for-all policy with the super-8 cameras, to give it the home movie look and feel - anyone who fancied a spot of filming could do so - runners, producers, crew, sparks, drivers, band, oh, and directors. i can easily tell which shots i do, by smithy's reactions - though you can work that one out for yourselves. see if you can. the camera batteries kept running out after each take [because of the arctic temperatures] and some poor bugger was duly dispatched, on snow chains, to a nearby bastion of civilisation to procur a lifetime's supply. we bought shares in eveready batteries that day. the cure did their makeup and stuff in a nearby pub toilet, and the surreal sight of them puckering into mirrors while hardcore climbers with rucksacks and crampons went about them remains. smithy et al came after me, when we'd wrapped, with a shoot-to-kill policy about his eyes, and a snowball in his hand. p.s. the guy in the polar bear suit was bruno, the band's driver, who also played the octopus in the close to me remake.
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