Directors Michael Livingston, Amanda Dreschler and DP Dan Kneece Amanda Dreschler and Michael Livingston didn’t let a detour like the COVID-19 pandemic shunt their creativity. Just the opposite— they channeled their isolation experience into inspiration and pulled out the stops—writing a script, learning the majority of crew positions, and sharpened their directing, acting and editing ...
When Timur Civan was called upon to shoot a music video for the title track of “Lush Life” by New York City-based band, “Orion”, he took his cue from the pop rock tune and decided to have fun with it. Dubbed “bouncy music for bouncy people,” its reggae vibe brings to mind lilting palm trees, ...
Hi guys! Thank you for your questions and your interest in my work. Let’s get started! Here my main influences:
In the 80s: whilst growing up in France, I was very inspired by the vast amount of Japanese anime on TV, especially the Cobra series (funny that it was just on kids TV back then in France, where it would be rated 12 or 15 here in UK now) and films like Videodrome, Nightmare on Elm Street, Evil Dead 2, 2001, The Thing, Altered States, Blazing Saddles, Monty Python films and such like.
I was massively into MTV’s Aeon Flux series and non verbal films like Baraka, Koyananskatsti, Atlantis and such like. The Day Today / Brass eye have been quite important as well in terms of absurdity and “OTT-ness”, especially the Brass eye Infographics. Then in late 90’s & early 00s once I moved to London I was massively into Ryoji Ikeda / Dumb Type / Semi-conductor Films / Ukawa.
In terms of key experiences, I’d say it was seeing Daft Punk live multiple times in the mid 90’s & their Audiovisual show in the 1997 tour. That was definitely the main experiences that pushed me to do what I do in the audiovisual world.
It was like a “smack in the face”. So bold, minimal and sync-ed to the music, it totally blew me away. I remember thinking back then, I wanted to blow people away in the same way someday.
Good question, that I’m not sure how to answer as I don’t really think about it in that way. I’d say I very much differentiate my live & studio work. To me, my live visuals are technically made in similar ways to how my friends make music.
I position myself in the same category as lighting/laser designers, in a sense that I’m there merely complementing/enhancing the audio experience. As in my studio work I very much try to recreate the kinda vibe of an anime intro or 80s music video, which in my opinion were far more entertaining. For me, it’s all about visual impact and entertaining the audience.
This is a tricky question for me, as I find it hard to categorize anything I see on my computer screen or at a party as art. For me it’s more like graphics or entertainment. Call me old fashioned but for it to be Art is has to be in an art context (whatever that is), and as my work isn’t in galleries or such like (yet) i don’t really consider myself as an artist.
Actually I find the words art/artists are used way too sparingly in this day and age, so I’m not really sure as to where I fit in all this. I’d rather not think about it and just carry on doing my thing & let other people define me as they see fit…
I’m very much into specific/custom made/location-based designs. My ideas tend to be finding a way to best fit the “where” and “what”. My concepts are very driven by discussions (or lack of) with the artist/clients, which is why my work tends to vary in style (or quality, if the client/artist has too little input or dictates too much)
Firstly I figure the possibilities and limitations and work within those boundaries, then I discuss with artist/client to figure a rough direction to aim for, it then it generally snowballs from there.
I generally try to deliver what the artist/client & target audience wants, but not necessarily what they expect, so I tend to avoid the obvious options.
I don’t think I approach a project that differently depending on what genre of music it is. I just try and do whatever feels right for that category of music, BUT the workflow is vastly different depending of the type of artists they are.
Some artist are way more approachable than others regardless their music genres and when I can bounce ideas back and forth with them that is when I can go deep into what they truly want and get the best results. I can’t say the same when there’s a sea of management/label/producers between me and the artist.
It’s fair to the results are far more fruitful when I work with artists who don’t take themselves too seriously as I’m not a yes-man nor my specialty is making people like prim & proper.
London based WEIRDCORE is half English, half French and results in a director and collaborator who is one hundred percent out there.
Weirdcore’s work is the result of years of experimental design and animation work that pushes the boundaries of consciousness and visual interpretation.
Adopting a method used more often by artists and music producers rather than by visual directors, Weirdcore helps both advise and visualise others initial ideas, facilitating their progress through until the finished form, whilst also creating his own stunning individual projects.
With a unique blend of formats, colors, designs and mediums, the audiovisual artist has collaborated with some of the most exciting modern artists and directors such as Aphex Twin, M.I.A, Tame Impala, Radiohead, Nabil, Hype Williams, Charlie XCX, Smerz, Onetrix Point Never, Sophie Muller, Diane Martel and Miley Cyrus.
Weirdcore performed live in the most important festivals worldwide such as Glastonbury, Sonar, Fuji Rock, Coachella, Club2Club, Future Music, Field Day, Mira, Unsound, Melt, Lowland, Dour and more.
Weirdcore has also lent his emotive expertise to larger collectives, organisations and labels such as Warp, XL, Sony, Ninja Tunes and Domino, whilst keeping a dynamic and fluid focus across a range of other diverse industry’s such as Fashion, Theatre and Opera.