We Can Be Ghosts Now: Interview with Director Tom Jobbins
The visual depth of Hiatus – We Can Be Ghosts Now, featuring Shura, is its strongest feature. The stop-motion visual process makes the Song and Video stand out above many videos that have recently hit the web.
Directed by Tom Jobbins, the Animation is beautiful and simple. Blending music and abstract animation with a powerful plot and colourful chemistry, we decided to pick Tom Jobbins brain to see how his creative process worked so well, for such a lovely piece of Music Video splendor.
How did you come to make the video for Hiatus?
My brother (John Reynolds) and I wanted to make an animation together so we put out the feeler’s to friends of friends. Cyrus (Hiatus) was one of the one’s to get back to us. The track instantly struck a chord with me but I couldn’t tell why? I just felt it had something special about it.
What is the story about?
The song itself is based on two lovers caught in the world trade center during the 9/11 catastrophe. Hiatus wanted this to be the theme of the video but for me the event is too important and emotive to do justice to. I decided instead to concentrate on the doomed lover aspect and to tell the story using laser-cut triangles as the characters.
And how did the story impact your decision for the visual design?
The laser triangles seemed a perfect way to tell a story quickly with emotion but without showing horrific imagery. With these in place my brother designed the world, using simple colours and geometric forms. He did am amazing job, it looks great and the budget really wasn’t there. We worked together with cinematographer Matthias Pilz in a small studio shooting in between paying jobs.
What made you decide to use stop-motion over CGI?
Stop-motion takes a long time but I’m in love with it. I work fast, not minding indiscrepancies, because doing things perfect can drive you crazy if you haven’t got the time, and also I like the ‘boil’ aspect of replacement animation. I use computers to work everything out and would even go as far to say that I try and replicate a digital style in an ultra tactile way. It’s like the stop-motion aspect is my way of rendering something out. It takes a long time, but looks great.
How did you get into animation?
I got into animation after a twist of fate. I broke my collarbone and so spent the money I had saved up to go surfing on a digital camera. When I looked through the photos fast I had a personal discovery of animation. Soon after I worked at ArthurCox in Bristol where I was lucky enough to win a pitch to do an ident for Channel five. This was my first bit of directing and inspired me to take it further at the NFTS.
What is next for you?
I graduated last year with my film ‘My Face is in Space‘. The film has been shown at many festivals including Clermont Ferrand and Ottawa. I learnt a great deal at the school about animation and collaborating in teams. Being able to able to make an animated music video so soon after graduating was great as it confirmed my love for stop-frame animation. I am trying to get into commercials where I think my craft-based style will fit. I have another music video coming up and am developing an animated TV series. I am keeping busy but always on the look out for new animated adventures.
Credits
A music video for a sublime song. facebook.com/hiatusmusic
Buy on iTunes: bit.ly/11Xam3d Buy on Bandcamp: bit.ly/ZfNeL6
Director – Tom Jobbins – tomjobbins.com/
Production Design – John Reynolds johnjobereynolds.com/
Cinematographer – Matthias Pilz matthiaspilz.com/
Compositor – Jonathan Topf jonathantopf.com/
Colourist – Danny Atkinson
Editor – Robert Mila
HIATUS:
facebook.com/hiatusmusic
twitter.com/hiatusmusic
soundcloud.com/hiatus