Прошло почти 2 года, но я все еще trying to fill the spaces in between.
Потому что такой леденящей красотой и пожирающим разрушением насыщены песня и видеоряд.
И действительно, если бы было создано идеальное музыкальное оружие, которым можно мягко, покачивая
Уничтожить ангелов, то это была бы «The Space in Between».

И хочется знать, что было с той стороны экрана.
Как они чувствовали.
Как всё видели.

How we choose the framing of the scene
Hate begins to spill across the screen

A prop hotel room was built specifically for the shoot, so it could be burned down.


Pouring fake blood on Trent.


A small fire was used for foreground and reflective purposes on the close-ups of Trent.


The footage of Mariqueen and Trent was digitally composited with footage of these mannequin stand-ins burning.


Lighting the bed on fire.


Extinguishing the fire to do another take.


Mannequin Trent burning.


The whole room was eventually burned down. A composite of Mariqueen singing and additional digital fire effects were added for the final shot. To add gruesome detail to the shots of Mariqueen burning, effects artists composited in images of charred flesh, diseased skin, and even chicken meat.


Arms entwined in a final pose

How To Destroy Angels «The Space in Between», debuted as a video on Pitchfork on May 14, 2010.
Director: Rupert Sanders
Cinematographer: Greig Fraser
Production Design: James Chinlund

Opened up, proudly on display
Pitchfork: What was it like working with Trent on this video?

Rupert Sanders: It's like when you collaborate with a great cinematographer or a great designer-- we're all there to do something that we love doing and that we're good at. And he's such a... well, «nice» is the wrong word... he's just an intelligent, thoughtful, honorable kind of guy. There's no bullshit with Trent. He's got very specific ideas about how he wants to be seen and what he's looking for, which is helpful for a music video director because it's a very blank page otherwise. Lots of times things can go wrong because of lack of communication, but I didn't have to persuade him to make his wife dead-- that was something he wanted. He brought the death. And the response to the video has been great. There hasn't been too much «Yoko» talk.

Pitchfork: Did you talk with him about the meaning of the song and why he wanted those visuals specifically?

RS: Yeah, for him it was very much about the neglect that has led a relationship to this-- the demise of love and passion. He was very specific in how the room caught fire and that they had killed each other, and how the people around them didn't really care.

Pitchfork: When I first watched it, I thought the other people were somehow in on the killings.

RS: It's hard because you want to be elusive about what's going on but not so confusing that there was no train of thought. If you look closely, there's a knife next to Trent and Mariqueen's holding a spike of a champagne glass. You don't really know why the other girl is laughing on the phone rather than calling 911. There's something a little more disconcerting and creepy when the audience can play more of a part in figuring things out.

Pitchfork: That makes sense considering how Trent is a pretty private person and not this tabloid personality.

RS: I'm sure a lot of that went into the concept of the video, like he's saying, «We're dead to you. We're off limits. Don't get involved in our shit». If you finish in a massive band and then you start a group with your wife, it's a little like Paul McCartney and Wings: you're always going to be the butt of people's jokes. But this is definitely the opposite of a Wings video.

Pitchfork: The fire effects look impressively real. How did you guys pull that off?

RS: [Visual effects company] The Mill did really amazing work. A lot of fire effects can look like it's just laid on top and not interacting with the people, so we built two mannequins of Trent and Mariqueen, dressed them in the same clothes, and then set them on fire. Then we were really able to mix and overlay that with shots of the real Trent and Mariqueen. It was quite a ghoulish shoot.

Pitchfork: Were Trent and Mariqueen on set when they were burning the mannequins? Seems like it would be weird to watch yourself on fire like that...

RS: They watched the first burn and were like, «I think we're gonna go now». They'd been lying in blood for a few hours by that point. Mariqueen was very funny when she was lying in the sticky corn syrup blood and never for a minute thought that it was creepy or unglamorous. She was laughing about the fact that this was her first video with her new husband and he killed her in it.

Pitchfork: What happened to the burned mannequins?

RS: They probably scared the shit out of some trash collector.

@музыка: How To Destroy Angels "The Space In Between"

@настроение: comfortably numb.

@темы: My own private Jericho., visual art