AG Rojas is a young director on the rise. He believes that we’re at the beginning of a new time in music videos where directors will be given more control and allowed to take more risks. And he’s more than willing to be the one taking them.

Labels aren’t paying his rent so why should they have final say on the making of his videos? It’s a necessary stance to take in an industry that far too often withholds creative control from directors and turns an otherwise exciting medium into nothing more than a commercial. What people tend to forget is that it is a real ”author-director” work. When you make a music video you write, you prep, you shoot, you cut and then you post your finished work. And in the end music video directors have very few rights and don’t usually get paid.

Since there is so little money involved, and with free content hitting the web on a daily basis, labels and artists have come to realise that the best chance for their videos to be seen and appreciated is to give directors full creative control to fulfil their vision. Only then will it be something truly special and not just another easily forgotten clip that feels as if it was cooked up in a boardroom to cater to a certain demographic.

AG makes the kind of music videos that we like. He’s living proof that having a clear vision and holding your stance, with your middle finger held firmly at the man, is necessary if you’re going to make it in an industry that doesn’t really want to pay you, or let you fulfil your creative vision.

We spoke to AG while he was in-between Los Angeles and a last-minute project in London.

Interview by Karl Henkell for Surface to Air.

S2A: Where are you living at the moment? 

AR: I’ve just rented some warehouse space in Downtown LA which will hopefully become a safe place for unsafe ideas and broken people to congregate.

S2A: Apart from Frank Gehry’s Concert Hall, Downtown L.A seems pretty grimey to me. Can you do whatever you like there?

AR: To a degree. A block from skid row there are bars where you can drop $20 on a drink, so it’s all one big cluster of outsiders and insiders.

S2A: Tell me about your video for Jack White’s ‘Sixteen Saltines’. Were you psyched to film a lot of those scenes?

AR: That was definitely one of the wildest, most fun shoots I’ve been on. When you’re given the appropriate amount of resources, you can let your imagination really take control. I always love working with teenagers because you never know what you’re gonna get. It’s somewhat of a risk, but when it works – it’s magic. I put them in situations that are completely foreign and surreal to them, but also fun. I love that they’re gonna have stories to tell for years. Like, “I was in a music video once and I flew.” Hopefully they get laid because of it.

Jack White – “Sixteen Saltines”

 S2A: I suppose teenagers act without inhibitions and the results are a lot more natural. Like that scene in Larry Clark’s “Kids” of those 10-year old boys sitting back all casual smoking weed. You couldn’t teach someone how to do that. Is that spontaneity something that you want to capture in your films?

AR: Spontaneity is King in music videos. With the kind of videos I do, we don’t storyboard and my shot lists are very loose. It’s all about being open to changes and to new ideas on set. There are so many crucial moments in my videos that would not have happened if everyone on set and in the cast had not been on the same page as me about embracing spontaneity. There are a lot more tears, blood and hurt feelings this way, but the videos turn out much more special.

S2A: Do you collaborate with other people on your projects?

AR: I think I’ve gained a certain amount of trust from record labels and artists, so the notes are usually pretty minimal. Either way, my number one concern is making sure the video is relevant to the artist’s aesthetic, which means a few calls to make sure that everyone is on the same page. Also, once everyone is on set, things change – though most of the time for the better. An idea you once thought was amazing might look completely wack on the monitor. Having an open mind is crucial in music videos. One thing I don’t collaborate with on videos are brands. Don’t ask me to put your artist in a Mini Cooper.

S2A: Tell us about your creative process. How do your ideas for films usually come about?

AR: It’s always different. With music videos when you’re lucky an image pops into your head after listening to the track a couple of times, but usually it’s after staring at a blank screen for a week. My creative process involves a healthy balance of procrastination and white lies.

S2A: Does narrative take on a life of its own after that initial flash of an idea? Do you believe that the character determines how a story progresses?

AR: For videos, I always try and find performers who share a quality that reflects the character I’ve written. James (the lead in “Hey Jane”) had a son who was the same age that I had written in the treatment, and shared some other elements in his life that were similar to my treatment, so it just made perfect sense to hire him. For something like “I’ll Take Care of You,” we decided to not plan a lot in advance and just follow our boxer, Nisa Rodriguez, for three days in her life. The only structure I gave it was to make sure it had a clear resolution with her winning a fight at the end. So, it all depends on the subject matter.

S2A: How did the idea for Spiritualized “Hey Jane” come about?

AR: I spent a couple of days listening to the track, and had a recurring image of a transvestite walking down a street. After a couple of conversations with Tim Nash (one of the executive producers along with Jasper Thomlinson and Michael Sagol), it seemed like the right direction was to make an almost documentary-like film about a transvestite and the environments she inhabits. Instead of making her a caricature though, I grounded her in real life so the viewer would hopefully feel some empathy as her world turns violent. After I pitched it, I had a call with Jason (from Spiritualized), and then a couple of weeks later my producer Anna Rau and I were on a plane to Atlanta.

Spiritualized – “Hey Jane”

S2A: I felt a lot of empathy with the kid who is confronted with that harsh world at a young age. It’s bitter-sweet, but I guess in the end it’s lucky that he knew how to use a gun. James was very convincing in his role as lead in the clip. Is he a transvestite in real-life?

AR: Yeah he is. He spends 90% of the time as a man, and the other 10% performing as a woman.

S2A: Are people fine with doing whatever you tell them to do on camera? 

AR: Once the camera is on, and everyone is looking at you, it’s hard to force yourself to step out of that moment. There is a certain amount of unspoken pressure put on the actors every time they’re on set. They don’t want to be responsible for wasting everyone’s time, so it’s usually not hard for them to adapt to the weird situations I invent.

S2A: What was the off-screen atmosphere like during the filming of the hotel room fight in the “Hey Jane” clip? Are there any shots of him like smiling at the camera while pretending to strangle her or is that sort of humour not really called for?

AR: There was some smiling after every take. Mostly from me cause it was funny to see the actor who plays the antagonist dry heaving from exhaustion after each fight.

S2A: In New York last year, we unexpectedly had to deal with our generator exploding on set of Kid Cudi’s “Mr Rager”. Was crazy, flames and all! What’s the most challenging situation that you’ve had to deal with on set?

AR: It’s always something different. That’s the beauty of music videos. Shit goes wrong and you have to come up with solutions on the spot or it’s game over. We’ve had everything from casting kids who we didn’t know were autistic until they got on set, we’ve had people have seizures from nerves, prostitutes yelling at us in the projects, artists showing up 10 hours late, pitbulls almost getting off-leash and attacking the crew, homeless dudes peeing on our set while we’re shooting, stealing shots in the freezing ocean at night, assistant cameramen getting high on set with the talent, driving into the wrong gang territories while location scouting in Las Vegas, crew members getting into car accidents and having to be replaced mid-shoot, prepping entire videos in 24 hours, going into the projects in New York with a GoPro and stealing shots, and one time our picture car blew up on the freeway while my producer was driving it.

S2A: You learn to deal with anything I guess! What difference do you see between the short-film format as opposed to say a “Hey Jane” feature film?

AR: I’ve always seen music videos as a place to learn how to tell stories and hone your skills. “Hey Jane” is an example of this in the sense that my friends and I were able to write, prep and shoot what would be 1/9th of a feature in a couple of weeks. There is obviously a lot less pressure between doing a music video and a feature, which is liberating. I think we’re at the beginning of a new time in music videos where directors will be given more control and allowed to take more risks. I mean, labels should give us at least that much since they’re not paying our fucking rent.

S2A: What was the last film you were really into?

AR: I just watched Lynne Ramsay’s new film, “We Need To Talk About Kevin,” on a plane to London. Amazing edit and performances, but almost gratuitously depressing. Still loved it.

S2A: I’ve heard mixed reviews about that movie; there’s just something about Tilda Swinton’s cold vacant stare that holds me back from actually watching it. What was the first film you ever made?

AR: A few friends and I had some beers and revisited our first films a couple of weeks ago. Mine is a terrible 15-minute short film about two high school students who poison each other’s ham sandwiches with ecstasy. There are a lot of weird dutch angles, freeze frames, and a long credit sequence with just my name on it.

S2A: What are you listening to at the moment?

AR: ALL HELL by Daughn Gibson – on repeat.

S2A: Any upcoming projects?

AR: Just working on a few commercials at the moment, pitching on videos as always, and getting ready to start developing a feature film (like everyone else).

~

Check out more of AG ROJAS’ work on Vimeo.

at Whatupag

and at Caviar Content

Cover Image: Dead Mike Ragen

- -

‘MEET’ is a series of interviews with friends of S2A where we catch up on their lives, their current projects, their creativity, inspiration and whatever else happens to be on their minds!

Surface to Air Sale tomorrow and saturday in Paris !

Surface To Air Braderie

Vendredi 11 & Samedi 12 Mai
10h-19h
77 rue Charlot
Paris 75003

PAIEMENT EN ESPECES OU CB

———-

Surface to Air Sale

Friday 11th and Saturday 12th May 2011
10-19h
77, rue Charlot
Paris 75003

PAYMENT BY CASH OR CREDIT CARD

We especially like the see-through stretch limousine!

Go on – click and play!

1. Buffalo Springfield – For What It’s Worth

2. The Kinks – Lola

3. Marvin Gaye & Tammi Terrell – You Are All I Need To Get By

4. Etta James – At Last

5. The Emotions – Best Of My Love

6. Kool & The Gang – Joanna

7. Billy Joel – Just The Way You Are

8. Carole King – It’s Too Late

9. The Chi-Lites – Oh Girl

10. King Harvest - Dancing In The Moonlight 2

11. Gucci Mane – Making Love To The Money

12. Brandy with Monica – This Boy Is Mine

13. Everly Brothers - All I Have to Do Is Dream

14. Gipsy Kings – Djobi Djoba

Friday I’m In Love Part. VII also on Spotify

S2A:Tell us how Uncensored came about to be?

KC: UnCENSORED quite already speaks for itself. We bring people labels that they will never find available elsewhere in Bangkok. It was first started with our curiosity and passion for fashion. We travel a lot, and we have been discovering so many fantastic designer labels that we wanted to open up the whole new experience to add on to the city’s upbeat fashion scene. The whole idea then turned out to be a reality, our shop is not just another retail store, we aim to inspire people, so the whole concept is  to exhibit these great artists and their designs.  Fashion to us is not just a form of clothing, it is an amazing form of art that helps one express oneself independently, and that is what we are always communicating with  people.

S2A:What is the best aspect of S2A according to you?

KC: We believe Surface to Air and Uncensored share the same culture. There’s always a cool vibe going on around both identities. Regardless of the beauty of the simplicity of its design, the thinking and the people working behind it are just incredible !!! Every collection has an art injected into  it, but still it is a brand you can wear everyday. This is so inspiring to us, and that make us keep going and pushing the bar even further in what we do as retailers.

S2A:Your favourite item from the SS12 collection

Gift (KC’s wife): Definitely, the Steady Blazer V2. It falls on my body perfectly, and under that classic blazer shape, it plays with light !!!

KC: The Weekend Bag in Khaki, my every day on-the-go bag.

S2A:Your current favourite place to hang out in Bangkok?

KC: Hyde&Seek Gastro Bar. Unlike any other place, this one has a great combination of international tastes. You can chill out there the whole evening listen to music, eat and drink.

Gift:  Thonglor, for these past few years, this has been “the place to be” and “the place to see” the city’s most vibrant scene. It’s the perfect neighborhood with cool and hip places that you can hang around from day until late into the night (or the next day!!!)

UNCENSORED BOUTIQUE

48/7-8 Ratchadapisek 20 Rd.,
Samsennok, Huaykwang,
Bangkok 10310

Jay-Z himself spotted in our men’s SS12 Cooper Denim Jacket V1 a couple nights ago at the New Jersey Nets game!

SHOP HERE

The Rosanna Shuffle is a combination of the John Bonham beat and the Bo Diddley beat. It’s notoriously difficult to play and requires some killer hand-eye co-ordination!

Watch him explain how he did it below!

Jeff Porcaro explaining his Rosanna Shuffle

Toto – Rosanna (original track)

The CS-80.

We thought that we’d give you a look at some of the gear that we love. First up is the Yamaha CS-80; the beautiful beast of modern music!

The CS-80 was used by everyone from Michael Jackson to Toto. Released in 1977 (with only 2000 units produced); it was first championed by Greek composer Vangelis who used it to record his epic score to Chariots Of Fire and Blade Runner.

In recent years it has been embraced by a new wave of artists such as Daft Punk, Röyksopp and Phoenix who each share a love for this instrument. Philippe Zdar (who co-produced the last Phoenix record) is one of many collectors and shows us his own CS-80 in the clip below:

Philippe Zdar with his CS-80

After Vangelis‘ success it was under the arm of most popular recording artists in the 80s; such as Steve Porcaro of Toto, ELO, Bowie, Kraftwerk, and not to mention Michael Jackson who played the keys to Billie Jean himself on a CS-80 in one take lasting 7-minutes. Without even realising, you would have been subjected to the warm tones of this powerful machine at some point in time. At close to 100kg, it’s size meant that only few carried this around on tour. It’s also notoriously unstable and can go out of tune from the act of being moved, being kept at the wrong room temperature or even cleaned. Basically, this is a high-maintenance machine.

Despite being impractical; this machine may be the secret ingredient to much of the last 30 years of popular music. A synthesizer has never been so expressive; so close to an actual instrument that moulds to the touch of the player. It was one of the first synths to have a split keyboard as well as the unusual ‘Ribbon Controller’ that looks like something out of Knight Rider; allowing for pitch-bends and glissandos among other things. It’s authentic warm tone is something that modern synthesizers just don’t come close to.

Zdar speaks of ‘happy accidents’ that happen with this unpredictable machine. Given the CS-80′s notoriously unstable and complex nature, sounds are won and lost seemingly at random. But it’d take a real music nerd to have a complete understanding of what goes on under the hood. What’s great about this synth is that it allows for experimentation to find new and interesting sounds. When they appear you want to capture them on record immediately, because if you wait you’ll probably never find them again. Which is why it pays to have one of these in the studio.

It’d be a ‘happy accident’ if one of these fell on our doorstep!

- -

Some examples of the CS-80:

Phoenix – ‘Love Like A Sunset’ with commentary by Philippe Zdar (they find a special sound using the CS-80 for this track at 4:40)

Vangelis – Blade Runner Theme

Toto – Africa

An ad for the CS-80 from 1977

- -

‘EQUIPMENT’ is a section where we look in-depth at the gear that we love. Things that have been used expressively in cultural forms that we admire.

Go on – click and play!

1. Joe Dassin – Guantanamera

2. The Beatles – In My Life

3. Bee Gees – Love You Inside Out

4. Pierre Vassiliu – Mon Amour, Mon Amour

5. Vanessa Paradis – Be, My Baby

6. Akon – I Wanna Love You

7. Led Zeppelin – Babe I’m Gonna Leave You

8. Metronomy – A Thing For Me (Breakbot Remix)

9. Kindness – Anyone Call Fall In Love

10. The Dixie Cups – The Chapel Of Love

11. Lionel Richie – Say You Say Me

12. Vladimir Cosma – Your Eyes

13. Michel Polnareff – Love Me Please Love Me

14. Roberta Flack - Killing Me Softly with His Song

Friday I’m In Love Part. VI also available on Spotify

Surface to Air has teamed up with one of our favorite global retailers Urban Outfitters on this exclusive version of our bestselling Bendy Cardigan.

This comfy cotton cardigan in a Red & Grey animal woven is available exclusively at Urban Outfitters Europe and for a limited time only.

SHOP HERE!