We got to kick it with Midnight Hollow’s drummer Andrew Segreti, who was also a co-director and editor of the brilliant new video for “Forward”, along with Evan DiLeo. If you haven’t already seen this video, we recomend you take a look below now, as it’s a beautiful composition of lights and colors.
Play Too Much: Why did you choose this song to make a video for?
Andrew Segreti: When we started talking about making a music video, I started listening to the singles we had ready as possible candidates for videos. Spencer and I had lots of ideas for videos for each song. Loads of stuff that would have cost us a ton of money that we don’t have. I saw the chorus to Forward in a marijuana induced dream one night. I explained it to Spencer and we shot a really crude version of it in our practice space with me running around turning lights on and off and shining flash lights in Spencer’s face. It was hilariously bad.
PTM: That sounds amazing. I’ve got to ask then, how was that intro conceptualized?
AS: We shot a ton of B-roll footage, of the lights we used for the shoot. I also shot a ton of light leak footage in my room though different pieces of glass and other objects that could warp light. I knew I wanted everything to sync up with prominent parts of the music, so I basically just sat and endlessly tried editing different parts of footage together until I was on to something. I really just let it build itself. An old friend of mine from high school, Evan DiLeo (who ended up Co-directing the vid with me) did all the animation.
PTM: Damn, seems like a a ton of tiring work. It’s incredible that you had such a strong vision, but at the same time managed to keep it a collaborative effort. I think that’s where the video gets a lot of it’s charm from. An all hands-on-deck sorta perspective. Where was this video filmed? Give us an idea of the day(s).
AS: We shot it in one day, in the cheapest studio we could find. Really it wasn’t a studio but it was a fashion designers warehouse. She let us use a side room that she used for videos. When we got there it was full of neon thongs and a mannequin with over sized tits. If we shot in any other direction then we did, it would have been a super weird scene. We loaded 15 stage lights and all their rigging up 4 flights of stairs cause the elevator didn’t work on the weekends. We couldn’t turn on any of the heaters (it was January in NYC) because we were told the fuses blow really easy and the landlord was the only person who had access to the fuse box, he was also gone for the weekend. Basically, if anything went wrong we were fucked.
PTM: How did you come up with the video concept?
AS: All I had was the vision for the chorus and the rest just had to fall in line, which it did quite easily actually. I see a ton of music videos these days that literally have nothing do to with the song or the music, which to me is FUCKING BORING, if you want to make a short film then just make a short film. I wanted the song to inform the video rather then the other way around. When I teamed up with Evan, he brought a whole new dimension to the video with the animation. We shot in that one day and tried to get as many shots as we possibly could, then we just burnt our eyes out editing. Luckily, it was one of the most brutal winters in NYC and going outside just was not an option. We ate a lot of indian food.
PTM: Snowed in, with some tasty Indian food, doesn’t sound too bad. What was the hardest part and most fun part to film?
AS: Editing was brutal, we had more then a few overnighters. The hardest part was shooting in a freezing studio. We all had winter jackets on but poor Spencer spent the day in just a shirt, when you see his breath in the video it’s because it was below freezing toward the end of the day. I was ecstatic though those are some of my favorite shots, but god damn it was cold.
PTM: Who do you want to shout out for helping make this video possible?
AS: Evan DiLeo helped me out immensely, this was not only my first music video but it really was my first video, period. I am a photographer that loves video and I could not have put this together with out his know-how. Also Victor from Squeeklights, he did the grip work for the video and he does a phenomenal job as a live light tech for bands on the road. The three of us came up with a lot of creative things to explore and had a laugh while we did it. It twas a fantastic time.