Interview with Logan Bartleberry / Berlin Music Video Awards 2024

Berlin Music Video Awards

Discover the interview with Logan Bartleberry, director and nominee in the "Best Editor" category, with the music video "The Prodigy - Invaders Must Die"!   Check the full music video "The Prodigy - Invaders Must Die"  https://www.youtube.com/watch?v=bLTSqpiLfMo&t=37s   Follow them:  Instagram  @bartleberry  @theprodigyofficial   Credits :  Interview and edit by Sebastian Sheath and Yannick Solandt (unsigned Berlin): https://www.youtube.com/@unsignedberlin   Do you want to be part of the Berlin Music Video Awards as well? Submit your video here: https://www.berlinmva.com/submit/ We are now taking submissions.

Transcript

00:00Awesome, can you introduce yourself, what is your name, where are you from?

00:15My name is Claude Barry Logan, I'm a director and editor, I do various different, like,

00:21what was videos, and today I'm nominated for a project.

00:25Yeah, nice.

00:26You're nominated for best editor, this is a video where the editing is very important,

00:31the cinematography is very important, how much of it was planned before going out and

00:35doing the shoot?

00:36So, by it's very nature, with a band like Prodigy, you can't really plan for anything,

00:42so I mean, it really is speeding up the crowd, I think Lisbon's a big part of why maybe

00:48this was even able to be nominated, because the Portuguese crowd are so forthcoming, you

00:55don't really focus totally on what's on stage, it's more about the energy that they're projecting,

01:01so the Portuguese really are the thing that you can't plan for, and they make their video

01:08absolutely phenomenal.

01:09We put a few little dispos in there, so essentially, for the first time ever, you could never fly

01:20a drone over the crowd, but we had a 360 cam at the top of a three metre pole, with

01:25an incredible operator called Dodsey, who flies this thing around the crowd, and then

01:31animates it, and it almost sounds like a drone, it almost goes in and out, and if you combine

01:37that with that massively, what I would say is colourful crowd, it made for a great thing.

01:43When you say animates it, what do you mean?

01:45So the 360, you can go absolutely anywhere, you don't have to fix your shots, it'll always

01:52be basically pointing down, but there's just so many memorable moments to that night, that, yeah.

02:09And you've worked a lot with the Portuguese, what about their work do you find attractive

02:13to work with?

02:14Well, I remember when I was about, I think 11 or 10 years old, being in my lounge, back

02:21in my hometown of Bournemouth, and I was watching Top of the Pops, and they said, if your grandmother's

02:27in the room, you might want to ask her to leave, the next video is Firestar by the Portuguese,

02:32and I remember thinking, no, like, what is that?

02:36I had watched it, and I remember thinking, they look so me, and as you get a bit older,

02:42the meanness and all of that sort of, it's totally what you want to work with, but it's

02:47very easy to make a good video when you've got people covered in tattoos, draped in leather,

02:52with a thousand strobes put up behind them, so that was very much my first job.

02:58Yeah, nice.

02:59You've also done, I remember thinking you've done work with Corrupt FM?

03:03Yeah.

03:04And that's like on the relatively lower budget scale, and then also with RuDog on the kind

03:10of more commercial, higher player scale, what's the biggest difference you see between

03:13those kind of budget?

03:14Absolutely nothing.

03:15Let's take the other thing.

03:16There's zero difference between any of those things, basically, and I think also tonight,

03:21I've got to say this, with the Band of Music Video Awards, coming to watch the low budget

03:24video, it's not, there's zero difference, basically, if you're going in the right approach

03:29and trying to achieve the same thing, it doesn't matter how much budget, or who is in front

03:35of the camera, if you've got this thing in mind, of what's good and what's right, it's

03:40going to work, and that is totally what happens in corporate and music is, like, as long as

03:49you know what doesn't look chic, what doesn't look evaic, what doesn't look contrived, you're

03:55always going to be okay.

04:06Can you describe the event today, the videos you've seen so far?

04:09The first one today, of the low budget, of the guy talking to his phone, it's the best

04:17video I've seen in the last 15 years, I mean, that's Spike James, that's so, so good, and

04:26the winner was incredible, and there's so many other nominees that were good, I also

04:31think in the low budget, some of the editing was better than, than my editing, so that

04:36worried me a little bit.

04:38What do you think the, what do you think sets the editing apart for the Prodigy video? What

04:43do you think sets the editing apart for the Prodigy video versus other videos you've worked

04:46on this year?

04:48There's so much happening at any one moment during a Prodigy show, and it's about where

04:53you, you pick, it's not about what's the best moment, it's about what you drop, and I

04:59genuinely think it's probably the crowds, and it's showing crowds in the ragas. The thing

05:03about all live coverage, any type of live editing, is it's been shot from every angle

05:09before, so trying to find a way of keeping it really entwined with the music and the

05:16vibe, and finding, I don't know, those looks of people in the crowd, in the audience, that

05:21match that energy of the music, is, is totally, yeah, essential.

05:25Awesome, yeah, why don't you get to the screening, we'll be, you'll be coming on stage.

05:29It's Fader, Fader, Fader, it's Fader, Fader, Fader.

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Transcript

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