00:00Part of what's attractive to me about
00:10Low Death and Robots is the fact that it can be anything.
00:17Initially, I was not planning on making a short for Volume 4,
00:23but I was at Miraval cutting in the south of France,
00:27and Flea was there, but I've always wanted to work with them.
00:31I certainly always wanted to work with Flea,
00:33and I pitched him this idea that I've been trying to make for about 30 years.
00:37I always wanted to do Supermarionation in CG.
00:45So I started talking to Tim about that,
00:48and he was like, yeah, it can be done.
00:50You know, so it's just the band members?
00:52And I said, no, it's also the crowd.
00:57He sort of looked at me and said, okay, well, how many people are in the crowd?
01:01And I said, 12, 13,000.
01:04And he said, and how many wires per person?
01:07And I said, five, six.
01:09And when he regained consciousness,
01:11we decided that that was kind of the direction that we were going to go in.
01:15Can't Stop is kind of a favorite of mine.
01:22I like the energy of it.
01:24The live recording at Slane Castle was the one that we used.
01:29It just had a great sort of camaraderie to it.
01:32I mean, one of the things that's interesting about mo-capping something that's supposed to be a marionette
01:38is that it behaves very differently.
01:40Everything in a marionette is suspension.
01:42There's a lot of that kind of work.
01:44Like, well, should this swing?
01:46Or does the hand move in a way that has real determination?
01:50Or is it a byproduct of moving the puppet or, you know, across the stage?
01:55There's a very specific way that they move and a very specific way that they interact.
02:01You could see it on the motion capture stage, even as the little dots that you see in mo-cap.
02:08You could tell, that's Flea.
02:10That's Anthony.
02:11Like, they just do it.
02:13You know, you wind them up, they hear the countdown, and they just go.
02:18We were able to capture all of their interactions.
02:22And then we had weeks to kind of go, that would be great to see that over John's shoulder.
02:27Or that would be amazing to move over the drum kit and look down on this.
02:31Or this is something where we really want to be at the back of the stage
02:34and see all 13,000 puppet faces.
02:37All I have to say is it's Red Hot Chili Peppers in concert.
02:41It's just beautifully done.
02:42It's impeccable.
02:43And it feels like the best concert video you've ever seen.
02:47It just happens to be puppets.
02:48We talk, get up into the laser.
02:49All out of the spaceship with the fear.
02:50We can feel jacked.
02:51Take the red thing in the ceiling.
02:52All out of the spaceship with the fear.
02:53We can feel jacked.
02:54Take the red thing in the ceiling.
02:55All out of the spaceship with the fear.
02:56We can feel jacked.
02:57Take the red thing in the ceiling.
02:58Floor down to the ship.
02:59We can feel jacked.
03:00symbol of the sea.
03:01Little scared.
03:02Little stranger.
03:03Example of the sea.
03:05Your magic.
03:06Little ear.
03:07Little ear.
03:08Very short, little eye.
03:09Little ear.
03:10All out of the air.
03:11Little ear.
03:12Right.
03:13Two ear.
03:14Mr. Third lum.
03:15We can feel jacked.
03:17Very short, little Zust.
03:19可 сторACT Ajax on earth.
03:21When you look at the stars,
03:22many superstars,
03:23but don't begangen.
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