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03-29-2006, 09:14 PM
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Adam Yauch Talks About "Awesome; I F**kin' Shot That!
(http://movies.about.com/od/interviews/a/awesome032906.htm)From Rebecca Murray,Your Guide to Hollywood Movies.
Yauch on the Editing Process, the Cameras, and the Film's Interesting Title
"Awesome; I F**ckin' Shot That" is the end product of a Beastie Boys experiment. The band passed out 50 cameras to fans at their October 9, 2004 Madison Square Garden concert and then cut together a film out of those videos. Shot from different angles (with camera operators of various skill levels), "Awesome; I F**ckin' Shot That" is a unique concert film experience.
The Story Behind the Film’s Title: “The title was really just something that the person who was doing the briefing to the camera operators said off the cuff. He just said like, ‘Someday you’re going to look back on this in 20 years and say awesome, I f**kin’ shot that.’
Then the way it actually sort of wound up becoming the title is we had subtitles on that at one point. It was up on the screen and it was kind of freeze framed on the screen. I think Adam Horovitz walked through the room and he looked at the screen and he said, ‘Hey, that’d be a funny thing to call the movie.’ And it kind of stuck.”
Adam Yauch on the Backstage Footage: “A couple of the cameras were also in the hands of people that were working with us on the film. You could actually see the difference in the quality because there are six DV cameras, like 24p cameras, and those are a couple of them that go onto the backstage area. Most of the ones who are out in the audience were HI-8s.”
Yauch continued. “Actually there are two fixed cameras right on either side of the DJ booth that are like surveillance cameras. They’re actually motor controlled surveillance cameras, basically.”
Selecting Which Fans Held Cameras: “We actually just asked people to sign up on the message boards. The concert was already sold out so we asked if people who had tickets would be interested in filming. Some people signed up and we looked at their seat numbers and we looked at a seating chart and just found people that were evenly spread out over the arena. That was about it. We weren’t asking for any experience, just some enthusiasm and a good seating position.”
What We Didn’t See: Yauch says anything interesting made its way into the film. “Nothing that I can think of [got cut]. If I thought it was interesting, it’s in there.”
Adam Yauch on the Editing Process: “One interesting thing is that there’s basically three days of post-production on this film, then one day of production, and more than a year of post. The problem is after we got all the tapes back, we loaded them all in, we had a system set up with a server - actually two servers in conjunction with each other and four edit bays that are hooked into the central server that holds all the media. So we loaded everything in, digitized the tapes, and then we did a rough mix of the audio, like a really rough mix of it. Laid that down, laid all the footage back against it. Then we had to do some corrections on the footage to get it all to sync in Final Cut.
There’s actually 61 angles when we had them all stacked because of the other cameras that I mentioned before, some of the lock offs on stage and the surveillance cameras and things. So then from those 61 angles, three editors went at it. They had 20 cameras each that they were cutting from so they each did a cut. They did that pretty quick.
In the first couple of weeks or months or whatever it was, they each did a rough cut. Then we had these three different cuts and then took some of the best parts of that and stacked them in. I started working with the main editor and we started really focusing on refining, but that sort of became like a bed or a canvas to cut on top of. I think a lot of times with editing, it’s easier to cut on top of something than it is to cut on just like a blank space. A lot of times for editing, I like to just lay something down and then cut on top of that because you can see if some things work or don’t.”
Adam Yauch on the Evolution of Music Videos: “I guess early on I was not really a big fan of music videos, especially in the ‘80s and whatnot. So I don't know if it answers your question, really, but I think part of what I was trying to do early on with some of the videos was to simplify some stuff. Like What’cha Want or Shake Your Rump or whatever, just put the camera out there and just shoot some stuff real simple. People were editing, I thought, a little kind of frantic at times. I don't know if that answers your question really, but trying to simplify things for a minute.”
About>Entertainment>Hollywood Movies
Adam Yauch Talks About "Awesome; I F**kin' Shot That!
(http://movies.about.com/od/interviews/a/awesome032906.htm)From Rebecca Murray,Your Guide to Hollywood Movies.
Yauch on the Editing Process, the Cameras, and the Film's Interesting Title
"Awesome; I F**ckin' Shot That" is the end product of a Beastie Boys experiment. The band passed out 50 cameras to fans at their October 9, 2004 Madison Square Garden concert and then cut together a film out of those videos. Shot from different angles (with camera operators of various skill levels), "Awesome; I F**ckin' Shot That" is a unique concert film experience.
The Story Behind the Film’s Title: “The title was really just something that the person who was doing the briefing to the camera operators said off the cuff. He just said like, ‘Someday you’re going to look back on this in 20 years and say awesome, I f**kin’ shot that.’
Then the way it actually sort of wound up becoming the title is we had subtitles on that at one point. It was up on the screen and it was kind of freeze framed on the screen. I think Adam Horovitz walked through the room and he looked at the screen and he said, ‘Hey, that’d be a funny thing to call the movie.’ And it kind of stuck.”
Adam Yauch on the Backstage Footage: “A couple of the cameras were also in the hands of people that were working with us on the film. You could actually see the difference in the quality because there are six DV cameras, like 24p cameras, and those are a couple of them that go onto the backstage area. Most of the ones who are out in the audience were HI-8s.”
Yauch continued. “Actually there are two fixed cameras right on either side of the DJ booth that are like surveillance cameras. They’re actually motor controlled surveillance cameras, basically.”
Selecting Which Fans Held Cameras: “We actually just asked people to sign up on the message boards. The concert was already sold out so we asked if people who had tickets would be interested in filming. Some people signed up and we looked at their seat numbers and we looked at a seating chart and just found people that were evenly spread out over the arena. That was about it. We weren’t asking for any experience, just some enthusiasm and a good seating position.”
What We Didn’t See: Yauch says anything interesting made its way into the film. “Nothing that I can think of [got cut]. If I thought it was interesting, it’s in there.”
Adam Yauch on the Editing Process: “One interesting thing is that there’s basically three days of post-production on this film, then one day of production, and more than a year of post. The problem is after we got all the tapes back, we loaded them all in, we had a system set up with a server - actually two servers in conjunction with each other and four edit bays that are hooked into the central server that holds all the media. So we loaded everything in, digitized the tapes, and then we did a rough mix of the audio, like a really rough mix of it. Laid that down, laid all the footage back against it. Then we had to do some corrections on the footage to get it all to sync in Final Cut.
There’s actually 61 angles when we had them all stacked because of the other cameras that I mentioned before, some of the lock offs on stage and the surveillance cameras and things. So then from those 61 angles, three editors went at it. They had 20 cameras each that they were cutting from so they each did a cut. They did that pretty quick.
In the first couple of weeks or months or whatever it was, they each did a rough cut. Then we had these three different cuts and then took some of the best parts of that and stacked them in. I started working with the main editor and we started really focusing on refining, but that sort of became like a bed or a canvas to cut on top of. I think a lot of times with editing, it’s easier to cut on top of something than it is to cut on just like a blank space. A lot of times for editing, I like to just lay something down and then cut on top of that because you can see if some things work or don’t.”
Adam Yauch on the Evolution of Music Videos: “I guess early on I was not really a big fan of music videos, especially in the ‘80s and whatnot. So I don't know if it answers your question, really, but I think part of what I was trying to do early on with some of the videos was to simplify some stuff. Like What’cha Want or Shake Your Rump or whatever, just put the camera out there and just shoot some stuff real simple. People were editing, I thought, a little kind of frantic at times. I don't know if that answers your question really, but trying to simplify things for a minute.”