Michelle Martin-Coyne. Two men watching an invisible striptease We'd been making music videos almost since the very beginning. Inwhen The Flaming Lips started, music videos were taking over. Believe it or not, MTV used Oklahoma City as a kind of Deleted Scene: Jack White Interview And Live Song - The Flaming Lips - The Fearless Freaks (DVD) market to see if their network could appeal to Middle America, and it sure did!
I still remember Public Image Limited's first video showing Jah Wobble playing bass while sitting down. Michael and I thought it was so cool and so radical back then -- it still is, I believe, the reason that Michael sits in a chair on stage even today. So, we embraced the idea of making music videos. Read More of Wayne's Notes Throughout the '80s and the earliest part of the '90s, we were constantly searching for like-minded filmmakers.
Jim and Yens were an art-damaged duo from New York City. They did some grainy and confrontational videos for Sonic Youth and Pussy Galore, and we were lucky enough to get them to do the Unconsciously Screamin' clip. Little by little I observed this process of lighting, shooting and editing and was gaining experience and confidence.
And though I liked working and collaborating with these guys, I was frustrated and beginning to think I should just direct the videos myself. I asked around the film community in Norman, Oklahoma, to see if anyone would be interested in helping me make a music video. We spent the next six months shooting an developing different scenes and atmospheres that evolved into a freaked out, space rock collage -- using sync footage of the band, pictures of religious paintings and aerial photography that somehow fit into the celestial wonderings expressed in Frogs, a song from the album Hit To Death In The Future Head.
Our mutual efforts were satisfying enough that we without actually saying as much figured we would do it again if the opportunity presented arose. The success of She Don't Use Jelly gave people the impression that Bradley and I knew what we were doing, and I believe Bradley and I discovered some new level of "finding our niche. Bradley, interested in creating his own movies, started to pursue his breakthrough documentaries, and virtually anything or anybody became a subject of his vision.
His first artistic interview began as a cliche but ended being quite powerful. There was a local mental health facility that temporarily housed a schizophrenic friend of mine, and Bradley decided to take a video camera to my friend's apartment. Their exchange was not overly interesting, but Writers Block - Terry Scott Taylor* - John Wayne (Orange Grotesques Part 1) became comfortable with the place and was curious about some of the other occupants.
He ended up spending several intense hours with one very unstable and potentially violent resident. The conversation and subsequent video proved to be unpredictably revealing. What Bradley perhaps thought would be shocking or disturbing turned out to be both moving and sad.
I believe Deleted Scene: Jack White Interview And Live Song - The Flaming Lips - The Fearless Freaks (DVD) experience confirmed in him and undying empathy with those who are different, those who are misunderstood and those who are unknowingly unique.
As we started to record Clouds Taste MetallicFallin - Glenn Medeiros - Not Me brought his cameras and microphones to capture The Flaming Lips in the process of recording an album.
Little by little, Bradley's presence became an ordinary part of The Flaming Lips existence. And as more records were made, more music videos were made. All the time, we The Crippled King - Van Otterdyke* - Specials trying new things -- Different lighting and different lenses.
For example, on the Race For The Prize shoot, Bradley and his crew sat in the back of my pick up truck with two portable power generators blaring. The camera was pointed out the tailgate at my two brothers, Ken running and Marty on a motorcycle -- and six or seven friends of my nephew's jogging beside them wearing yellow raincoats and holding thousand watt halogen lamps with their extension cords connected to the generators in the truckbed. We had found a nice sunny spot at the lake I bicycle around and simply took the crew and equipment -- no permits, no permission -- and forged ahead.
Bradley later confessed that it was the most dangerous shoot he'd ever done. Maybe so, but at the time we were just doing things as always -- setting up and letting the experience reveal it's possibilities. I realized I had become a director, for better or worse, and began to think of making what I call "Head-Trip Cinema.
We were in between records and had started pre-production on Yoshimi Battles The Pink Robots and simultaneously beginning work on our first feature film, Christmas On Marsnow we were scoring Bardley's, Okie Noodling, a film chronicling some colorful fisherman who use their bare hands to catch fish.
Their primitive "stick your hand in the hole until the fish bites you" method is called noodling and dates back to the Native American Indians' mystic connection between man and nature.
Noodling is still practiced by a group of diehards -- various hillbillies, bikers, dopers and firemen. Though the subject may not seem very rock 'n' roll, Bradley's curiosity and enthusiasm give the film its charm and inertia. In the beginning, I struggled to adapt "Flaming Lips" music to suit this very organic story.
But I slowly realized it was best to just surrender and let Bradley tell me what to do. All artistic ventures require a certain amount of belief. By then, I truly believed in Bradley. At one point we were creating music for these Pace, Pace, Mio Dio [La Forza Del Destino (Act 4)] - Claudia Muzio, Lorenzo Molajoli, Licinio Refice completely different spheres of emotion, but, luckily for us, a blending of all these influences, one into the other, eventually emerged: Acid Rock meets Country Storytelling meets Religious Space Themes.
It erupted into a new sound and direction that we, perhaps without the challenge of Bradley's film demands, may not ever have pursued and developed. Jump ahead in time: Okie Noodling is complete and we are back shooting videos Do You RealizeYoshimi Battles The Pink Robots and Fight Testdoing shoots for Christmas On Mars every couple months sets are built, actors and lights assembled and constantly touring with Bradley, as always, around for all three.
So it came as no surprise when Bradley's "quest for the untold story" eventually focused on The Flaming Lips. You see, he'd been gathering footage since the early '90s and, like I said earlier, he documented almost all significant happenings in the band's life.
Even though we are used to collaborating with Bradley, this is most definitely his film. We never set any boundaries as far as what could or could not be examined. We simply let Mr. Beesley present our story the way he saw it and continues to see it. Preview Montage 2. Opening Credits 3. Bradley's Voice Over Intro 4. Early Days 6. Wayne Revisits Long John Silver's 7. Steven's Family Jam 8. Wayne Tours His Neighborhood 9.
Tommy's Back Story Fearless Freaks Football The Lean Years Getting Signed To Warner Bros. Fiery Freakout Dingus Quits Steven And Ronald Join Michael Montage Deleted Scene: Jack White Interview And Live Song - The Flaming Lips - The Fearless Freaks (DVD) Clouds Taste Metallic Sessions Deleted Scene: Jack White Interview And Live Song - The Flaming Lips - The Fearless Freaks (DVD) Lot - Boombox - Zaireeka The Soft Bulletin Christmas On Mars Steven's Candid Tale On Drugs Fake Blood And Miles Davis Super Fans Wayne The Hard Worker Wayne's Father For frequent content updates, follow us on twitter or Facebook.
While great effort has been made to confirm information presented is correct, we cannot guarantee the accuracy of data on this site. Skip to Main Content. The Fearless Freaks. Release Date: May 17, Wayne January Return to the top of notes. Track List 1. Questions, Comments, Contributions Contact Us. Contributors to the Brain.