As in, were you thinking, oh, we might do 2D animation or we might try stop-motion or we might shoot some live action? It’s about the triumph over your own demons as a sensitive kid, I guess.ī&a: In your early conversations, did you end up having any kind of discussion about how this will be brought to life. Then we showed that world getting a little scarier at some point where frightening things start to grow and expand. I roughly put that idea into a couple of segments, where a kid might invent different stories or games or drawing pictures as it goes along. It’s a little too weird or it feels wrong somehow, instead, let’s make it be the story of where Ralphie went when he ran away.
Mac miller colors and shapes mac#
So then we thought, well, we’re not going to put someone in who represents Mac Miller in this video. And then we heard that Mac Miller had this dog named Ralphie in Malibu and Ralphie ran away while they were recording this record. At first I thought, maybe it’s a toy or a stuffed animal. So we wanted to find the perfect character. I was desperate to do that and bring it into something more narrative. A lot of the work I’d done before in music videos didn’t really have a central character. I interpreted the song as being about the struggles of being a sensitive artistic kid. Sam Mason: There was a totally open brief. I’d directed a film with Mario Hugo, and I think they had seen this before contacting us. I’d been exploring that world of dreamy objects and the point of view of a young child who doesn’t quite know the difference between objects and real people. All that stuff was my absolute favorite as a kid. It had this weird childhood animation vibe, Terry Gilliam-like. It was a really cool flop that came out I think in the early 90s. Moebius had done some of the character designs. They made a film of Little Nemo from the old cartoon in the 40s.
The first thing I thought of was ‘Little Nemo in Slumberland’.
It’s really out of character for him in some ways, but it felt really cinematic and very emotional. The whole thing just felt so genuine and the song really struck me. I was hesitant until I spoke to them–we really clicked. I heard very quickly it was his mother and brother who were commissioning it. Then I think Hana sent me an email saying Mac Miller has a video. After that, I was ready to go and be out in nature and take a break from the computer. It was about two lonely rental cars after an apocalypse that fall in love and chase each other through this world that people no longer inhabit. I had done a music video for Future Islands which was entirely animated. Sam Mason: I was getting ready to go take a break from the computer. B&a: How did you get started on this project, Sam?
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