LEVIATHAN 2.0, 5min., UK, Music Video
Directed by Andy Mihov
Music video for Esprit D’Air.
Get to know the filmmaker:
1. What motivated you to make this film?
The artist, Kai, had seen another music video I had created and reached out to me to see if we could collaborate. He’d written a song at the onset of the coronavirus epidemic that was about loneliness, isolation and the force of hope he felt that the world would heal. Classical, as well as modern Japanese culture and aesthetics were always a big influence throughout my childhood, so I instantly got excited by doing a J-Rock music video. And when I heard the track an idea instantly came to me.
2. From the idea to the finished product, how long did it take for you to make this film?
The first iteration of the music video took two months in post but the Enhanced Edition (with a lot of additional CG and VFX work) took a year in post.
3. What was the biggest obstacle you faced in completing this film?
The world was a different place when we made this music video. The global epidemic made production 100x more difficult than normal. If you add a restricted budget to that and it makes for a long and very tiring journey. I think it was worth it in the end.
4. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was pleased to see that the audience members had really understood the concept and responded well to it. As a filmmaker, you invest so much of your time, energy and hopes into every project, and more often than not you’re left heartbroken. Filmmakers are, I feel, naturally shy and humble creatures. Any ego is usually a result of insecurity and fear that we’re not good enough. So, seeing so many people saying nice things about your work really is a really reassuring thing.
Watch the Audience Feedback Video:
5. When did you realize that you wanted to make films?
I’ve always wanted to be a storyteller, ever since I was very, very young. Throughout my life that has manifested in many forms – writing, acting, painting, modelling and finally, filmmaking. I was actually probably a bit late to the game – I started working professionally as a director when I was 25 or 26-years-old and it took me a good 5-6 years to establish myself.
6. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Invest in the festival’s growth and make meaningful connections with the top tier festivals and platforms like Raindance, Shiny Awards and etc. Invest in building connections with production companies and music labels globally and sharing your shortlists with them. Introduce the winning directors to industry professionals. That way you help filmmakers make new connections and you raise the prestige and purpose of your own festival. A lot of festivals think laurels are what filmmakers care about. The truth is we care if the award translates to real-world opportunities to create more work.
7. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
FilmFreeway has really opened up new opportunities for filmmakers to connect to festivals easily and conveniently. However, it’s also worth mentioning that it’s often difficult to find the right festival. There’s a quite a few duds out there that are solely designed to make money.
8. What is next for you? A new film?
I’m working on a pilot for a television series to be shot in early 2023, as well as a couple of music videos and commercials.