Jimmy Turrell

0:00What a start man, that's amazing. What do I do now? Just put it to the side of this. Hi guys, my name is Jimmy Terrell and I'm a graphic designer and illustrator. More of an illustrator to be honest.

0:34But yeah, I've just done this video for Beck and a lyric video for Beck, not the proper video but it kind of came about just sort of trying out different stuff. He basically sort of seemed to work online in contact with us and was just like, would you like to do me a new lyric video? And I didn't even know what a lyric video was, I kind of just sort of just rolled with it basically. And yeah, so I think the easiest way to do it is just to kind of play the video first and then, were they on this alright? Play the video and then I'll talk about it afterwards. Ah! I'm gonna move into a fool's cold room with my pros and the animal jewels. All the rules that you choose to use to get loose with the luminance moves.

2:02Boy, did they send me, let me get it, let me get it, blah, blah. It's like right now, it's like wow. It's like right now, it's like wow. It's like right now, it's like wow. It's like right now, oh wow. It's my life, your life, live it once, can't live it right, so nice, so nice. Smooth like a tidal wave that you wanna get away. My friends, your friends, live it everyday like it's about the end.

2:54Now we're pissing in the wind cause there's some time fresh right now. Yeah, I wanna get it like wow. It's like right now, it's like wow. It's like, get it up. It's like right now, oh wow. It's like right now, it's like wow. Oh wow, it's like right now, it's your life. Fire it like a hot knife, call it white, secular times, these times. My demon's on a cell phone, till your demons, nothing's even matter. Come out of it, out of it, in the room, go boom. Stand up like you're not doing too jittery, girl, I love a kitty with a Lamborghini jitter. Your life, you gotta try to get it right. Look around, don't forget where you came from. It's just another big night, we're gonna take it all out. We're gonna take it all out. By these wild horses.

4:26By these wild horses. We're gonna take it all out. We're gonna take it all out. We're gonna take it all out. Thank you. Yes guys. By the way, I've got the weirdest setup going on here, because I brought my massive laptop from 1982, along with the stuff that I'm supposed to be playing here. It's like a erroneous Bosch sort of wires and stuff going on all over the place, but I'll try my best. Sorry about that bad start as well, losing a make, but basically, I wouldn't be able to do that whole thing without two guys who were sort of involved. I'm gonna try and sort of onto the next screen. It's these two guys here, not them two guys. I sneak these guys into the video basically, because they've just been like, they're just a dream to work with. The first guy's called Ebrolio Amardo, and he works for Bloomberg Business, because he's kind of like an amazing all-rounder, but specifically great at typography basically. And the other guy is called Antonio Vicentini, who's a Brazilian animator who made the whole thing work basically. I hadn't had him, it was just me doing it. It would have been like Beck, a stickman on the screen, you know what I mean?

6:00This is the idea I came up with at the Star Basically, which was basically this kind of idea of a mask sort of thing, which would kind of, I don't know, would kind of fit over the top of other people's posters or like stuff that was going on. I had this idea of with the euro referendum going on, not to bring everybody down. You know, it could sort of, it could fit over Boris Johnson's face or Farage's face, you know, it would kind of be situatious in a way. It would bring people out of their everyday lives.

6:29Obviously that never happened, but this is kind of, I think I've got to keep pressing play on this. Is that what I'm gonna do? Ah shit man, that's not working. There you go.

6:39So yeah, this kind of idea of kind of, this mask thing would kind of, you could almost use it for social media as well in a way, you know, you could tag stuff that you're really late and just thought it was like, this is just stuff that I was into of different tumblers, of different sides, you know. Yeah, just ripping off people's work basically. Beck doesn't know that, obviously, doesn't it today? And then, those two ideas, Beck didn't like that idea basically, he fucking hated it.

7:12And he actually, this thing that I've done for Dreams back in the day, I've done some stuff for this thing before this, which I didn't get the one I was telling you about before. I've done that sort of cherry lips basically, it was kind of soft-porn cherry lips. And he really liked that. And he was like, can we add that, can we join those two ideas together? So that become the cover.

7:37But it was a bit weird because it was, he was incredibly specific about what he wanted. So he wanted like these kind of 3D, 3D kind of 980s sort of poster vibe. Then he wanted the kind of yellow background, kind of rave 90s vibe and then the sort of soft-porn lips.

7:55So I was just like, fucking hell, man, this is going to be, look like monstrosity, and in some ways when I first put it together, it was kind of like Frankenstein's monster of a cover, you know what I mean?

8:05But I've really set it growing to like it, and in a way it was almost kind of the catalyst and the template for how the video was created in that sense.

8:15So we kind of moved on from that, and a lot of the influences that were had were kind of, I don't know, we kind of just matched up together. So everything from kind of, to like Barbara Hepworth, Bridget Riley sort of thing, you know what I mean? A lot of kind of, a lot of old porn stuff, vintage porn stuff. That's a vintage porn and up or mixed together. Just getting like, just going totally collage, old school collage, you know what I mean? Just raiding Oxfam, sitting there with a scalp, just painting over the top of like Beck's press shots, you know what I mean? With just blue and white paints, again just weird sort of odd stuff.

8:56And then, yeah, this is where it started to get weird, so I was like sort of, I ordered a load of vintage porn off eBay, and sat there cutting all this stuff out, and then my mum decides to pop it on the studio, basically, you know what I mean? So as they getting busted, we sort of, your 70s start and 70s start, your stash of sort of thing. She was like, what are you doing? You're getting paid for a living to do this, you know what I mean? And I was like, how much vintage porn it's not as bad, you know what I mean? And she was like, what, so they're just kissing and shitting it, you know what I mean? I was like, maybe not, actually.

9:35This was a specific thing, it was dead weird, because Beck, with the artwork was really kind of specific, but with this, with the video, he just sort of sat back, he was dead cool with it, and he kind of just popped in with the odd thing, and he was just sort of like, and this is one of the things, I hated this line, it was with my, not, I hated the line, I hated what I produced for it, basically. It was with my pool full of animal jewels.

10:01So we had like animals with jewels on. Really, really clever idea, you know? And Beck was like, you don't have to, with the text, just to go back, the text, there was too much stuff on the screen, the frame was too packed full of stuff, and it was just awkward, you know, and the colours were all wrong, and it was one of the things that just kept saying, alright, we'll just leave it till the last minute we'll come back to what sort of thing, and it never happened.

10:25So then Beck was like, listen, you don't have to have a fucking line for everything, just let some stuff be enigmatic, let it just roll, you know what I mean? And I was just like, because we had 60 lines to come up with in seven days, you know what I mean? I was like, shit, man, this is mental. When he said, just let things be enigmatic, I was like, loving it, man, brilliant. Lots of stuff for enigmatic in this thing, you know what I mean?

10:53So this is where, this one was one where stuff got a bit lost in translation with me, I don't know if it's because I'm a Jory or whatever, but like, it's a girl in a bikini with a Lamborghini shitsuit, shitsuit, that's obviously a dog, everybody else knows that, you know what I mean? Didn't know that. And what had happened was, I got sent the demo of the track, and then I didn't get the printed lyrics for two days afterwards. The other guys are working on another scene, and I'm like coming up with ideas for this shitsuit thing.

11:26But I, and I've actually got what I wrote down, what I thought it was, it was this, girl in bikini with a Lamborghini shitsuit.

11:36So I was like, alright, I says, you know, in my head, I was like, wow, you know, I just got some abstract lyrics in here, some weird stuff. He's got something about pissing in the wind, so shitsuit, shitting on you, isn't a big deal, you know what I mean? It's not that such a big deal sort of thing.

11:51So I was like, come on, alright, how do we start this, you know what I mean? And let's just start simple, bang. Third car, do you know what I mean? Total third car, we're straight in there. I wasn't that proud of this work, you know what I mean?

12:05But I thought it would be hard, or hard to make work, you know what I mean? Next up, this was a bit more of a literal one. Obviously the Lamborghini is shitting the person, that old sort of thing, you know what I mean, it's doing the thing. At the beginning, the shape was on the top of the bikini girls, it was the bikini girl instead of her, him. And I just thought I was a bit wrong, do you know what I mean?

12:29So that's why I switched it up. And I'm not trying to make a social comment on people who drive Lamborghini's being shitted, but sort of am, I am, I am best. One for the kids, the emoji, you know, shits you. And then, one for the petrol heads, people who watch Top Gear.

12:52And then another one was I was just thinking like, references when I was a kid, you know what I mean, what shows had Lamborghinis in and how to be Lamborghini's shape, you know what I mean? I actually added that one as a laugh. The other four are some of the best bits of British graphic design the world's ever seen.

13:11So yeah, I don't know how to go back to the serious thing on that one, but like this is how the tone of the whole thing, we just followed the track, you know what I mean, so the track basically starts off very kind of with these weird kind of pan pipes, quite trail-like, so we started off with almost an 80s vibe, kind of 80s child, children's illustration vibe sort of thing.

13:33And then it sort of runs a bit, kind of, it rings me like a Westworld or something like that, like science fiction meets Western in a way. These sort of weird like trap-y drums, very modernist drums come in, kind of DJ mustard sort of style, that's what I was listening to at the time.

13:51And then I was thinking like, sort of, we've got to make it a bit more sinister in a way, sort of start quite sinister.

13:57And then Brolio, God bless him, was sort of struggling on this bit where it was kind of, it was a beautiful kind of change in the record, and it felt like, it almost felt as though it was like a letter to somebody, like if somebody was saying to the son of their daughter or their lover, you know, please kind of just change your life up or try something different, and like Brolio was like, this needs to be kind of hand-painted, it needs to be kind of, and it was dead weird actually, we had a bit of an argument, and he was like, you know, why don't we just scroll down this page, and I was like, no man, it needs to look written, it needs to look actually flowing, and I got him to kind of put in, sorry Brolio, sorry if you're watching this retrospectively, but you know, I got him to like, it had to be a bit more, it looked a bit static at the time, you know, but the guys are fucking genius, man, absolute genius.

14:49And then this stuff at the end was kind of, it was based, I mean it not to be too literal, it was about, basically it was around the world, so it was a, yeah, yeah, basically it was over at the end of the stage then, because we literally don't all night as a galore man, we're taking turns to do all night, that's the three of us, so like, and obviously Brolio's in New York, I'm here, and Antonio's in Brazil, so like, who's turned as if for the all night, you know what I mean, everybody's dying, and we just come up with this amazing concept of around the world, which was around the world, and then chucking a few wild horses in there at the same time, you know what I mean, just to kill it, and then, this was another thing, we had such a bombardment of ideas, so the three and a half minutes or whatever it was, we had a bit of a rock on, like shall we just keep doing that, and then it was actually, Antonio just said, why don't we just loop the whole thing, so you have a sunset at the start, and Kenny, you finish off with this, it's probably like six minutes of like a sunset, and I was like, people are gonna get bored, man, but when I watch it back again, it's kind of a bit of a breather for everybody, it's sort of chill out, and sort of, you know, that's the end, sort of thing that moves on, and I think me 15 minutes is up, boom, I'm done.

16:10APPLAUSE Thank you. Yeah.