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I was trying to have reflections be seen through the windows and so forth, so there's just that little bit of information, and then sew it all together in this piece. We had three days to shoot and each one of those scenes, except for the girl who we open with, is only seen one time, and yet when we shot it we were moving from location to location shooting with 35mm cameras, dolly tracks, high-speed film, going through the camera and then hand-held and doing really nice lighting in these ordinary situations. I took a big f-king risk because it was a lot of money. So the visual technique and the metaphor had to arise that feeling in the viewer. All these people are connected in their consciousness and in that kind of feeling of satori, and the individual is fully connected. Later I came to hear from different philosophers that the term for that is 'satori,' which is the feeling of universal connectedness and the clarity and beauty in that. I said, 'There's moments in your life - and they can be really ordinary - where everything seems really vibrant and alive and open and it's just clear. I felt like it was a metaphor for connection, so I was playing with that idea. And that little bit, it just hung with me. So how did he move around? He kind of pops around, but there's this one part of the film where they do this hand-held thing with a slow shutter speed where they run around really quick at night, like here's a person - vroom - and here's another person - vroom - here's another person - vroom. ![]() ![]() Like, this guy is an angel and can move around and listen to people's thoughts and hear their conversations and so forth. Then I remembered there's a Wim Wenders film called Wings Of Desire that's about an angel. I worked on the idea and wasn't too crazy about the drunk part because it's such a fricking beautiful song, but all the other stuff I allowed. They look really great and it looks really beautiful even though it's really ordinary, and it's kind of like they're drunk.'Īnd that was it. Billie said, 'Maybe we make kind of like a Pogues video with people who are working-class people that are in their scene. Conan went off to do the show, and Billie said, 'OK, I want everyone out of the room except for Mike and Tré and Mark because we're going to talk about the video. He's a really great guy, a real social guy. And when we were on the Conan show, we were waiting there in the greenroom and Conan was in there playing the guitar with Billie. It was an incredible show and it ended with the song 'Time Of Your Life,' which was just wonderful. ![]() They were on Conan, and then they did a show at Tower Records and they did a show at Roseland, so they were very busy, and it was really fun. ![]() They were on 120 Minutes with Matt Pinfield. "I tagged along with them for three days, and it was incredible," he said. In a Songfacts interview with Kohr, he explained how it came together and what it symbolizes. Kohr had done several Green Day videos by this point, including " Basket Case" and " When I Come Around," and had a great rapport with them. Kohr, whose treatment had an undertaker putting makeup on a corpse, offered to make a video on the fly in the three days the band would be in New York. They rejected them all because they were too morbid, each one having something to do with death. Green Day's label got pitches for the video from directors Mark Kohr, Roman Coppola and Kevin Kerslake, all of whom had done videos for the band.
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