Interview with Joel Hördegård / Berlin Music Video Awards 2024

Berlin Music Video Awards

Discover the interview with Joel Hördegård, Director of photography for the music video : "Bogus Operandi - The Hives" , winner of the "Most Bizarre" category!   Check the full music video "Bogus Operandi - The Hives":  https://www.youtube.com/watch?v=XVKHeBRox0k   Follow them :  Instagram : @thehives  @joelhordegard   Credits :  Interview : Sebastian Sheath @unsignedberlin   Videographers  Yannick Solandt @yannick.solandt  Christoph Flegel @cflegel  Mariia Tikhonova  Albert Paci  Bojan Marelja   Editors  Stacey Gerber   Coordinator  Anna Poleva   PA  Lola Chalmers @lolachalmers   Festival Producer  Aviel Silook

Transcript

00:00You start off by introducing yourself.

00:15What is your name and where are you from?

00:16I'm Joel.

00:17I'm from Sweden, Stockholm, Sweden.

00:19And what are you here for today?

00:20I'm here for a nominee of the most bizarre music video.

00:25And you won.

00:26Congratulations.

00:27I won.

00:28Thank you very much.

00:29Amazing.

00:30I mean, I'm a little bit surprised.

00:32I mean, there's a lot of good contestants, but I mean, we did a really fun project last

00:38year.

00:39We had an amazing shoot, and I think we did a pretty good job, since we didn't win, but

00:45it's, yeah.

00:46And you're the cinematographer.

00:57In the video, there's lots of, for example, the cabin scene, there's lots of shots from

01:02outside and inside.

01:03It's like pretty complicated.

01:05How much was that storyboarded ahead of time or just improvised?

01:09Almost none of the music video was storyboarded.

01:13Everything was kind of coming like directly on set, but we did shoot the cabin shot.

01:20Everything is shot supposedly during the night, but half of it, because we shot four days,

01:26half of it was shot during the day.

01:28So we had to black out the whole cabin.

01:32So even though it looks like it's night, we shot it during the day, like daytime.

01:35Right.

01:36So when you're inside, it's probably during the day.

01:39Because there were so many scenes, if you look at the music video, it's kind of, almost

01:44every shot is a different setup, some settings.

01:48I don't really know much about lighting, but there's the shots outside where it's completely

01:52at night and it's just kind of like a spotlight.

01:56Is that a lot more difficult to work with?

01:58Or is it kind of freeing because it's a black canvas and you can control all of that?

02:02I'm not even sure.

02:14Night is always difficult because you need a lot of equipment, you need a lot of lighting.

02:19But as soon as you have set the light, it's quite easy to work around it.

02:22So basically we wanted to create like a moonlight setting for all the night scenes.

02:26So what we did is we put like a cherry picker with, I think we had like four 360 sky panels

02:33to create like a big, big moonlight to create this kind of world.

02:37So as soon as we got that set up, we could work around it.

02:42So, yeah, I mean, basically it's always working with two or three light sources every time.

02:48This is nominated for most bizarre, and it's a funny video.

02:52It's got so much blood in it, but it's a funny video, which is very different to some other

02:57work you've done.

02:58Like, is it Love by Loreen, which is more serious.

03:03What's the major difference when you're working on something like this where it's.

03:07I mean, this is this completely different from from other music videos because it's

03:13shot on 16 millimeter.

03:16Everything is on film, analog.

03:18So I have to calculate every single shot.

03:23And we didn't have like unlimited resources of film.

03:27So it's not digital.

03:28So we couldn't shoot as much as we want.

03:31But that kind of also helped me to kind of improvise and to really, you know, be, I don't

03:38know.

03:39It's a lot different from shooting digital, especially if you compare it from Loreen in

03:43the desert.

03:44You can shoot as much as you want.

03:46But I think you work faster while shooting on film.

03:49Right.

03:50Because you have to plan it, because I would expect it to be the opposite way.

03:53No, it's actually different.

03:56So that's why I try to always motivate shooting on film, because people think it's more expensive

04:01and it takes longer time.

04:03Actually, it could be the same cost and it could actually save you time.

04:07Right.

04:08Interesting.

04:09Do you have any advice for people who are young cinematographers trying to get to where

04:12you are now?

04:14I mean, like I always tell everybody is like shoot, film, shoot, shoot, shoot, shoot, shoot.

04:21Like exercise, practice, always ask stupid questions, hire people that are better than

04:27you.

04:28Right.

04:29And always ask stupid questions.

04:31Like I always, especially in the lighting sequence or the lighting area, I always ask

04:37my gaffers, OK, what is this for?

04:39Why?

04:40Why do I need a grid?

04:41Why do I need a six by six or a style grid?

04:44Why do I need specific things for different scenes?

04:49Because they are on set more than I am.

04:51So that's my trick.

04:54Ask questions and shoot as much as you can.

04:56Nice.

04:57Can you maybe describe the event today?

05:07What have you seen throughout the day?

05:09I mean, we came pretty late, but I mean.

05:12Did you see the spanking show?

05:13I shot, we saw the spanking scene, it was hilarious.

05:17I mean, I've been here three years in a row, but I mean, I've never seen anything like

05:24that.

05:25But we're in Berlin, so I mean, I'm just embracing it.

05:28It's amazing.

05:29Could you maybe describe the energy of the people here in three words?

05:32People are so happy.

05:34People are inclusive.

05:37And people are generous.

05:38Well, thank you very much.

05:39Thank you.

05:40Thank you.

05:41Thank you.

05:42Thank you.

05:43Thank you.

05:44Thank you.

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Transcript

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