One of the best parts about watching music videos in an audience is getting to hear the different reactions out of people. And during the music video screening that we attended at SXSW, no video seemed to evoke as many different reactions from people as did “Big Shot” by CHRISTEENE directed by PJ Raval. During the screening of this video, there was laughter, gasps, and even a few groans – all within the span of four minutes. We got the chance to talk to PJ (who currently lives in Austin) about the video, about collaborating with CHRISTEENE, and about the artistic community in the area. (Photos courtesy of Allie Lane and Yamel Thompson)

Doug: CHRISTEENE is an artist who’s known to be pretty mysterious. Most of what people know comes through watching your videos, and you don’t really speak about the relationship very often. I’m wondering, for the purpose of this interview, is that something you're going to maintain?

PJ: Everything you need to know about CHRISTEENE is up on the screen or in a song.

Doug: So then about the concept of only telling the story through the screen and in a song, was that something that was calculated, or did that concept come naturally through working together?

PJ: Well, I can only speak from my perspective in terms of making the music videos which are responses to what’s out there now like celebrity culture and how certain pop stars function in the media for instance. So that’s a very conscious decision for sure. In terms of where does the inspiration behind the songs come from? I think that you’d have to ask CHRISTEENE…

Doug: And what about the image that comes across in the video? Do you guys really collaborate heavily on that? Or is that something CHRISTEENE is responsible for?

PJ: In terms of the videos themselves, they’re very collaborative, but obviously the songs have such strong narratives already inherent to them - and a really strong mood, and tone, and message - and with each of the videos we try to explore something different creatively and push ourselves in different ways. This one specifically, obviously, is a much more studio, set piece-driven video.

Doug: So what was the initial thought that eventually became this video? What was that initial idea or concept?

PJ: I think so much of this song is about power dynamics and fantasy, and danger. First of all, it’s just an amazing song, it’s so visually rich, but I think a lot of people have images that already come to mind. So we wanted to pull the rug from under you and show you some images that you wouldn’t necessarily think of first right away, but somehow fit really well. We really wanted to play up the fantasy aspects and the danger associated with it.

Doug: And what about the art direction of the video, where did those concepts come from? Like the way the room is set up, and the bunnies?

PJ: The artist behind CHRISTEENE, Paul Soileau, he and I have been collaborating for several years now, and a lot of the times we just sit and hang out, have a drink, chat, catch up, and somehow in that process, we start discussing what the video’s going to become. It’s almost a little bit of stream of consciousness, we just throw everything out on the table, and usually it’s a big mess for the first conversation, and then it just starts to shape itself. As soon as we nail down a major concept for the video, everything just sort of falls in place. We’re pretty scrappy in terms of making these videos. I know this video looks like it’s millions of dollars, but realistically, the DJ, JJ Booya, who’s also the music producer, he has some great laser lights, so I wanted to use them. We wanted rabbits and somehow a few friends own some rabbits and next thing you know we have rabbits in the video! It really is a lot of what we have available to us and what we’re inspired by that’s already in front of us, and it’s just us figuring out how to package it all together.

Doug: What are some of the other ways that you make the videos seem so big and expensive? What are some of the techniques that you use?

PJ: I do think the art direction is really well done, I’ll give ourselves that much. I think a lot of it also is that CHRISTEENE, other than being a musician, is also a performance artist - a visual artist. Me being a filmmaker, I also consider myself a media artist. So we look at it in a different way. Everything that we’re doing is very visual and there’s an intention behind everything. With this work specifically, we are trying not to limit ourselves in any way, and I think maybe that’s part of it. I think if you initially told certain people the concept of the “Big Shot” video they would immediately say it’s not doable or not possible, and for us, it is possible and doable, we just have to figure out how to do it. So maybe somehow, in that kind of leap of faith and willingness to just go for it, it suddenly jumps up to a different level.

Doug: In an interview I read, CHRISTEENE mentions that you kind of bring a business end to the process, I wonder if you could explain a little bit about that because I feel like your relationship has a major a trust element to it. Performance artist are invested heavily in their image and pulling off that performance, and because of that they really have to trust their collaborators. How does that trust come about?

PJ: Working in film, you have to be incredibly savvy in certain ways. I think in terms of where I’m coming from as a filmmaker, because film is sometimes such a technical, expensive, and incredibly complicated form of art or media, that you just can’t help but think about budget, and resources, and format. There’s definitely a certain sense of organization that you have to have about it, which maybe trickles into what some people could consider more of a “business sense” - trying to figure out a way where you don’t feel limited, or using limitations as your creative guidelines or inspiration. I think you can make an amazing music video for $5, I think you can make an amazing music video for $50,000. I think you just need to pick the right concept and the right form, and the right way to approach it. You have to make sure it fits. I had already been working in film for several years, and at the point when CHRISTEENE and I started collaborating together I felt like I had seen a lot of people who experienced "no, you can’t do that, it’s too expensive" or "no you can’t do that, it’s too ambitious." I think part of making videos with CHRISTEENE, or Paul Soileau, became about not giving ourselves limitations with ideas and concepts and trying to really just go with it, but at the same time being realistic. If I can’t have an amazing green screen effect, then how can I get that effect or idea in front of the camera without using green screen technique, for instance. But, where does the trust come from to do that? That’s a good question. I don’t know. I think part of it is that we just get along really well, and I think we respect what each other does separately from each other. And I think we really appreciate what we do together collaboratively. I think part of that is we’re each bringing something different to the table. I don’t really do anything musically, and Paul doesn’t make any films on his own. He’s primarily a performer and actor, so there’s something there where when we come together, it’s like we get to dip into another creative side.

Doug: At the music video program, I think your video was the only one made in Austin, so I wonder if you could talk a little bit about making music videos in Austin, and what the community is like, and if there is a community for making music videos in Austin.

PJ: Austin is such a great creative community, and I think it’s a perfect spot for creators like us to be making work here. Obviously, SXSW, here we are, right? It’s so obvious, it’s like it’s a film, and music, and interactive, and everything, so there’s a real appreciation of everything blending together and all being treated as a creative sphere. I think you can find plenty of artists who work in music, and some who work in film, and some who work in both, so when it comes to that, there’s a real appreciation for it. So if I say I’m going to do a music video, people who are interested in working in film are very appreciative of the music aspect also and want to be part of it, and vice versa. A lot of the videos that we’re making, I think we’re trying to push boundaries in certain ways, and I think people respond to that and want to go along with the ride a little bit and see the experience, so we’ve been fortunate enough that we have a lot of very talented and creative friends who are willing to explore new territory with us.

Doug: Do you think that appreciation also exists specifically at SXSW? Is that part of why you continue to submit your work here?

PJ: I think it exists specifically in Austin, and I think that’s what’s made SXSW probably – I can’t say exactly, you’d have to ask the founders about it, but I think that probably has something to do with SXSW starting in Austin, and it growing, as you know, starting with a music festival, and then film, and interactive everything now. I think what’s really nice about Austin in general is that people are supportive. I have spent lots of time in other cities and big metropolitan areas that are considered the creative hubs. Sometimes there tends to be a little bit of a jaded attitude, and I do feel like people here are still excited. They’re still excited about creative work and trying to be supportive whatever way they can.

Doug: Quickly going back to some specific elements in the video, I’m curious about the two characters of the guys in the sweaters. What were you looking for in those characters, was there something specific?

PJ: The two men who are in it are actually the backup dances for CHRISTEENE, too. Again, so much of the video is about this idea of fantasy and otherworldliness, so perhaps this is the other persona of these two characters in this other world.

Doug: Was there any direction for them? Even just the first look of them in the video, there was a big reaction to it in the crowed at the screening. Was that something you directed them to do, or did they have that in them?

PJ: One of the best responses we got to this video is someone wrote, "believe it or not, this video is safe for work!" But, they said, "it’s not safe for human consumption," and I feel like there is something to be said about that. With this video, what we’re also exploring is that there actually isn’t anything explicit that’s happening, it’s all implied. Part of what we’re playing with is what you think they’re thinking and actually, you’re assigning it, you’re assigning a certain amount to what’s happening because you’re not actually seeing something more graphically explicit. C Baby and T Gravel, the two backup dancers, they embraced that when we were shooting, the fantasy and virtual elements of it.

Doug: Would you say that humor is a part of this video, and that it’s meant to make people laugh? Is that something that you guys were going for?

PJ: Oh yes, I think it’s meant to make you squirm a little bit, make you laugh, make you very uncomfortable, make you sick. Make you aroused. It’s everything, and I think we’re really trying to push those ideas of wanting you to feel a little bit out of your element too, like you’re not quite in the world that you’re used to. You're in CHRISTEENE’s fantasy land.

Doug Klinger is the co-founder/content director of IMVDb and watches more music videos than anyone on earth. You can find him on twitter at @doug_klinger.