Way to Go is a walk in the woods. It is an astonishing interactive experience, a restless panorama, a mixture of hand-made animation, 360 ̊ video capture, music and dreaming and code; but mostly it is a walk in the woods, c’mon.
Way to Go is for human beings between 5 and 105 years old. Maybe it lasts six minutes; maybe it lasts forever. Way to Go is ready for your web browser and willing to go VR, if you’re Rift-y. It is like a grey squirrel balanced on a branch, fearless. It is a game and a solace and an alarm, a wake-up call to the hazards of today. At a moment when we have access to so much, and see so little, Way to Go will remind you of all that lies before you, within you, in the luscious, sudden pleasure of discovery.
# Walking Simulator, Exploration, Music, 360 Video, Hand-drawn Animation, Casual, Short, Single Player, Free to Play, Mac OS, Windows, Linux, Chrome, Firefox, Safari, Oculus Rift friendly
JUST A REFLEKTOR
A virtual projection by Vincent Morisset
in collaboration with Aaron Koblin, the Google Creative Lab and Unit9
Emmy Award (Outstanding Creative Achievement - Original Interactive Program), Webby Award (Net Art, Music Film and Net Art People's Voice), SXSW Interactive Award (Music), Art Directors Club Tomorrow Award, Cannes Bronze Lions (Interactive Video & Innovative Use of Technology), FWA Site of the Month, Awwwards Site of the Month, ADC Silver Cube for Interactivity Craft & Art Direction, D&AD In Book Award, IDFA DocLab Finalist, Big Award (Digital: Media & Entertainment), Festival du Nouveau Cinéma (special mention), Adobe Cutting Edge Award, FITC (Technical Excellence and People's Choice).
In 2011, I met Aaron Koblin from Google Creative Lab at OFFF in Barcelona. We promised ourselves that we would work together one day. Last fall, Aaron and I started to ping pong some ideas. We were quite excited about the potential of connecting devices through web sockets. From the very beginning, we knew that we wanted to explore that notion of connection in storytelling. My genius developer, Édouard Lanctôt-Benoit, had the idea of displaying a tracker on the phone and use camera vision from the computer to track it. We pair this information with the mobile gyroscope and accelerometer data sent through network. This setup would allow us to know accurately where in the space we hold the phone and how we handle it. I didn't wanted to transform the phone into a remote control or a game pad though. I thought it could be more interesting if the phone became a source of light. Give the illusion that we have a small video projector in our hand, beaming images on the computer screen surface. There was a desire to recreate something that feels analog and optical. Bringing back the visceral pleasure of playing with a flashlight, a prism or shadow puppets.
Again, by a strange coincidence or synchronicity, Arcade Fire was recording at that time a song called Reflektor. It was the perfect fit thematically! The lyrics became the foundation of the project. For me, this song is a quest for truth. A metaphor about representation and identity. I thought about Plato's Cave. The actual interaction was now part of the message. We created an invisible wall in the physical space. The spectator on one side, the protagonist trapped in the screen on the "other side". Fiction and reality colliding. This was also another thing I wanted to explore. Combine documentary style shooting to an imaginary world. Create a clash between the first interactive half of the clip and the end where the spectator is invited to let go.
Caroline Robert, Brandon Bloomeart, Édouard Lanctôt-Benoit and I spent months in our studio in Montreal to figure out the interactivity, the esthetic and general story of the film. It was exciting. Playing with optical toys, coding prototypes, shoot ourselves, simulate interaction ideas in after effects... The pieces of the puzzles slowly snapped together and the storyboard was crafted through this process.
Haiti has always been a great source of inspiration for the band. It seemed natural to set the story there. Again, to create a contrast between our world and another fascinating one. We went to Jacmel, cultural capital of Haiti and host of one of the most exciting carnival in the world. Our journey there was amazing. We had the help of the local film school, Ciné Institute, who guided us in the city and gave us a big hand on the actual production. Axelle 'Ebony' Munezero is the protagonist in the clip and the choreographer. Through her dance and presence, she combined pure beauty and fierce passion. It was also a great honour to collaborate with the Google Creative Lab. Aaron Koblin is an amazing creative director that understands deeply this medium. He gave us a lot of trust. The dev team there helped with network and sound synchronization. They also built the user interface for the tech page. At London-based production company Unit9, producer Amelia Roberts and lead developer, Maciej Zasada, were a key part in the making of the project. Finally, the film shoot was taking care by Sach Baylin-Stern from Antler Films. I had the chance to collaborate with a fantastic team.
Press: Speaking of wonder, whimsy, and awe, the interactive video by Morisset is really, really, ridiculously incredible. One the music starts, you have the ability to interact with the video, sometimes subtly, sometimes in more profound ways.
A tour de force of digital art.
The capacity of digital to drive awareness, experience and dwell-time around a song launch.
Reflektor was one of the most mind-bendingly interactive and innovative of the year
If you are a geek, you can download the code of the project on the site or you can loop each scene (1, 2, 3, 4, 5, 6, 7) and play with the parameters. One other thing I really like to do is to put the film on pause (by clicking spacebar) and to continue to play on the frozen image. Specially fun in the zombie scene... We hope that you'll like it!
ARCADE FIRE PRESENTS SPRAWL2.COM
Dance activated film
For a long time, I've been wanting to do an interactive project without any interface. Something really primitive and fun. A web experience free of clicks or buttons. Two years ago, Régine told me that they would probably be a dancy song on "The Suburbs" that could fit with the idea. It ended up being Sprawl II. What an amazing song! The idea is to affect the pacing of the film with your movements. You are invited to dance in front of your webcam. There is no specific rules, no complicated "minority report" tricks. Just an invitation to move your arms or your butt on the music. The quicker you move, the faster the frames play. You slow down, the caracters in the video slow down. You freeze and the video starts to loop on the beat, creating a new choreography in the choreography. It is also possible to interact with your mouse, in case you don't have a camera or you want to switch from dancing to clicking. I also did a traditional video (see below) out of the same shoot that you can watch on tv or youtube. For the interactive version, Damian Taylor did a great remix of Sprawl II. Independent Video of the Year,
Libera Awards +
Audience Award, Prism Prize www.sprawl2.com
The Montréal team for the project was just incredible! Merci à tous!!
Thanks also to Régine and Win for their creative input during the whole process.
Director: Vincent Morisset, Producer: Jean-Luc Della Montagna, Art Director + Stylist: Renata Morales, Choreographer: Dana Gingras, Director of Photography: Christophe Collette, Editor: Stéphane Lafleur, Sprawl II Remix: Damian Taylor, Technology Director: Édouard Lanctôt-Benoit, Designer: Caroline Robert, Cast: Régine Chassagne, Karine Denault, Gabrielle Desgagnés, Noémie Dufour-Campeau, Mark Eden-Towle, Alan Lake, Milan Panet-Raymond, Esther Rousseau-Morin & Michael Watts, Interactive Production: AATOAA, Film Production: 1976, Post-Production: Post-Moderne, Music by Arcade Fire.
BLA BLA, A FILM FOR COMPUTER BY VINCENT MORISSET
In this animated film meets picture book, you participate in the story. For more information on the project, click here. Developped by AATOAA and produced by the National Film Board of Canada. Thank you to Philippe Lambert (music, sound & voices), Édouard Lanctôt-Benoit (programming), Caroline Robert (visuals and animations) and Hugues Sweeney (producer at the NFB)! blabla.nfb.ca
Webby Awards - Netart Category 2013
SXSW Interactive Awards Champion 2012 - Art Category
Communication Arts Interactive Annual 2012
Japan Media Arts Festival 2012 Excellent Prize - Art Category
Grafika 2012, Grand prix Site web culturel
Festival du nouveau cinéma 2011, Prix de l'innovation / Innovation Award
Boomerang Infopresse 2011,
Grand prix Fou mais formidable
FWA Site of the day (August 24th 2011)
"Experimental masterpiece", Rob Ford, FWA founder
Creative Review Annual 2012
The Sigur Rós definitive live experience directed by Vincent Morisset
More info on INNI and screening dates: http://sigur-ros.co.uk
INNI is Sigur Rós's second live film following 2007's hugely-celebrated “Heima”. Whereas that film positioned the enigmatic group in the context of their Icelandic homeland, providing geographical, social and historical perspectives on their otherworldly music, with uplifting results, “Inni” focusses purely on the band's performance, which is artfully and intimately captured by French-Canadian director Vincent Morisset (Arcade Fire's “Miroir Noir”). Interweaving archive material from the band's first ten years with the sometimes gossamer light, sometimes punishingly intense, concert footage, “Inni” is a persuasive account of one of the most celebrated and influential rock bands of recent years. “INNI is the intimate in the middle of a big stage. It's the abstraction of the gestures and the magnification of delightful details. It's a tribute to the unique energy of Sigur Rós. INNI leaves room to all the beautiful images that come to our minds when we listen to their music.” (Vincent Morisset)
“dreamlike haze of throbbing black and white... eccentric... shimmering... piquant... a burnished collision of the specific and the abstract...”
- Jeannette Catsoulis, New York Times
“haunting, emotion-drenched... soul-stirring fusion of joy and heartache... usher[s] the listener into a state of near-celestial rapture.”
- Justin Chang, Variety (gathered from two articles)
“something stunning... one of the most engrossing concert films in recent memory. . . ”
- Guy Dixon, The Globe and Mail
“German Expressionism on acid… some sort of lost artefact… straight out of [A] Midsummer Night’s Dream… succeeds fully.”
- Todd Brown, Twitchfilm
“The ghost-like, ethereal quality of the visuals mixed with the otherworldly sounds can captivate in their intensity as well as carry you to another plane of existence. Let the music wash over you, enjoy the religious experience on screen, and convert all your friends into lovers of uniquely original music.”
- Jared Mobarak, The Film Stage
CREDITS: A film on Sigur Rós directed by VINCENT MORISSET
with JÓN ÞOR BIRGISSON,
ORRI PÁLL DÝRASON,
NICK FENTON &
STÉPHANE LAFLEUR /
BIRGIR JON BIRGISSON / director of photography
ROB HARDY / cameras
JOHN LONDONO, CATHERINE DERRY, SARAH ROLLASON, BEN UNWIN / 16mm special effects KARL LEMIEUX / animations RAOUL PAULET &
/ design CAROLINE ROBERT / artistic direction SARAH HOPPER / post production facilities POST MODERNE / post production supervision ALEXANDRE DOMINGUE & ANNE-MARIE BOUSQUET / color grading GUILLAUME PELLETIER & CHARLES BOILEAU / post production AATOAA /
producer JOHN BEST &
DEAN O'CONNOR /
SIGUR RÓS &
BIG DIPPER PRODUCTIONS / live shoot producer
LAURA TUNSTALL &
LIBBY DURDY / co-production KLIKK FILM,
XL RECORDINGS / world sales CINEMA PURGATORIO
ARCADE FIRE "THE SUBURBS" ARTWORK
Last fall, when Arcade Fire was recording The Suburbs, Caroline Robert and I started to exchange with the band about visual ideas that could be developed. Win wanted that we create a version of the artwork that would be relevant in the digital world. Most of us now buy, share and listen to music through computer and portable devices. It seems absurd that it is still a single JPG that is attached to an album in 2010. I thought about the relation we have with the vinyl cardboard cover or the paper booklet while listening to the songs. Flipping through the lyrics, looking at a band picture or a cool drawing related to a song while listening to it. With the mp3 player, we lost that. I wanted to find a way to get closer to that experience again. I finally found a way to do something similar through the limitations of the actual formats. I call it SYNCHRONISED ARTWORK!
SLEEPING SICKNESS REDUX
Recently, I was discussing with Fabrice Montal, curator at the Cinémathèque Québecoise, about the short lifespan of web-based projects and the challenge of archiving this kind of work for the future. Last week, I revisited an interactive film that I developped four years ago. Sleeping Sickness by City and Colour is inspired by Google Maps. We shot from above and stitched multiple videos together to create some kind of satelite view of a neighbourhood where you can zoom and pan over houses and streets. At the time we released it, we were limited by bandwith and processor. I still had all the footage on a drive. I decided to re-export the assets and ask Édouard to reprogram from scratch the project. You can look at the new version here. Back then, we also edited a linear version for TV. It was produced by Spy Films.
NEON BIBLE VIDEO
Considered the first interactive music video ever done. It's been also presented at the Museum of the Moving Image, MOMA, Sao Paolo MIS, Musée d'art contemporain de Montréal, the Australian Centre for the Moving Image and the Cincinnati Contemporary Arts Center. www.beonlineb.com
is an impressionist documentary on Arcade Fire during 2006 and 2007. The result is a collage of captured moments from the studio to their acclaimed international tour.
Directed by Vincent Morisset.