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Brian Cannon Interview  

2011-01-14 18:52:10|  分类: Interviews&repor |  标签: |举报 |字号 订阅

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2011年01月14日 - the verve - verve中文网
 

Brian Cannon is Brian Cannon is a British graphic designer, art director, photographer, band manager and music video director. He is best known for his Microdot graphic design company and its work in the 1990′s with the likes of Oasis, The Verve, Cast and Suede to name a few. Microdot is still around after an astonishing 20 years and we spoke to Brian about his career so far…

Hi Brian, thanks for taking the time to talk to M Is For Music, how are you?

Great thanks, it’s good to be back at work after the new year, I always enjoy this time of year and this time around is especially exciting – loads of interesting projects on the go.

Microdot is in its twentieth year already, how do you think you have managed to stay in the business and still be successful after that many years?

For me it’s all about passion and attention to detail. I love what I do, am continually inspired by the clients I work with, no two days are the same, I still get excited by the job and I guess all that combined drives me on.

You did a degree in graphic design so I assume this was always something you were interested in? And how did you make the transition into photography as well?

I specifically set out to design record covers from an early age, certainly while I was still at school, I was really into the Punk scene as an early teenager but didn’t have the patience to learn to play guitar, however, I was always good at art so I thought I’d get involved that way. Photography was a natural progression as I love image based works.

Obviously you’re most known for your work with Oasis back in the early nineties. How did you first meet Noel Gallagher and what made you decide to work with him and Oasis?

I first met Noel back in 1992, I had a tiny studio in the same building The Inspiral Carpets had their office, Noel was their roadie. I liked him right away and we got along well and as soon as I first heard Oasis – probably about 6 months later it was an easy choice to work with them, they were brilliant even then.

What about The Verve… “A Storm In Heaven” has always been highly regarded as one of the best covers of its time. Could you tell us a little about the idea for the cover and what was Richard Ashcroft like to work with?

The concept spans all four sides of the vinyl gatefold (across 4 images in the CD booklet) and plots the journey of life. Front cover Birth. The first in the tetraptych visually plotting the journey of life. Shot in Thor’s Cave, Staffordshire. Verve lettering was made by a steel fabricator in Lancashire before being clad in fire resistant fabric which was doused with paraffin and lit.

Interior Image 1, Youth. Shot in Billinge, Wigan. The burning car was bought from a local scrap yard before being driven under it’s own power to the shoot location. Each frame had a time span of no more than 15 seconds as the heat from the car became too intense and the band had to move.
Interior image 2, Middle age. Shot in a friends cellar in Wigan. The middle aged man who has lost his way in life and become disillusioned sits staring at a video relay of himself. Model, Barry Frodsham R.I.P.

Back cover image. Old age / Death. Shot in Birkdale cemetery, Merseyside. Note the huge polystyrene hand in the background, added along with the foreground props for the shoot. Model, George Wilson R.I.P.

Richard was great to work with, he had strong ideas but also let me be creative.

Are there any artists you would like to work with?

I’d love to work with The Arctic Monkeys.

You worked with Cast in the past and with news that they are working on a new album, would you be interested in working with them again?

Of course I would, Cast are great lads, I thoroughly enjoyed working with them.

Do you have a favourite album/single cover that you have worked on?

My favourite album cover is Verve’s “A Storm In Heaven” and my favourite single is Oasis “Some Might Say”.

What about album covers by other people. Do you have any favourites?

“Ummagumma” by Pink Floyd and “Never Mind The B*llocks” by The Sex Pistols

Do you think the digital revolution has had any effect on Microdot or the album sleeve in general?

We were renowned for never using digitisation in the old days – we would actually stage all the shoots for real, these days we inevitably use more digital methods – it’s no substitute for creativity though, it just enables you to do things quicker.

You have worked with Converse and Levi as well on campaigns. How does that differ to album sleeves?

When you’re working for a corporate outfit there tend to be more people involved in the approval process, that sometimes dilutes creativity. When working with Oasis if Noel approved it that was it – when working for a company that has a marketing department, who in turn have to answer to someone else who in turn … things can get a bit tired.

For any bands/artists or organisations that are interested in your services, where is the best place to get in touch?

Anyone who’s interested in benefitting from the Microdot creative experience can contact me on my temporary email of bjcannon66@hotmail.com

What is next for Microdot?

Hopefully more of the same – creating killer images for great bands and brands whilst having a good time.

Finally if M didn’t stand for Music, what would it stand for?

Microdot…. obviously!

For more info on Brian and Microdot, visit www.microdotcreative.co.uk.

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