As part of the ongoing CHF Radiohead/Aniboom Interview Series, we visit with Andrew Kauervane, an artist with a history of music videos, and also a man with some skin in the game. He recently submitted this Flash-animated piece below to the contest. This is Andrew’s take on Radiohead’s moody track All I Need.

Here’s some concept designs Andrew sketched out before diving into production:

AARON SIMPSON: Tell us about the concept of your Radiohead contest submission?

ANDREW KAUERVANE: My concept really revolves around the concept of loneliness and love. I know it sounds corny but that’s what the lyrics did for me. My video exhibits a bit of a self-help message: There is someone out there for everyone. A rainbow to add meaning to your life. You just have to look for it; don’t mope.

AARON: How did this differ from your work on the SheBeats video you produced?

ANDREW: It’s significantly different because I’m doing something I like. I get to be as versatile as I want with the artwork and concept. With this one I’m going for a more avant garde look. I have flashing splatters serving as fills for items, film grain over the animation, and old black and white photography of wars, outdoors, and even newspaper clippings. I’m having alot of fun with this.

AARON: So, how is the process of directing a music video different from other animated work you’ve directed?

ANDREW: It’s not really that different. I stumble through pretending to know what I’m doing and people seem to like the outcome. With music videos it’s a lot less mathematical if that makes any sense. When I do “traditional” cartoons with a set script, voices, and all that I have more of a start to finish mentality. With music videos I feel like the only thing on my mind is doing it and liking the result. I’m a music kind of guy; it just brings out the best of me.

AARON: Do you have any routines for uncorking your creativity?

ANDREW: Yeah, it goes back to the music thing. Typically to get things flowing I listen to a band or musician that has a particular quirk that makes me click. That’s really about it.

AARON: Do you feel constrained to the narrative embodied in the lyrics?

ANDREW: I do. But that doesn’t mean I can’t really bring out the best of the lyrics in visual interpretation.

AARON: Do you find feedback important during the creation process?

ANDREW: I’ve actually never really thought about that. I suppose I do, I’m constantly sending progress of my work back and forth to this girl. I guess if I’m really close to the person I think feedback from them is really valuable; it is important.

AARON: Speaking of “important” – how important is it to keep the animation aligned with the rhythm of the music?

ANDREW: It is typically vital that the animation of a music video syncs up with the rhythm. At least for me anyways. It keeps me interested to see things move in accordance to its sound, it makes the animation vivid and, I think, makes listening to the song more enjoyable if it’s your first time hearing it.

AARON: How do you break up your process within the software? Animatic, rough animation, final?

ANDREW: At this point in my “career” I’m actually getting more into the preparation processes. In the past, I didn’t do any kind of storyboard or rough animation – I just had a drawing of the characters head shape behind everything, and I went straight into animation. However with the Shebeats video and now this All I Need project, and even with my more recent cartoon projects, I’ve been dipping my fingers in some storyboarding. I always thought it was interesting to see rough drawings go into something polished, so for me it makes the animation experience somehow… psychologically rewarding. If that makes sense.

AARON: Let’s take a look at some of Andrew’s storyboards from his Radiohead contest submission:

AARON: Do you currently have a favorite animated music video?

ANDREW: I would have to say my favorite animated video of all time is Clint Eastwood by Gorillaz. To this day I still strive to learn to make my animation move like Jamie Hewlett’s. Truly talented people.

Bottom line – Matt is one of the more active and daring independent animators around. His first two Flash-animation series, ‘High Score‘ and ‘Bonus Stage,’ are comprised of over a hundred episodes between them.

His recent effort, ‘The Stupid Adventures of Mark an’ Tony,’ is his most elaborate and the animation is his strongest to date. The series currently flies under the Keentoons banner, where he lists himself as an Executive Producer.

CHF recently focused on Andrew Kauervane’s work, including ‘My GOD, Robots!’ which Matt composed a great deal of music for.

Have a look at Matt’s Couchslave Studios website, his blog Things That I Like, the Bonus Stage Message Boards and the abundance of Matt Wilson information over at the Bonus Stage Wiki.

Not long ago, Matt unfurled a membership plan for his shorts, and I’d like to hear an update on how this is working. Matt, care to join us in the message boards?

Lucky for us, we don’t have to wait until Andrew is done with ‘M & F,’ he’s released the title sequence and several production stills. Looks like he’s well on his way to topping his previous effort ‘My GOD, Robots!,’ which has faired well over at Newgrounds.

Head over to Andrew K’s deviantART homepage for more.

Thanks to Chet Miller for story tip.