A little over a year ago, we featured James Reitano’s brilliant music video for Cut Chemist’s single Spat. He’s now joining us for a Radiohead/Aniboom Contest interview.

AARON SIMPSON: How did you “pitch” the concept of the Spat video to Luke MacFadden, otherwise known as Cut Chemist?

JAMES REITANO: I actually wanted to make an educational video with Jurassic 5, kind of a Schoolhouse Rap thing. Luke had seen the All Caps video, and wanted one for his upcoming solo record. After a failed start in early 2005, we revived the idea in spring of ’06, and got it going.

AARON: How did this string of animated music videos all come about?

JAMES: I think I fell into it by accident. KutMasta Kurt talked me into doing an animated video for his Masters Of Illusion LP with Kool Keith. I had never taken on 3 minutes of animation before, so I was hesitant. Kurt kept assuring me that it was doable and we wrapped it up in 2 months, and the reception was really good. From there, Biz Markie asked for one, and, the ball just got rolling. And I also have a deep love for music, so it’s kind of not too surprising that I’d be involved in one way or another.

AARON: Are there any tricks to producing a music video?

JAMES: The biggest trick is asking the client to give you a chunk of money. Once you have that commitment from someone, the trick is making yourself a hard schedule and sticking to it.

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

JAMES: That’s the first thing I try and get on the table. I’d rather not stick to a strict lyrical narrative. I think that can be a mistake. I’ve always loved videos that capture the emotion of the music or the general vibe. Sometimes you can do interesting things by playing off of the lyrics, but I’ve always preferred to keep the visuals ambiguous.

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

JAMES: The music video clients always tend to be thrilled to see their music visualized. Plus it becomes your own little short film with far more freedom than something like a broadcast series or title sequence which is usually based on a pre-written script.

AARON: How do you come up with concepts for your music videos?

JAMES: I like to have a little shelf of ideas ready to go. Most times the band approaches me with a general idea, and then we built on that. That can be a great process.

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

JAMES: I think general critical feedback is vital. The beauty of the internet is you’ll hear what people really think of something, rather than the usual cocktail party critique of “Wow, that’s soooo awesome!” It’s important to have 2 or more associates who can give you unbiased criticism on something. But won’t make you cry!

AARON: Below is an image gallery of Reitano’s development artwork from various projects.

AARON: When did you first start using Flash?

JAMES: I first learned Director in 1997. That was my first try at animation. I loved it, but was always frustrated that I had to convert my vector art to bitmaps. So when I learned Flash a year later (Flash 3 I believe), I was thrilled.

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

JAMES: I usually start with some key tests in Flash or After Effects. From there, I start the storyboarding/animatic process. Then I start on the key animation, working toward a final cut, either in Final Cut or After Effects.

AARON: With MTV’s viewership in decline, and TV viewing of music videos at an all-time low, why (and where) are music videos still important?

JAMES: I think it’s probably more important than ever. I do think the marketing of music is changing drastically, and, video (and animation especially), is going to be a part of that. Maybe not the whole 3 minute song, but definitely incorporating visuals to music. It’ll be important for music video directors to involve themselves into the online distribution process as well. Getting YOUR video out there will be as important to you as it will be for the band. A clever music video director (like a Michel Gondry) can turn the video into an ad for himself as much as it is for the band.

AARON: Do you have a favorite animated music video?

JAMES: There’s so many, but one of the first I ever saw was Rocky Morton and Annabel Jankel’s video for Tom Tom Club’s Genius Of Love (which is based on James Rizzi’s pop art work). This really captures the song as well as the bands whole aesthetic.

AARON: What are you currently work on?

JAMES: Right now we just finished up a video for Manchester Orchestra which is in the approval process. The biggest thing is an upcoming graphic novel for Wu-Tang’s GZA which I’m writing and illustrating.

But now, on the heels of his brilliant ALLCAPS video for Madvillian, Reitano delivers perhaps his best work to date. Leaning on styles from the 70s, James animates what you can hear any night in hip hop clubs around the world – a conversation between two turntables. The song is from Cut Chemist’s latest album The Audience’s Listening and the song is titled Spat.

Reitano and Cut Chemist actually began this video a couple years back, but other projects delayed their collaboration. If you pay attention, you’ll see the characters disagree (the spat), then make-up and eventually hit a perfect harmony through to the end. After the video plays, sit tight for a screening of Reitano’s animatic.

Reitano’s previous project, ALLCAPS, was the focus of a Channel Frederator interview.

Mad Villain – ALLCAPS

Quasimoto – Bullyshit