Photo credit Ishaan EarthScape

Photo credit Ishaan EarthScape

Liam Titcomb | Love Don’t Let Me Down 

Rejected 05 /25/ 2012. What they made instead… 


A summer walk through an unconventional cemetery, with portraits of the dead carved into trees.


Warm and sublime.


We will shoot at magic hour at the Scarborough Bluffs in Toronto.

Using carved foam and special effects painting, we will dress tree trunks in a rural area to appear as if portraits have been carved into them. Some of the portraits will look freshly carved, others will seem weathered, as if they were carved a decade ago. 

We follow Liam as he wanders through the park visiting each of the unique portraits.

One of the carved faces has a dark mouth that opens into a hollow in the tree. It has been filled with bird seed. Birds and squirrels crawl in and out of the ancient wooden-head.

As the video ends, Liam begins carving a tree.

We see that Liam has carved the portraits of two figures facing one another. 

Cut to black.


Aprox. 4 weeks after receipt of the production funds.

METZ | Wet Blanket (Version II: Initiation)

Masonic Initiation

Masonic Initiation

METZ | Wet Blanket (Version II: Initiation) Listen Here

Rejected 07/05/2012 What they made instead...


A continuous steadicam shot following a person through a bizarre initiation ritual.


We open with a shot of a blindfolded person tied to a filthy mattress, being dragged behind a vehicle on a rope in the middle of the night. The mattress is sliding around the asphalt surface of a basketball court. The mattress and blindfolded victim are illuminated with a spot light. 

The vehicle stops. A crowd of people carrying torches, wearing burlap masks pull the blind-folded person off of the mattress. The blindfolded person begins to run, still partially bound in the ropes that held him to the mattress. The blindfolded person’s path is guarded on two sides by menacing people in ugly burlap masks and holding torches. Standing shoulder to shoulder in two lines, the torch carriers form a long tunnel, which the blindfolded person runs through. We follow the blindfolded man as he runs. The camera stays just ahead of him. As the blindfolded person advances, the torch carriers touch their torches together behind him, preventing him from turning back.

Finally, the blindfolded man comes to a break in the line of torch carriers. He realizes that the torch carriers have been shoving him in a circle. He walks into the centre of the circle, looking disorientated. Suddenly the stocky men with the padded bats reappear. The men grab the blindfolded man and drag him towards the tall steal post used to support the basketball hoop. The men use bindings dangling from the blindfolded victim to hoist him into the air. They dangle the victim from the basketball hoop like a pinata.  

As the video closes, the torch carriers close in around the victim. They lower their torches and touch the ground underneath the dangling, blindfolded victim. The ground erupts with sparks, fire and smoke. The blindfold falls away from the victim. We see a huge close up of his convulsing, terrified face.

Cut to black.

Hooded Fang | Tosta Mista


Hooded Fang | Tosta Mista Listen Here

Rejected by MuchFact 04/12/ 2012


Hooded Fang party at a movie theatre walking on top of the seats and other guests as they perform. Behind them, on the big screen weird black and white science fiction footage is projected. By the end of the video, the whole crowd crawling over one another / moshing / dancing.

Art direction / Mood

Rambunctious, art punk party.


Step1 We will shoot weird black and white science fiction images similar to those in the Weekly World News. Examples may include the Fiji Mermaid, Batboy, cannibal zombies, alien heads, CIA agents, pirate gold, bigfoot ect.

Step2 Hooded Fang will perform at the Toronto Underground theatre. As they sing, the band will climb on top of the theatre seats, walking around on top of the audience members laps and shoulders. The weird black and white footage from step 1 will be projected on the movie screen behind them. By the end of the video, everyone in the theatre is climbing on top of one another, dancing / moshing.

Technical Treatment

Camera 7D Canon DSLR + Canon EF 24-105mm zoom lenses + Steadicam Pilot & Vest Arm Kit. Black and white sci-fi footage will be given a “super 8” look via Magic Bullet Suite.

The Elwins | Sittin’ Pretty

photo credit:

photo credit:

The Elwins | Sittin’ Pretty Listen Here

Listen to live version here  Great video in it’s own right!

Rejected by MuchFact 04/30/2012


The Elwins have a medieval joust wearing armor constructed entirely from balloons.

Art Direction / Mood

Fun, viral, pop psychedelic, stop motion.


Step 1 We will construct costumes using 2000 twisting balloons, similar to the those used by magicians to make balloon animals. The characters will include three knights wearing balloon suits of armor, three princesses wearing balloon-crafted dresses. The knights will ride stick ponies with large horse heads completely sculpted from balloons.

Step 2 We will act out a joust in stop-motion. Each time a knight makes contact on another knight with his balloon sword or balloon lance some of his armor will pop, and disappear. Once a knight has all of this armor popped, he will be eliminated from the tournament and run from the jousting area in only his underwear. At the end of the video champion is crowned and he receives the hand of the princess.

Technical Treatment

Camera Stop motion 5K stills. 7D Canon DSLR + Canon EF 24-105mm zoom lenses.

Studio We will be shooting in the large room at Silver Line Studios. 

Zeds Dead | Living Dead

Zeds Dead | Living Dead Listen Here (and see what they made instead)

Rejected 05/17/2012 | What they made instead.


Post-apocalyptic beach party. 


Intro 0:00 - 1:00 Using a series of slow motion tableaus, we show a group of horribly disfigured, zombie-like people posing in 50s style beach-party scenes. Behind the zombies, a rear projection screen plays looping footage of an idyllic beach with waves breaking on the shore line. The beach scenes will be lit with a moody red lighting, as if to suggest the events are taking place under a giant heat-lamp. The scenes will feel “staged” as if the beach set has been constructed in a bomb shelter miles bellow the surface. 

Middle 1:00 - 3:35 As the pace of the track speeds up, we will cut more quickly to various other beach activities shot in slow motion. Activities include volleyball, hula hooping, crushing sand castles and fake water skiing in front of the projection screen.

Exit 3:35 - 4:30 We cut to face of a dreary-looking lab tech(s) with a thousand-mile stare. The lab tech is sitting in front of a large monitoring station lined with hundreds of colourful lights. A monitor in font of the lab tech displays the beach scenes. Looking bored, the lab tech turns a dial marked “ambient radiation”. 

We cut to an image of the sun projected on the rear-projection screen. It glows noticeably brighter. The beach zombies gaze at the burning sun reverently. They lean their heads back as if enjoying the added heat. Slowly their skin begins to melt from their bodies. 

We see the lab tech once more, looking desensitized. He turns up the heat further.

To close, we repeat the slow motion tableau pans from the opening of the video. The zombies are still posing enthusiastically, but by now, they have been fried to skeletons by the heat of the room.

Cut to black

Band Involvement

Depending on Zack and Dylan’s comfort level, they can participate in the zombie sequences or simply act as the lab techs.


Aprx. 4 weeks from the date the productions funds are received.

We Have Band | Love What You’re Doing

We Have Band | Love What You’re Doing Listen Here

Rejected 09/03/2010


A video featuring three ancient Tai Chi masters shot in slow motion. The eyes of the masters will flash red and blue to the beat of the song. The movements of the masters will be inter-cut energetically with pop psychedelic animations of Chinese dragons. The band will not appear in the video. The art direction for the dragons will be similar to this:

Technical Treatment

The video will be inter-cut between two scenarios.  Scenario one will feature three Tai Chi masters performing on a set of ruined over grown steps.  The Tai Chi routines will be performed and filmed at twice normal speed, then converted to slow motion in post.  This will give the movement of the performance added intensity and make the footage ominously beautiful.

Scenario two will be an animation based on a Chinese dragon.  The dragon will be an elaborate stop-motion puppet decorated with jewels, metallic textiles and silky fibers.  The animation will feature the dragon snaking through a natural environment with fantasy / pop-psychelic elements (ie rivers of jewels ect)  The dragon peruses the tail of a second dragon.  Eventually he catches it, and in the final shot we see that there are dozens of identical dragons all connected together mouth to tail into a giant psychedelic chain.

Theme Park | Jamaica

Theme Park | Jamaica

Rejected 05/14/ 2012 What they made instead...


An animation following a stunt bike, as it drives through various colourful L.A backyards. 


The video will be one continuous tracking shot of the stunt rider driving through a variety of Los Angeles backyards. The characters in the backyards will be looping animations. 


The vibe will be similar to the NES classic PaperBoy, except the images will all be hand painted in the style of David Hockney, and the images will move from left to right instead of diagonally. The overall mood of the video will be warm, relaxing and cheeky. The video equivalent of melting neapolitan ice cream. 

Shot List

A) An Evel Knievel-style stunt man stands on top of a dirt hill surrounded by colourful streamers, palm trees and a few photographers. The stuntman drives down the ramp picking up speed and charges into a huge loop to loop. He then hits a second ramp and flies over some wrecked cars. The stunt man completes the jump but fails to stop at the victory circle. The bike flies off the course and breaks through a safety barrier into the neighbouring backyards.

B) The motorcycle crashes through multiple backyards inhabited by the following…

A sexy pool party. People are sunbathing and diving. The motorcycle goes over the diving board, lands on the other side of the pool. 

The motorcycle passes a steel drum band.

It passes a man scuba diving in his pool.

Girls in a hottub. 

A vacant house filled with stray cats.

A homeless man with a barbecue built into a shopping cart, cooking weiners. A flock of seagulls take.

Two 70’s wrestlers, wrestling on a trampoline. 

A movie crew filming muppets. 

A collection of colourful billboards.

A pornography shoot.

70’s bodybuilders weightlifting. 

A group of people rollerskating with a dog.

A ferris wheel. 

A fry truck. 

Classic cars.

An LA gang, harvesting marijuana.

A graffiti artist painting a mural.

A robot dinosaur eating cars. 

A garage band.

A helicopter taking off.

A group of cheerleaders stacked into a human pyramid. 

Two Dogtown skateboarders, skating in an empty pool.

C) The motorcycle drives down into the empty pool with the skate kids. The bike flies up the opposite side of the pool into the air. We see the motorbike fly out of the backyards and zoom off of a cliff face towards the ocean. We watch the motorbike fall. A rainbow parachute pops out from the stuntman’s back. He glides slowly into the Pacific, being cheered on by some surfers and some curious dolphins.

Fade to black.

*image by David Hockney


Odonis Odonis | Busted Lip Listen Here

Rejected by Much Fact 04/13/2012


Dark imagery projected on a stretching latex screen.

Mood & Art Direction

Dark 90’s feel. Seamless blend of sex and horror and humour.


Step 1: We will create a montage of 90’s inspired images. These will include plates of the band under gloomy daylight, running through a dead forest. Portraits of people with Hypertrichosis (werewolf syndrome). Images of women’s mouths chewing.

Step2: We will construct a large latex screen. The montage footage will be projected onto the screen. 

Step 3. A nude actor will be placed behind the latex screen. The actor will stretch the latex to the beat of the song distorting the projections in time to the music. Periodically, a light behind the screen will illuminate the actor, revealing their form to the camera.

Technical Treatment

Camera: 7D Canon DSLR + Canon EF 24-105mm zoom lenses.

Screen: The screen will be constructed from .45mm thick white latex rubber sheet.

PORTABLE.TV Interview Interview (unabridged)

This week I did an interview with regarding my video for Of Montreal. I decided to publish the unedited article here —You can view the original by clicking “” above, in case that’s unclear. :)

So Spiteful Intervention is a very mixed media, did you create the artwork as well? How did they come together like they have?

Yes, I painted the majority of the work. My good friends Lee Stringle and Cameron Tomsett came in to help with the final push so we would hit the deadline. Our approach was to take hand-painted characters and animate them by mapping them to a 3D meshes in Autodesk Maya. 

The imagery or idea behind it seems a little dark, what general mood/feeling did you want to generate with it?

Originally I had wanted to do a 3D video in a similar style to artist Jeff Koons collages. That idea was rejected. Treatment one was too pop-arty for track. The first few times I listened to the song, I was focusing on the poppy rhythm of the piano and the change at 1:39. Both reminded me of the Beatles White Album for some reason… anyways, I completely missed how dark the lyrics actually were. The song’s all about self-loathing and battling dark thoughts, so I felt having Kevin’s head morph into various creatures would be the simplest, and most fun way to illustrate that idea. I think the colours, the loose painting and the bounciness of the images, combined with how sad all of the drawings look, matched the song pretty well.

You’ve done quite a few film clips, how do you approach each one with a different mindset and originality?

I’m  curious. I like taking things apart and rebuilding them in different ways. 
In art school we were always encouraged to find one distinctive way of working, and to put all projects through that filter. There’s the Alex McLeod filter, and the Martin Wittfooth  filter, the Jessica Rae Gordon filter. They each build little worlds, with their own sets of rules. It’s a great approach for business as Milton Glaser would say. The main thing I took away from illustration was the mechanics of world building.

I think my filter is influenced by the internet I think. My work is filled with the mutts that are created when when the world’s culture begins to have sex with itself and spawn mutants. My videos are experiments, never intended for mass production. If I was writing this for an council grant, I’d say it’s about metamorphosis and the images that live in the crossover between the analog and digital world. 

What general process do you go through when coming up for an idea for something like this and how do you develop it?

I like to use the music as a seed, and imagine a world growing out of it. This leads to experimentation by necessity. I’ll listen to a track and think, this song reminds me of a Saturday morning cartoons, or this song reminds me of Voyager Space probe, or troll under a bridge… the songs take you a lot of different places. Especially if you have a mind that’s so full of rubbish absorbed from the internet.

For Spiteful Intervention, I knew I wanted to make images that were dark and creepy, to match the lyrics, but also had a pretty silliness to them, to match the song. I started to think of various images that had that vibe, I could use as influences. Black velvet clowns, the 16th century paintings of fruit arranged to look like faces by Giuseppe Arcimboldo. I also riffed off artist William Blake’s images from the Divine Comedy.

You work with a lot of different media and mediums, do you have one thing you like more than all the others?

My favourite aspect of making videos is that they can be experimentations in storytelling. I chose to make videos in the first place as an alternative to film school, so trying new things and learning the best approaches for setting a certain mood is the whole point. Moving forward, I’d like to work towards becoming a good multimedia storyteller. So for me, it’s not so much about doing more animation, or more live action, but instead developing a long form style where each of those worlds coexist. Not in a Roger Rabbit kind of way. More like how fantasy and naturalistic ideas coexist in our imaginations. For feature film, I’d like to direct meta stories like Slaughterhouse Five (the book, not the crappy movie) or Alan Moore’s  the League of Extraordinary Gentlemen (the comic, not the crappy movie) or the scifi book Snow Crash. Stories that leave room for absurd cartoons amidst violent and pornographic worlds. :)

TEN KENS | Refined

TEN KENS~ Refined Listen here...

Rejected 9/19/07 What they made instead... Nothing

For ‘Refined’ I want to a make an early 90’s video that complements the early 90’s vibe on the album. What I have in mind is similar in aesthetic to David Lynch’s Eraserhead, except mixed with the old Louis Carrol poem ‘The Walrus and the Carpenter’. My pop-psych stop-motion work will be prevalent. Everyone in the band will appear in the video. *note* though this video is primarily focused on oyster eating very few actual oysters will be eaten (which is too bad because they’re delicious!). We’ll be faking the shots with empty sterilized oyster shells and corn syrup.




We open with a slow moving pan through the graffiti alleys of Queen West.

It’s evening and the lighting is harsh with deep shadows.

As we continue down the alley we come across Dean, sitting on a picnic blanket on the ground beside two women. The three have their heads against the wall and are blowing large puffs of cigar smoke into the

sky in time with the music. They look stuffed. Surrounding the group are a number of party accessories. There’s a small t.v tray, some empty bottles and a metal bucket heaping with chilled oysters.


The camera pans right and finds Lee with his own heap of oysters and lady-friend. We have a super close-up of him splitting one of the shell fish with a shucking knife.

He then delicately licks the center. To his right, his companion is eating much more aggressively. We get a strong, silhouetted profile shot of the girl throwing back the oysters. The clear slime runs down her neck and chest.


We continue down the alley. To the left we pass Ryan. He’s passed out, lying like a rag-doll with his head buried in shells. We continue on. We find Dan loading up a miniature wheel barrow with ice. He’s wearing a pair of industrial rubber gloves. Beside him is a huge fat man - cropped so we can only see his belly. The fat man hands another sack of oysters to Dan. Dan, halfhearted, splits the sack open with a knife and dumps the shells into the barrow (barely paying attention). As he casts the sack aside and heads back to refill his band mates’ platters, we notice a label on the side of the bag marked “EXPIRED”.


We jump cut to Dan shoving the oysters out of the barrow with a scoop. He tosses a few more Ryan’s way even though he hasn’t moved an inch. Quickly we cut between Dean, Lee and the girls all chowing down.


Suddenly everyone begins to feel ill. As we examine Dean, who is slouching and slack-jawed, we notice that

the girl beside him (who’s blurred by the depth of field) seems to have been mutated. Dean turns his head to look at her; as he moves the girl comes into focus and immediately returns to normal. He shifts his attention to the second girl on his other side. The same effect is repeated.


Meanwhile, on the other side of the ally, Lee continues to eat but with more craziness in his eyes. We see a wide shot of Dean looking back and forth at his slouching, sickly women, before cutting to Lee again.


Next we see a first-person view of what Lee is hallucinating. His companion’s head has been completely replaced by a giant oyster shell. Lee stares intensely. Her huge shell parts in the centre. A litter of clear slime pours out along with a thick tentacle.


We cut back to Dean’s terrified eyes, then cut to his girl friends. The top half of their faces have been replaced by oyster shells. They’re looking at one another, stroking each other’s arms. It looks as if they are about to lean into one another for a kiss. Just as they come close enough, the shells on their faces pop open, dumping slime and exposing their fat oyster tongues. The two begin French kissing with the oyster tongues. Dean does his “metal” scream.


As the build in the song begins, the fat man from earlier arrives on the scene, flanked by Dan. We pan up and see that he’s a huge walrus man. He licks his lips as he surveys all the tasty oyster heads in the ally. He begins to stomp down the alley. Dean looks terrified and hides behind the kissing oyster girls. Lee looks excited, Dan is unamused and Ryan is still passed out.


The walrus reaches Lee’s former companion first. He thrusts his head into her shell and begins to eat her. Slime pours everywhere. We cut frantically between everyone in the scene. Dan continues to walk around serving more and more oysters, oblivious to the goings on.


The walrus makes his way over to Dean’s oyster twins and separates them. As Dean recoils in horror, the walrus takes a girl in each arm and begins thrusting his head at each of them, biting them in turns. We cut between everyone once again. Dean is in the fetal position, covered in slime, Lee is spooning his shell-head girlfriend (stroking her shell) and Dan’s still tossing oysters at everyone. The walrus goes back and forth, biting the twins rapidly as the song peaks.


We end with a fall away shot of Dean screaming. Everyone around him appears to be human and passed out. Lee is stroking the head of his girl who’s lying on the ground. Dan is heading away with his wheel barrow.

Cut to black

What they made instead: Nothing

Buy Now | Body Crash

Buy Now | Body Crash Listen Here

Rejected 04/14/2008


For “Body Crash”  I would like to make a montage of cliches from the classic Role Playing Games of the late 80’s and early 90’s. The final video will be realized in two separate animation styles which will be intercut with one another.  50% of the video will be animated using 15 inch tall stop-motion puppets shot in real life outdoor settings (ie. woodlands, marshes ect) The other half will be comprised of enlarged pixel-art animations reminiscent of the classic games.  All of the characters will share a distored, bug-eyed anime influence .

The cast of characters includes a crotchety but banal warrior toting a sword of ever-increasing size, a holistic magic-mushroom eating mage and a feisty thief who’s attacks foes with the cursed disembodied skin of his face. This party will venture through various forest settings bantering, fighting scorpions, building up their levels, buying items and preparing for a boss fight at the climax of the video. The final battle will feature a giant man-eating flytrap.  During the stopmotion versions of these scenes, each of the cartoon impact explosions, as well as the spells the mage casts will be built out of paper and composited into the scene.


What they made:

BAMBOLEO (Remix Video)

Directors: Jesse Yules and Cameron Tomsett


Run Away school bus viral video


The majority of the video will be a low frame rate (stopmotion-stye) dance sequence viewed from a locked-down camera at the front of the bus.  As the bus travels, it will pick up various strange characters and surreal characters (children, old people, ghosts, dogs, alien blobs ect) who each perform unique dance moves aboard the bus.  Similar to Daft Punk’s “Around the world”, the video will start with one character popping up from behind different seats based on the music. As the song progresses and the bus travels to different destinations different characters will begin appearing from behind the seats. By the end of the video there will be a full variety of characters appearing from behind each seat synchronized to beats and hits of the song. We will also create wide shots of the bus speeding around the world give the video variety.  We would like to animate these wide shots, using a miniature bus.   The bus will drive crazily through unexpected off-road environments such as a swamp, a dump and a disco.  Also, the bus will make a dare-devil style ramp-jump through a flaming hoop.

Shot List

Overhead shot of a stop-motion bus rocketing down an empty highway.

Locked down shot of a school bus, one character appears from behind the seat popping up and down to the beat. 

Bus passes through a farm.

People dressed as pigs, cows and chickens appear from behind the seats.

Wide of shot of the bus driving through a river.

Everyone on board does the “wave” in their seats as new characters begin to appear. Fish people, Alligator people etc…  The pond water will be bed-sheets painted to look like water.  The swamp plants will be pieces of foam covered in real weeds.

Close-up shot of one of the bus’ fuel gages.  It’s marked “fun” and the needle is steadily rising. 

Wide shot of the bus driving through a graveyard.

Ghosts (people in sheets), vampires, warewolves characters etc…appear from behind the seats.

Wide shot of the bus driving through a discotheque.

Silver disco balls flood the bus. Balloons pop up from behind the seats as well as sweaty disco dancers.

At this point the once empty bus is packed full of different characters all bouncing up and down the music. The bus is a full out celebration with disco balls coloured lights and a whole lot of characters. bus can fly through the flaming hoop at the end and explode in mid air.

Delivery Format:  PAL Beta SP


Scarlet Fever ~ Crash and Burn


Scarlet Fever | Crash and Burn  What they made instead...


Punk fable.


After sleeping for one hundred years, a clumsy character sets off on a quest for flight.


We open with a shot of an ancient character who’s been napping against the tree for a hundred years. A flowerbed has grown up around her blanketing her body. She wears a giant wooden head, overgrown with weeds and berries. Finches and other songbirds crawl in and out of her eye sockets and mouth. The scene is bathed in orange light from an afternoon sun.

Suddenly, the Ancient awakens, startling the birds. As she wipes the sleep from her eyes, she dimly sees the birds taking flight.  The Ancient finds the sight hypnotic.  Still half asleep, she flaps her arms, attempting to follow the birds into the sky, before toppling over into the flower bed. Undeterred, the ancient wobbles to her feet and sets off on a quest for flight.


The Ancient passes passes a pond where she meets a Fisher character, struggling with a fishing rod, a tiny woman with a giant bonnet, her face is obscured by the shadow completely, except for large, brightly glowing eyes.  Leveraging the fishing rod with all her might, the Fisher flights to reel-in a large snake-like catch.  Seeking to help, the Ancient leaps into the pond and grabs the snake-fish by the tail. After some struggling, she heaves the fish up onto the shore. The Fisher is overjoyed and bounces around celebrating the catch. Grateful, the Fisher suggests the Ancient join her for dinner. An image of a roasting fish appears in a thought bubble over her head as she speaks. The Ancient declines and points to the sky. We see a clearing in the trees and beyond, a cliff face.  Circling the rocky plateau are a flock of black crows. The Fisher looks on with dread.  Reluctantly, she  scoops the snake-fish up and follows the Ancient towards the cliff.

At the summit, the Ancient and the Fisher find a dark figure sitting on a bolder, smoking a pipe.  This figure is a skeleton in robes, wearing a headdress of dried fruit and thistles. The Ancient approaches the skeleton and curtsies. The Ancient explains to the Skeleton, that she wishes to fly. She points to the birds in the sky and flaps her arms. The Skeleton smiles and laughs and with a wave of his robes he conjures a hand-glider. Transfixed, the Ancient walks towards the glider before being stopped by the skeleton’s outstretched hand. The Skeleton seeks payment. Eager to help, the Fisher offers the snake-fish.  The Skeleton accepts it but seeks further compensation.  He points to the Ancients large wooden eyes.  The Ancient does not flinch, and with a wave of the Skeleton’s hand, the Ancient’s eyes vanish, leaving two empty holes in her wooden face.  

As the song’s climax approaches, the Fisher leads the blinded Ancient towards the flying-machine.  Smiling and confident, the Ancient lifts the glider up her shoulders and begins jogging towards the cliff.  The Skeleton looks on confidently, puffing smoke from his pipe.  The Ancient dashes over the cliff.  The glider plummets.  Though she is in free-fall, the blinded Ancient is unaware.  She smiles broadly, laughing, exhilarated by the wind in her face.  She’s in ecstasy.  Her black hair, previously disguised by her mask, breaks free and unravels in air.  As the song ends we see a wide shot of the glider crash into the forest canopy, throwing up a swarm of sparks and debris.


!!! | Must be the Moon

!!! | Must be the Moon Listen Here

Rejected 03/30/07

Theme: Drunken party video, referencing the donkey sequence from Pinocchio.


The scene unfolds at a crazy party held in a run-down 30’s style home. We tour the house with a POV shot, as if we’re seeing through the eyes of one of the eccentric guests.

The house is packed with young people. We work our way through the crowd. We drink from a bottle curiously labeled “!!!” brand moonshine. It has a picture of a donkey on the bottle and the liqour glows a florescent green. As we drink from the bottle, our view becomes progressively hazzier. We see trails, halos around the lights and eventually full on hallucinations.  

Eventually, with a final chug from the liquor, we see the heads of many of the guests morph and change into the heads of braying drunken donkeys. The donkey creatures party even harder than their human counter parts.

The party is divided into several rooms. Each room has a collection of donkey headed guests. In one room the guests are dancing. One male pulls on the exposed underwear of a female donkey with his teeth. A second female donkey comes up behind the male. She pins a tail to his butt.

In the kitchen the donkeys are eating piles of oysters and tacos.

In the bathroom two donkeys are shampooing a great black dog. 

As the video closes, we exit out onto the back porch. Several donkeys are cheering on a blind-folded donkey swinging a bat. Above him bobbles a donkey-shaped pinatta. The bat-weilding donkey bashes the pinatta in half, showering the the floor with with candy and a fluorescent green liquor.

Our final shot is of a donkey with his whole mussel burried in the crushed remains of the donkey pinatta, fiesting on it’s candy innards. 


The Fray | Heartless

Photo: Jason Taylor

Photo: Jason Taylor

The Fray | Heartless What they made instead...

Rejected 03/03/05


The video will be a blend of low-frame rate filmwork blended with stopmotion animation. It will feature animated plants and very sad people. It will be shot in naturalistic way.


For “Heartless” I would like to structure the video around 3 tomb-like shrines that have formed in the homes of three severely depressed individuals. 

Each person has become frozen in time with grief. So much so that they have been over-grown by plants from their lack of movement. They have been swallowed up like buildings covered in ivy. The pants have become a death shroud, like something constructed by some ancient tribe. Each person’s sad face is visible under the layers of vines, leaves and lichen.

We find the first shrouded person propped up in the in the doorway of an emptied bedroom closet; an old television sits near by blinking with a staticy PBS-style loop of a mummy being assembled. A large window in the room has been blocked out by couch cushions. 

We find a second shrouded person half submerged in bathtub surrounded by floating candles. The bathroom window has the curtains drawn.

Our final shroud is found at a kitchen table. There are two plates of dried food, two stained wine glasses and a pitcher with dried flowers set in front of it. The kitchen window has horizontal blinds. They are shut.

We see a slight undulation within the vines, breaking the stillness of each tomb. The vines are tightening around their hosts.

We cut to a shot of a suburban skyline under grey cloud cover. Wind blows orange and yellow leaves into the gutter. 

Back in the houses, a gust of wind blows open the windows. The shrouds are hit with a violent light.

The shrouds begin to wilt and break apart. Layers of plants fall like leaves to the ground and are swept away. Outside we see a gathering storm; pieces from our shrouds are swept up into the air and joined by pieces from other unseen shrouds. Together, in the sky, the pieces assemble to form a dark cloud. The cloud dissipates. Soon after, it begins to rain.

Meanwhile, back in the tombs, the shrouds have receded. As the last bits shrivel and fall away, a heavily grieving person is revealed underneath each. Their eyes are red and swollen and their faces are soaked with tears. We close the video with three naturalistic shots. A young man rests his head on the floor, under the blue light of his flashing television. An older women rests her head on her kitchen table. We see a girl sitting fully clothed in a bathtub, slowly slipping beneath the water line.

Each person looks to the window as light and a cool breeze hits their faces.

Cut to black.


Taking Back Sunday| Sink Into Me


Taking Back Sunday| Sink Into Me What they made instead

Rejected 04/03/2009


In Tokyo there is a group of people called “cyber-drifters”; they are subculture that has come to live fulltime in the small compartments inside city’s internet cafes. They spend the majority of their time cramped in widowless boxes, using their computer terminals as their soul window on the world.  I would like to create a high energy performace video that is confided in these restrained spaces. 


We open on an exterior shot of a 24 hour internet cafe.  It is night.  The cafe has a huge neon sign with an anime character snoozing on her key board.  We cut to a shot inside the cafe.  There is a long row of cubicals.  Several pairs of shoes sit outside the doors of each unit.

Each of the band members has their own closterphoic cubical filled with cyber-punk style homemade looking modintors, loose wiring and Manga posters.  The band plays instruments that look like steampunk versions of Guitar Hero gear.  They are literally bouncing off the walls in the small spaces. 

We cut to footage of the virtual lives the band has been leading on their computers.  They are using a crude 8 bit version of Second Life.  A simple narative is revealed in this online world: 

We see each bandmember’s avatar (8bit game character) hanging out in a chat room.  Each avatar looks similar to the original super Mario.  Each character is carrying little 8bit instruments.  A guitar playing avatar strikes up a conversation with a drummer avatar.


Hey! Do you drum?


But of course!


Wanna cyber-jam?


Right on!

[They begin to play.  It’s a two frame animation.  8bit music notes dance in space around them.  Cyber-groopy chicks beging to dance along side them.]

We cut to more live action performance footage.  We then revisit the avatars.


Say WTF’s up with that guy?

[To the left of the drummer is an avatar carrying a little microphone.  He is weeping giant tears and there is a broken heart icon floating above his head.]


His woman left him for a Second Life millionare.


Rough stuff.


Yeah.  He caught them making out in the guy’s sweet virtual condo.

[We see a shot of the 8bit Singer avatar hiding in the bushes outside the window of a crappy 8bit condo.  It looks like something out of the original Leisure Suit Larry.  Inside the condo a swanky Don Johnson-type avatar sits on a couch beside a Hot-babe avatar with big hair and red lips.  The Don Johnson avatar puts his arm around the lady, causing little red hearts to swirl around her head.]


Do you think he’d like to jam?


Yeah he needs it!

We cut to more performance footage.

We cross cut between live action footage and the fully formed digital band rocking out.

As the song finishes we cut to a wide shot of the band in their cubicals; they are just as active as before but no sound other than the clicks from their digital instruments is heard.  It is revealed that the band’s huge music is completely isolated in their headphones.  We close with a shot of a young asian girl visiting each cubical with a tray of refreshments.


Jesse Yules CV (aka Jesse Ewles)

Adam and the Amethysts ~ Prophecy (postponed)
Ohbijou (Stage Visuals) Metal Meets Tour 2011
Ohbijou, Stage Visuals, 2011 tour
Kathry Calder ~ Who Are You? (File Under Music)
We Have Band ~ Love What You’re Doing (Naive Records)
Anarbor ~ Gypsy Woman (Hopeless Records)
Aesop: Kingdom of Frogs, short film (BravoTV)
Reverie Sound Revue ~ You Don’t Exist
In Case of Fire ~ Enemies (RCA/Jive)
Of Montreal ~ An Eluardian Instance (Polyvinyl)
Michael Zapruder ~ Ads for Feelings (Sidecho)
Ten Kens ~ Worthless (Fat Cat)
Moros Eros ~ On My Side (Victory)
“My Toronto” ad spot (Spacing Magazine)
Evans Blue ~ The Pursuit Begins (Hollywood Records)
Grizzly Bear ~ Central and Remote (Warp Records)
Final Fantasy ~ He Poos Clouds (Tom Lab)
Wax Mannequin ~ The Price (Infinite Heat)
“Terraform” Student Film April 2004


Meme Dump (in development)Genre: Vonnegut, mundane scifi.
Old Smith Rupe (in development) Genre: Western, survival horror.

Producer Filmography

Dinosaur Bones ~ NYE (Dine Alone Records)


Animator / Compositor

Great Lake Swimmers, Director Scott Cuddmore
Ohbijou “New Years” Director: Exploding Motor Car
Milo (2004) Director: Cameron Tomsett
Modest Mouse “Off the Deep End” Director: Christopher Mills
Rush “Far Cry” Director: Christopher Mills


Phase3 Videoart TV (Germany), February 2012
Short and Sweet, Showcase, June 2011
Hamilton Film Festival, November 2010
Contra Vision Film Festival (Germany), September 2010
Portable Film Festival, August 2009
Director’s Notes Showcase, UK, July 2008 
49th Krakow Film Festival, 2009
Museek Film Festival, St. Petersburg 2009
Gay and Lesbian Film Fest 2007
Canadian Youth Film Fest 2006


Much Music Indie Video of the Year 2011 (nominated): Tokyo Police Club - Wait Up
Hamilton International Film Festival: Best Experimental Film 2010 “Best Unsigned Director” 2008
Spacing Magazine “My TO” 2005 People’s Choice Award
Canadian Youth Film Fest 2004, First Runner-up