SOUNDGARDEN
PRETTY NOOSE (VIDEO)

The director of the "Pretty Noose" video, poster artist Frank Kozik, wrote quite a bit about the experience, and would like feedback from anyone who's seen it. You can email him at mansruin@sirius.com. The following are his own words:

«OK, here's the inside scoop on the new SG video - We shot it in Seattle over 3 days and went through editing hell in Chicago for 3 weeks. Looks pretty good. It's going to world premiere on MTV Monday, and is supposed to go into "heavy crush rotation" thereafter. Whatever the fuck that means. ONE LAME THING THOUGH - The dipshits at MTV (Their resident Child Psychologist) decided that the original ending was too heavy (Chris kills the woman) so they are releasing an edited version. The real version exists, and its better, so put the word out and bug A&M records to make it available. Please spread the word to all interested parties, cause they got a dead girl in that lame Stabbing Westward video, so I don't understand their problem.

Allright - here's some general info - The video was shot on location in Seattle over the course of 3 days. Most of it was at the OK Hotel, which is a triple-threat Bar/Restaurant/Venue down by the ferries. Back in the day it was a Transient hotel, and the top floors are an abandoned wonderland of rotting hallways and tiny rooms. We also shot at some other places, Seattle Tattoo, Westernco Donuts, a couple of street scenes. Doing the shoot was a lot of fun, actually, and the band wasn't involved until day three, due to their crushing schedule. I had been apprehensive about their attitude, which turned out to be excellent, and made it an easy shoot.

The video presented a definate challenge, as they wanted something "non-videoish", with no band performance or acting of any sort. After listening to the song about a million times, I basically portrayed the "pretty noose", as your average bad girlfriend experience. Chris says that the pretty noose is a thing in life that seems attractive and desirable at first, then becomes a nightmare, and the song is about getting away from that. I also wanted to make a video, that while containing the un-escapeable TV imagery associated with rock music)Sleaze and sex), would be perhaps a little "smoother" and natural than the flashy/corny/artsy stuff I saw on the 1 day of MTV I watched.

Therefore, the video is a series of vignettes featuring each band member in a hopefully natural-feeling setting, without forcing them to do anything overly-poseurish. Matt rides a motorcycle, Kim shoots pool, Ben smokes a cigarette, Chris looks depressed/deep . . . . interspersed with the band appearences we also see some other sleazy "slice-o life" scenarios - a donut shop, a tattoo parlor, a pull-over police thing, a shady transaction. Meanwhile, the "devil-girl" sort of (hopefully) ties it all together, until she is (in the uncensored version) killed by Chris, ending his cycle of depression.

The "killing" is inferred . . . you see the girl sprawled out under the sheets on a bed, while the camera moves up and into Chris's face, which has a weird, sad look, then a dissolve of a rope sliding across her face drifts in while a close-up of him staring at you emerges.

Looking at the finished video, a lot of people are not going to like it because it's edited "weird" - all dissolves, timed to vocals and guitars instead of drums, limited band appearance. People either love it or think it sucks. You all will have to decide for yourselves. I obsessed with making it look nice, and I think it does that allright. Whether or not it "works" as a music video or mirrors fans fantasies about Soundgarden, I don't know. I would love to have some feedback from "the world", so I can figure out if directing videos is something I should be doing. This was my first one, and it's a whole lot different and complicated than doing print graphics. I'd hate to waste the energy on it if what comes out sucks.

Technically, it was a pretty plush situation. We shot in a wide variety of formats, mostly 35mm, and went the whole hog in post-production, which was done in Chicago. I sat there with the editor 18 hours a day carving this thing out, so it's all my fault.

Over-all it was an amazing experience.»