Save this article to read it later.
Find this story in your accountsSaved for Latersection.
But Take On Me and Money for Nothing were the standouts.
With regard to animation technique, the two videos sat at opposite ends of the spectrum.
These tools were basically brand new at the time.
(Around $400,000 in 2020 value.)
We very rarely got that kind of budget, he said.
It was a budget designed to really do something spectacular.
Ayeroff also gave Barron something that was rare for music-video directors to have back then: time.
Barron was told he could take as much as he liked.
It would end up requiring four months to get the work done.
I got goose bumps from that moment.
I thought, This could be amazing.
That was the springboard for the whole narrative, really.
Why was Harket being chased, though?
For the same reason most things happen in music videos: Because it looked cool.
He held onto her hand, pulled her across.
And then Id say, Right, we need to do another one.
Harket and Bailey dated for a year or two after that.
Barron directed that as well.
He cut it together as well as he could, thinking this iteration would be for internal eyes only.
But it wound up being the version that would go into heavy rotation on MTV.
The timeline also was going to be tighter to get it done.
Barron went to Budapest and shot footage of the band in concert, per Knopflers request.
During the conversation, Knopflerdidnt say yes to the concept, Barron says.
But he didnt say no.
So we just did it.
The whole process happened in just six weeks.
The result looks very primitive now.
(The first: Sweet Child O Mine by Guns N Roses.)
The video that utilized one of the oldest forms of animation has turned out to have more timeless appeal.
It worked for what it was, but the idea wasnt fully fleshed out.
Whereas A-Has felt like a more rounded, more satisfying beginning, middle, and end.
The good version is finally back up there, Barron says.
Only in the last year, after 28 years of pain for me.
