Zack Snyder's recollection of making "Tomorrow" promo video

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Zack Snyder is interviewed in the new issue of Esquire magazine and is asked about Moz since he of course directed the fantastic “Tomorrow” music video:


ESQ: I have to ask you an aside question, since you mentioned hand-held camera work. You directed that old 1994 Morrissey video for "Tomorrow", right?

Snyder: I sure did.

ESQ: It's one of the great one-take videos.

Zack Snyder: I appreciate that. And there is a cut version of that video too. By the way, when I made that video I remember, I think it was Vanity Fair wrote an article about a Brian De Palma movie, where there was a big super long one-take. And they were saying that the Morrissey video I did was cooler than that. And I remember at the time thinking that that was so cool that I was referenced in relationship to this director's movie who I really admired because I was literally two years out of film school when I shot that video.

ESQ: Did you get along with Morrissey? Did you keep in touch with him?

Snyder: I had a great experience. I loved working with him. He had decided that I was going to shoot all of his videos from then on. But then he ghosted me after that. I don't know what happened.

ESQ: Oh no. Morrissey ghosting the director of his best video seems like a very Morrissey thing to do.

Snyder: Sadly. That was it. It was a sad thing. Because I would have loved to have been Morrissey's creative visualist. I remember I wrote a treatment for him for another song on that album. It was going to be all Giant. You know the movie Giant with James Dean? It was a take on it, and he was going to play the James Dean role.


Full interview here:

I wonder which of the Your Arsenal songs was gonna get the Giant treatment?
 
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ACTON

Don't Leave Us In The Dark
I think My Love Life might be the great 'lost' Morrissey single. It gets no love at all and that's a shame.
I heard it first at a Moz September 29th '91 Dublin concert and it had just been released but nobody had heard it yet. I was in the crowd thinking "wait what's this brilliant new song?".
 

GirlAfraidWillNeverLearn

Well-Known Member
If Morrissey phoned he'd have to do a video & he hates doing videos.

A director would have to gently stalk him.

Tim Broad was in his social circle.

He did shoot more videos for Arsenal though (6 in total, 2 with Broad) and Fatty was the last one he did with Tim Broad.
So it's likely it was something else in addition to his well known reluctance to promo work that stopped him from working with Snyder again.
 

Nerak

Reverse Ferret
He did shoot more videos for Arsenal though (6 in total, 2 with Broad) and Fatty was the last one he did with Tim Broad.
So it's likely it was something else in addition to his well known reluctance to promo work that stopped him from working with Snyder again.

Possibly - although sometimes it is just whoever is around when it's deemed necessary to do something.

I was looking up George Tiffin & I found the Freddie Mercury Bengali story in the trash biography... I thought the person who told me it was havering!

20210527_113207.jpg
 

GirlAfraidWillNeverLearn

Well-Known Member
Possibly - although sometimes it is just whoever is around when it's deemed necessary to do something.

I was looking up George Tiffin & I found the Freddie Mercury Bengali story in the trash biography... I thought the person who told me it was havering!

View attachment 72694

I don't believe a word of this until I've seen another source for it. Bret's books are like an alternative fanfic universe.
 
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Angelito

"And if I seem a little strange..."
Snyder: I had a great experience. I loved working with him. He had decided that I was going to shoot all of his videos from then on. But then he ghosted me after that. I don't know what happened.

Morrissey needs a rewind/erase/do over button for a lot of his professional choices. The man is a a riddle, wrapped in a mystery, inside an egomaniac.
 
A

Anonomous

Guest
Our recollection of it was the video Mozzer gives Spencer the shove off after Spencer wisely rejected Mozzer inappropriate sexual advances.....for the 4th time. Mozzer got her featherson in a bunch and threatened suicide. Alas, her ego was stronger than the urge to save the world from the blight of it all.
 

lutewhine

Junior Member
Always found it a bit weird that this take, including him mouthing “anyone” instead of “anybody”, and subsequently looking quite embarrassed about it, didn’t get superseded.

There’s a similar mismouthing in Len’s Steal My Sunshine vid (the girl, when they’re on the scooters), for fans of such things.
 
A

Anonomous

Guest
Hmmm...bet the two cooked corpses are Johnny Rogan and m.j., after that long over due hotel fire. Touchdown for Morrissey !
 
Moz (solo) did about 7 good videos: Suedehead, November, My Love Life, Tomorrow, Glamorous Glue, Irish Blood, and the EXCELLENT The More You Ignore Me. Having the Snyder on board for some of the other wishy washy videos would have helped. I wonder how a Snyder Moz concert video would look. Not as good as Tim Pope's Cure In Orange. God but that was brilliant.
I'm surprised you haven't mentioned Seasick Yet Still Docked. Think it's the one video that accurately captures his state of mind in regards to a song.

 

ACTON

Don't Leave Us In The Dark
I'm surprised you haven't mentioned Seasick Yet Still Docked. Think it's the one video that accurately captures his state of mind in regards to a song.

I've barely seen that video more than a couple of times. It's just Moz looking great while most of the video is a US(?) family celebration. I don't see how that old footage is remotely relevant to the song, I'm afraid to say.

 
I've barely seen that video more than a couple of times. It's just Moz looking great while most of the video is a US(?) family celebration. I don't see how that old footage is remotely relevant to the song, I'm afraid to say.

Fair enough.
I’m not particularly fond of Morrissey’s official videos. For some reason, I don’t think they manage to capture the essence of his songs. They don’t do them justice. Sure, there are some cool ones, The Last of International Playboys, I Have Forgiven Jesus, The More You Ignore Me, the Closer I Get or Irish Blood, English Heart to name a few. Even Morrissey, in a statement to the True To You website about making videos, thinks this way: "It's never been my strong point... but then, what is? I throw in a basic idea but then leave it to others. I think my discomfort usually shows".
But for me personally, there is an exception that confirms the rule. And when it comes to sentiment it couldn’t be no other but the beautiful, stripped, Seasick Yet Still Docked. I agree with you. The idea is simple, a camera following Morrissey in a succession of close-ups. But its beauty lies in its simplicity. His facial expressions, his seriousness, the black and white set, all blend beautifully with the heart of this sad song. Simplicity paired with true emotions can go a long way. As for the family images, I think they are meant to convey happiness and joy, which is the opposite Morrissey feels. To heighten the sentiment disparity if you will.
 

Ketamine Sun

HANG THEM HIGH VERONICA
When it was first aired on MTV, it was actually the Suedehead video that really really started it for me, it resonated with me so deeply.
Fair enough.
I’m not particularly fond of Morrissey’s official videos. For some reason, I don’t think they manage to capture the essence of his songs. They don’t do them justice. Sure, there are some cool ones, The Last of International Playboys, I Have Forgiven Jesus, The More You Ignore Me, the Closer I Get or Irish Blood, English Heart to name a few. Even Morrissey, in a statement to the True To You website about making videos, thinks this way: "It's never been my strong point... but then, what is? I throw in a basic idea but then leave it to others. I think my discomfort usually shows".
But for me personally, there is an exception that confirms the rule. And when it comes to sentiment it couldn’t be no other but the beautiful, stripped, Seasick Yet Still Docked. I agree with you. The idea is simple, a camera following Morrissey in a succession of close-ups. But its beauty lies in its simplicity. His facial expressions, his seriousness, the black and white set, all blend beautifully with the heart of this sad song. Simplicity paired with true emotions can go a long way. As for the family images, I think they are meant to convey happiness and joy, which is the opposite Morrissey feels. To heighten the sentiment disparity if you will.
 

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