Gemma Yin, DIRECTOR [GREATCOAT FILMS] : 

“When I first listened to 'Damn Daniel' I found the track instantly electrifying. Bree wanted to channel a high energy nostalgic 80's pop vibe. I have always had a deep affinity with the popular culture of that era so taking on this project was a no-brainer. 

The challenge was how to execute it under the lockdown measures that had just been instated. We had to pivot and find a way to get some camera kit and a green screen to Bree so she could self shoot with help from her family. I developed a lot of the graphics in advance of the shoot which helped to communicate what the plan was for the performance approach for specific parts of the track. I was also working on a seamless way to integrate the two artists who would be shooting in different parts of the world and with different resources- I used visual devices like Tate being inside the reflection of Bree's glasses, and appearing within TV and computer screens. The extra prep time gave Bree a chance to source her own styling and beauty looks, as well as rehearse some 80's dance moves. We worked on a detailed shot list that would cover all of our bases so when the shoot day came it was just a case of working through the list. I had a few phone calls to clarify a couple of points re performance and framing, but Bree delivered the goods with an iconic performance. Meanwhile I sent a brief to the featured artist Yung Baby Tate, who was able to shoot her own footage from her house in the USA. Tate's footage was transferred over, while Bree's was couriered to me on a hard drive so I could jump in to the post. 

I had so much fun amping up the aesthetic to 200% throwback camp. I also went quite hard on the VHS filter effects to help bring the two performances together into the same visual realm. I am really thrilled with how everything came together - it was such a dreamy project for an 80's loving director/animator to bring to life. “

​Sandra Spethmann, PRODUCER [GREATCOAT FILMS]:

“This was the most fun project we’ve had during lock-down so far. We actually received the brief pre lock-down so we had to amend the idea to work within the new constraints and eventually shot it during the second week of lock-down, when it was all quite new still. 

To produce the video involved a lot of careful prep with our very small production team, though we were blessed to be working with Bree who is not only an incredible artist and performer but also a hugely positive force in terms of making things happen. She can be credited as HMU, Stylist, Choreographer and Artist on this video. 

The label initially suggested we have Bree shoot herself on an iphone but we wanted to achieve a higher quality image for Gemma to get the best results for such a post heavy video. But we couldn’t send our DoP to shoot it as we wanted to comply with government guidelines and avoid any risk to anyone's health. So instead we provided gear, delivered it with lights and green-screen to Bree’s place and provided detailed instructions on how to set it up and operate. 

In terms of direction, Gemma prepared a detailed storyboard and references and briefed Bree over whatsapp. During the shoot, Gemma and I were on the phone most of the time and fed back on screenshots which were sent as references. Gemma fully trusted Bree to give a great performance based on the references she sent before. Bree really didn’t need much guidance at all.  And as you’ll see, with Gemma’s incredible visuals and Bree’s magnetic performance the resulting video is a vibrant, resplendent assault on the senses.”