Chapter 85: MV Interpretation
Just as Thompson said, Dylan's articles are filled with many misconceptions. For instance, he claimed that large-scale MVs would be more popular with fans and would prompt them to pay for them. But MVs aren't part of the film industry, and they can never match the storytelling of a movie. How can he expect fans to pay just for some interesting visuals?
The key point Dylan overlooked lies here, something Jack never quite understood: Dylan elevated the importance of MVs to an essential level, yet he ignored one simple fact.
That is, before fans watch an MV, they listen to the song.
The prerequisite for a successful MV is that the song itself is already popular and catchy. No one wants to waste time on a bad song, no matter how good the MV might be.
So Dylan's notion of more "great songs being buried" is nonsense. If a song is bad, is it the MV's fault for being good? That logic is as ridiculous as Dylan being scolded by his wife for being too quick in bed and then going to ask the neighbor why he lasts longer.
Realizing this, the judges adjusted their mindset and continued to rate various MVs.
Today was even harder than yesterday. After watching MVs for half the day, Jack's eyes were tired to the point of tearing up.
Thankfully, the quality of the afternoon's MVs was much better than the morning's. When Eminem's "Without Me" started playing, the countless references and humorous touches made the judges laugh. After voting, the discussion frequency noticeably increased.
"I love this MV—pop culture, satire, and innovative expression; wow, I love it!" Schreiber was the first to give praise.
Herbert nodded in agreement: "Absolutely. I think Eminem's song could be a contender for Best MV this year."
"I also love this one. The way he pokes fun at celebrities to this tune—Eminem might diss the music industry, but I have to admit that this attitude is what's trending right now."
As a top music critic who frequently observed trends on the streets and in record stores, Jack had to admit that Eminem's influence was indeed huge. The boys' favorite pastime was carrying large boomboxes around town, graffitiing, skateboarding, or playing basketball to the rhythm of his song.
Its popularity was undeniable, but Jack felt the only rival that could complicate its chances of winning was Avril Lavigne's "Sk8er Boi."
Half an hour later, when they finally saw it, the MV lived up to the hype.
Avril's intentionally aged look, the abstract stop-motion animation, the brilliant comic book elements, and the grand street concert scene—all these visuals flooded their eyes, embodying the word "creativity."
As colors and confetti erupted from the windows of two skyscrapers, everyone felt that the MV achieved a dreamy, yet grounded expression.
Even though they had seen the MV more than once, they were still impressed by the thoughtfulness embedded in it.
After voting, Herbert shrugged: "I honestly can't believe we're seeing MVs of this caliber this year."
"Yes, it's a truly magical experience," Schreiber replied with a smile. "Just like the MV portrays, Avril is dreaming, the girl is having a regretful dream, and we, the audience, are dreaming along with her."
"Exactly," Jack summarized the song's theme, "we've all missed that special someone for various reasons. When we see them again, all we have left is regret, which is why we fantasize—what would happen if we stayed with them? Would that person on stage have been us?"
Herbert added: "Exactly. When the comic book style kicks in, it symbolizes the girl entering the dream world. She flies to the boy's side to perform with him.
"But the boy's dream doesn't welcome her, so the police show up to chase Avril away. After all, that spot isn't really hers."
Schreiber exclaimed, "I never thought it could be interpreted this way!"
"Herbert's the expert on MV analysis. Go on," Jack encouraged Schreiber to listen to more of Herbert's insights.
"I didn't catch every detail," Herbert admitted, "but I understand the director's overall intent. The woman Avril plays knows she doesn't belong by the boy's side, so what she seeks isn't eternal companionship, but a grand farewell."
"That's why the skyscrapers shoot out confetti—it's Avril's send-off, her favorite scene from her youth. If you look closely, you'll see small confetti and smoke cans in the corner of the room at the beginning, as well as sketches on the wall that match the final confetti scene perfectly."
The three exchanged glances, feeling an urge to watch the MV once more, now aware of these hidden details.
"It looks like I need to write another article," Herbert chuckled.
Afterward, Jack couldn't help speculating: "I'm curious which one will win Best MV—'Without Me' or 'Sk8er Boi.' If it were up to me, I'd vote for Avril."
"Same here," Herbert replied, stroking his beard thoughtfully.
They turned to Schreiber, who was nodding rapidly in agreement. "Me too."
"Hey, didn't you like 'Without Me'?" Jack asked, surprised.
Schreiber shrugged. "While I love 'Without Me,' I think its popularity will be short-lived."
"You're right," Herbert agreed, "such satirical works shine due to their timeliness but quickly fade. So, in terms of lasting impact, 'Without Me' isn't on par with 'Sk8er Boi.'"
Avril's MV was too brilliant; even if you ignored the song, it's still something worth rewatching repeatedly.
Its large-scale scenes and various elements were crafted to complement the song, amplifying its energy without creating any disconnect.
It's undoubtedly an outstanding example of a popular MV, no question.
But whether it wins depends on the standards of the second round of judging.
While MTV's awards were in full swing, Ethan was engaged in a conversation with Andreas Kaufmann, the chairman and majority shareholder of the Leica camera brand, about ad copy for the next decade.
Indeed, Leica only changes its slogans and copy about once every ten years, a choice made to maintain the brand's identity.
The previous copy was handled by IPG, a company that had a long-standing relationship with Leica.
But now, Kaufmann had come all the way to New York to meet with Ethan, not because he was swayed by Fernando's negotiation skills or a specific ad.
Kaufmann was here because Fernando had delivered the line Ethan had provided.
"The world needs witnesses, sir; that's my definition of Leica." Ethan picked up a classic Leica M6 camera on the desk, admiring its metal finish. "This is my dream camera, sir."
"The world needs witnesses… Wonderful words," Kaufmann murmured, genuinely impressed.
Dressed in a gray trench coat, his rugged skin and strong fingers suggested he spent much time outdoors shooting.
"Thank you for the compliment."
"If you like it, feel free to take one home," Kaufmann smiled, offering Ethan a camera.
"Really, Mr. Chairman? I'll gladly accept," Ethan laughed.
"No problem; I'm very pleased with your slogan." As Leica's top decision-maker, Kaufmann approved everything. The moment he heard the slogan, he reached out to Supreme Creative, and meeting Ethan in person only made him more satisfied.
Because Ethan understood cameras and understood Leica.
"In addition to the slogan, I've prepared a set of ad copy as well." Ethan handed Kaufmann a card.
Kaufmann took the card and slowly read it aloud:
"Today, photography is easier than ever.
But throughout history, certain people have used their sensitivity and unique vision to capture those rare, unrepeatable moments.
With this ad, Leica salutes these recorders and witnesses, and offers a heartfelt tribute to the world we share."
"Beautiful. I love it," Kaufmann praised Ethan's creativity again.
Then, he looked at Ethan and extended his hand. "It seems I made the right choice coming here."
"Of course, sir. Supreme Creative never disappoints its clients."
Ethan maintained a humble smile as he shook hands with Kaufmann, but inside, he was already celebrating.
This classic slogan would become Leica's global brand slogan in the future.
They would definitely love it.
And securing this project meant that Ethan had successfully taken a juicy piece of business from IPG!