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gerardway: So for my birthday, my loving wife @xlindseywayx and my dear brother @mikeyway got together with my friends and planned a birthday Dungeons And Dragons session! It was so much fun! @jeremyfranklambert was our DM (who did amazing voices, the sheep being my favorite, but the half orc was pretty amazing too, heck all the voices were great), @angryzen was our Goliath barbarian Oolock (who ate a bear/human), Brigitte was Whoolan, our wood elf bard (who played a mean flute), @jonrivera80 played his ever continuing dimension and game hopping fighter Gwar Dengar (Gwar has been in many of our games, also he had completely skinned a wolf and wore it as a cloak and hood) @malloryomeara played our gnome magician Mabe (who absolutely slayed the door riddle), Mikey played Elbin, our human cleric (who looked like Eric Stoltz and crushed a half orcs head with a spiritual weapon), and I played the birthday boy, Belquist, the halfling rogue (who was good at hiding and sneak attacks). We used zoom and it was awesome, and completed the whole adventure, which involved an elf wizard that had been polymorphed into a sheep that could talk— we had to help him get his wand back so we could turn him back to his natural form. It was so nice to see my friends and communicate with them and be able to play a game together. I consider myself very lucky to have them as friends and such a wonderful group of players. Now we are talking about having more zoom sessions and playing more games. This is the screenshot Jeremy took at the end of the session. Some of us had funky backgrounds (a fun feature of zoom) and you may notice my background is a field of wheat. Little known fact—some form of wheat is the background image on all of my electronic devices, phone, laptop, desktop, just anything, because it calms me down and brings me to a zen place. If I ever get stressed out, I just look at the wheat. That’s sometimes while you’ll see me using wheat as a background for things (as recent as my updated soundcloud). I love these people! And thanks for all the birthday wishes, I had a great one. #tabeltopgames #tabletoprpg #rpg #rpgs #dungeonsanddragons #friendship #quarantinegaming #sheep

[April 10, 2020]

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Photograph by Claire Vogel.

EXCLUSIVE interview with Nate Weaver–director of photography on the “Art Is the Weapon” video

I recently reached out to Nate Weaver (director of photography on the “Art Is The Weapon” video), and he graciously agreed to answer some questions about the filming process. Read on to learn more about the creative process behind the launch of the Danger Days era!

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1. Are there any props, characters, or concepts that didn’t make it to the video? I watching a behind-the-scenes video for “Na Na Na” and was surprised to see at least a few things that didn’t make it into the actual video. Was there anything that you guys filmed or discussed that weren’t included in the final cut?

You know, I’m a bad person to ask. I was there, but the place was literally blanketed in all these props and dressing that Jason and Gerard had come up with. All the art was carted out to the set days beforehand, and by the time I got there it looked like the Killjoys had been there for a week. I couldn’t keep track. You have to understand that Gerard was the source of all this stuff…Jason was adding and fleshing out plenty of ideas, but Gerard’s creativity was the source of everything and it was very off-the-cuff and free flowing.

2. One of my favorite scenes from the “Art Is The Weapon” video is Kobra Kid flinching and covering his ears at the sound of a gunshot. How much insight did the cast have into their characters’ personalities? Did they ever suggest certain scenes or details for their characters?

It’s really difficult for me to say, on music videos traditionally directors do not get too involved in “directing” the finer points of an artist (or their character). In a lot of music videos, what band members decide to bring to the screen is very much their decision because that character likely is on display in other ways.

That said, I’m pretty sure I remember the idea of Mikey flinching was Gerard’s idea. All the scenes we shot were pre-determined well in advance, so as far as did Ray, or Frank, or Mike come up with any of the scenes, I can’t say.

3. How and why was the Four Aces set chosen? What made the crew decide that a diner/gas station was the perfect place to introduce the Killjoys? Did you consider any other locations before you started filming?

This was a decision made by Gerard (to my knowledge) relatively early on. If I had to guess, the reasoning was practical. It’s tough to find a small geographic area that can give you a lot of different looks and places to play around in. But it was a fun playground!

4. What kind of steps did the cast and crew take to really “transform” the set, making it look like something from the Danger Days universe and not just a generic diner?

Well, I think one of the keys is knowing that we all knew that it was never supposed to look like a diner necessarily. Or a motel. Jason Fijal had a lot of ground to cover. I would guess that he was busy building gizmos like Dr. Death’s radio console and collecting props for a good week beforehand, if not more. And then at that point, it’s just him looking at a list of scenes we have on the shotlist, and dressing those sets the day before. I remember we had to have a couple discussions about how to turn the motel’s front office into Dr. Death’s radio station. But luckily for us, it was all supposed to be post-apocalyptic, makeshift anyway!

5. What was the creative process like? How did you and Gerard work together to make a video that matched his vision?

It was like holding onto a firehose? But I would mean that in the best way. I mean, I’m glad you asked, because I’ve been lucky enough in my music video career to work with some very incredible, creative people. Gerard though is one of the most freely creative people I’ve ever had the pleasure to meet and work with. From the very first meeting, I quickly realized that Gerard had this world very fully realized in his head, and I’d need to hang on and just try to fill the few gaps in his plan with photography and filming approach that fit his vision. Gerard was really the director. And I couldn’t have been more happy than to just help him get all that stuff out of his head and onto the screen. It was fast, it was chaotic, and it was one of the most freely creative shoots I’ve ever been a part of. I wouldn’t trade it for the world.

6. What was a typical day at the shoot like? What duties and responsibilities did you have?

(Since mine was only a one day shoot, I have to kind of breeze over the ‘typical’ part.)

I have to comment that there was nothing typical about this shoot…it wasn’t typical because we had so much to shoot in one day, because Gerard was so involved in almost everything, I could go on and on. It was the best kind of not-typical.

A lot of people might think a director is responsible for everything, but really a director is (hopefully), overseeing a lot of talented people and just letting them do their thing and making sure it all meshes to the director’s vision. So if you say Gerard was a director because it was his idea, and he was very interested in certain details of how it was all brought to life, then my job as co-director was doing all the director jobs that he was too busy to do because he was in front of the camera so much. That means breaking rough ideas for scenes into a shotlist, deciding how it was going to be lit, and “gap filling” other creative decisions that needed to be made. Where the camera goes, where the cuts will be, etc.

7. From what you’ve said, it sounds like the schedule was pretty rapid-fire. Do you think it would have turned out differently if the crew had more time, or was the tight schedule the perfect way to squeeze out creative energy?

Well, unfortunately, it’s almost always the case that if you had more time or money there would be improvements. I would have loved for it to be a two-day shoot. But I have to realize that most of those improvements would be to things like lighting, and maybe more coverage on some of the more peripheral concepts Gerard had. But the core of why people seemed to like it as much as they did…all that would have been the same. I doubt it would have been a “better” piece in the fans eyes if we had more time.

And yes, I do think the circumstances of all of it made it a little bit to the screen. It was to be a rapid fire trailer. So if by the end of the day the feeling of “getting things done” came across as urgency on the screen, it all fit together.

8. Finally, are there any fun/interesting stories from the shoot that you could share?

This may already be common knowledge, I don’t know, but when the guys are sitting in the diner eating scavenged food, all the cans were supposed to be vegetarian chili I think. Mikey wasn’t into real chili. But I think what the art department got by accident was either real chili or refried beans? Mikey was genuinely really grossed out by having to eat this stuff, but he barely said a word and at the end of the take was trying to spit it out I think. It was hilarious, but I felt bad he wound up doing something he was so grossed out by! After I called cut he’s like sputtering and trying to get this stuff out and everybody’s laughing.

Before I we finish, I just want to say again how awesome this project was to work on. In making music video, it’s not always what it’s cracked up to be. Sometimes people are difficult, sometimes the conditions are a pain. I was a late MCR fan, I didn’t get “it” until Three Cheers. But going into it, I wasn’t counting on it feeling like a bunch of people getting together and making a short movie for fun, with the added benefit of having some resources to get those fun ideas on screen. It’s so rare to have a great time on a shoot, and then the final product turns out amazing as well. Everybody involved was awesome, and I can’t stress enough how awesomely easy and low-key it was to work with Gerard, Ray, Mike & Frank. It will always be a really fond memory in my life; gratifying beyond words!

[Originally published 08.08.2018]

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Spectrum by Florence + The Machine from the album Ceremonials - Directed by David LaChapelle & John Byrne

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Items used in Na Na Na video recording, designed by Jason Fijal (2010).

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mikeyway: Played my first @warhammerofficial Necromunda skirmish with @angryzen @gerardway & @jeremyfranklambert the other night and had a heck of a lot of fun! Thank you @gerardway for the beautifully painted Delaque gang! This was my most favorite squad from the original edition

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The Danger Days Item That’s Impossible to Value

From hoodies to sweatshirts, posters to keyrings, there’s no shortage of My Chemical Romance merchandise available online. But for many collectors, Danger Days is an afterthought. The era is too recent to be truly valuable, and there aren’t many “rare” pieces out there–unlike the Bullets and Revenge eras, which have limited edition pieces that went out of print years ago.

And yet, the Danger Days era introduced a piece of memorabilia so rare that most fans don’t even know it exists.

This piece is so rare that seeing it surface on eBay is an event in itself. The band commissioned a limited edition run of this item, but it wasn’t something that they offered on the store. In fact, if you were in the right place at the right time, you could’ve gotten this item for free. This item dates all the way back to the album release party on November 22, 2010–when the band had a lot more in mind than a simple concert.

To celebrate the album release, My Chemical Romance played a show at the House of Blues, where they performed new songs and a handful of old favorites. But before the show kicked off, they had a surprise in store for the fans. With the help of director Jon Rivera and production designer Jason Fijal, the band set up a “Zone 5 Fun Fair” outside the venue.

The fair was fully stocked with games, booths, prizes, and even a tattoo artist. Draculoids wandered around in full costume. If you played one of the games, you had the chance of winning a prize. And one of these prizes was a gift like no other: a limited edition Mousekat figurine.

Commissioned from Pretty In Plastic, a toy and art installation company in Los Angeles, the pieces were made in three days and shipped off to be distributed at the record release party. Artist David Zajdman sculpted the piece–his first production sculpt for the company. Mousekat’s eerie smile and cute-yet-creepy demeanor was captured with the help of artwork provided by the band.

There was no announcement about the pieces to entice fans to attend the show. As a result, most fans had no idea–and still don’t know–that these pieces even exist. Getting your hands on one of these figures was a once-in-a-lifetime opportunity. And once the show was over, they were gone, never to be released again.

So where are these figures now?

At this point, tracking down all fifty figures is nearly impossible. We don’t even know if all the pieces were given out at the fair. Some are owned by fans, while others were given to friends and crew members like actor Steve Montano and director Robert Schober. Other figures could be part of a valuable collection, tossed away in someone’s closet, or buried under trash in a landfill. We really have no idea where they ended up.

On rare occasions, the figures have been known to show up on eBay–but at a price. One fan reported auctions skyrocketing to over $250. As a limited edition item with an extremely specific frame of release, this item is one of the rarest pieces of My Chemical Romance memorabilia in existence. As such, it can be nearly impossible to value. Fans looking to own one of these figures can only keep an eye on eBay and hope that they find an auction that isn’t too ridiculously priced.

In the end, this one-off piece of merchandise that was given out at a carnival has become a collector’s item like no other. If you get your hands on one of these figures, hang on to it! You own a piece of My Chemical Romance history, and all the stories that go along with it.

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[Originally published 03.04.2018]