[lastli] i hope you’re full from eating my mind up
behind the scenes
my nana’s house. our studio.
i hope you’re full from eating my mind up…
I can still feel a wave of exhaustion when looking back on this music video. It’s hard to tell by the footage, but we actually shot this in my Nana’s house. She passed away several months before the video, and if there was anyone I wish I could show it to, it would be her.
Many of the props/ paintings were actually hers. We had a thing going on called ‘Nana’s Prop Shop,’ where I would come by and raid her house whenever I needed decoration for my films. She was always a huge supporter of anything creative.
set decorator Emma Fleury in her element.
Despite the mess we left in her house, which my mother argued would have upset her (I disagreed), I think she would have loved to watch the transformation. It took us about 2 days to set up and 4 days to clean up. That being said I think it looked better than before, especially since Keegan was now the tenant (messy boy).
lastli (photo cred. Kevin Unger)
andrew beach • breann white • keegan beach
The music video was for my band Lastli (I’m the bass player, and my twin brother the lead singer/ songwriter). We just wrote a new single that we were proud of and I thought this was a good opportunity to go all out on some visuals. I’d been working as an editor for some time and put directing on the back burner to learn from other directors.
The song was called i hope you’re full from eating my mind up and the video translated the title visually. The idea behind it was that the house represented Keegans cluttered mind and the plants were his reminiscing thoughts of a former lover (played by Breann White).
We cast Breann through instagram and couldn’t have made a better decision. This was her first time being in a music video, and she told us that it fulfilled a lifelong dream to be on camera.
Above are Breann and I chilling on Keegan’s bed after the set dec. Below is Keegan taking a much needed nap after a 4 hour drive to get Breann home.
Overall the shoot took 2 months of development, 3 days of shooting, and 6 months of editing. The learning experience, for me, was being able to translate an idea into something practical. We cut scenes, merged scenes and pulled scenes out of thin air. I was constantly told by my production manager Craig Robinson to keep things simple, and while I argued, simple prevailed. That being said, I think there is a difference between simple and practical. Being able to see what is practical and what’s not will save you time, money, and hours of vacuuming. There is always something that you will do differently.
producer/ guitarist Damian Birdsey finding something he could help with on set.
