Just last week Gautier Capucon published a behind the scenes video showing how him and his multimedia team produced a promo for one of the tracks on his most recent album.
Until last week I had no idea that Gautier Capucon had released an album called Intuition. This week I can’t think of Gautier’s album title without remembering the opening sequence of an episode from A Bit of Fry and Laurie twenty odd years ago.
The title of the album is a little pretentious side, but is just about forgivable. Other issues aren’t.
The narrative constructed by Capucon’s marketing people rests on his smoldering eyes, tight smile, and floppy hair. Combine that with a neat tuxedo and you’re projecting him and his instrument as the epitome of sophistication. In the promo for The Swan, Gautier takes on a Bond-esque air, with a hint of the man who delivers a box of Milk Tray and then scarpers in the night.
If that’s Gautier’s dual role, he’s unlikely to get away unnoticed because, as the behind the scenes video shows, he has quite the entourage.
At the risk of being a mean-spirited bastard about all of this, I am less impressed by the sheer spectacle the video creates, and a little more concerned about the carbon footprint of the production team.
There’s something else I don’t really follow.
Camille Saint-Saens’ The Swan from Carnival of the Animals is by virtue of the music and the title descriptive of a bird that struggles to survive at high altitudes or during bouts of heavy snow. Why then was it deemed a good idea creatively-speaking to put the instrumentalist with his expensive instrument in heavy snow on the top of a mountain?
And why does the dancer appear at first in the promo as though she’s been knocked down flat by a bus, and a 2’29” why is she waving her arms around as though she’s warming up for the shot put?