“Pass Go” - Jordan Webb
An incomprehensible game
Directed by Reece Daniels
Directed by Reece Daniels, the music video for Jordan Webb’s track Pass Go, touches on the concept of privilege and how society is inherently "gamified." Completing over 60 shots in just 12 hours, the fast-paced visual narrative matches the intensity of Jordan’s lyrics, creating a sense of “controlled chaos”, Daniels says.
This intensely exciting video, packed with all the details - but with little time to take it all in - leaves viewers just as confused as Jordan himself! For Daniels, it is not about instantly understanding an entire concept, but rather, ensuring it’s all there to be uncovered, felt and experienced.
The music video for Pass Go is fast-paced and visually striking. How did you approach the visual tone of the video to match the chaotic essence of Jordan Webb’s track? Was there a particular visual aesthetic you were aiming for?
I knew from the start that the video needed a rapid, fast-paced visual aesthetic to keep up with the intensity of Jordan's performance. Split-screen felt like the best option to keep your eyes moving and cram as many shots into the edit as possible, and by keeping all the shots static and locked down, I wanted to create a sense of controlled chaos. If you really wanted to understand the game, it's all there, but it's practically indigestible at the rhythm of the edit. I wanted the viewer to be as puzzled as Jordan is.
The video features a lot of intricate shots, given that you completed over 60 shots in just 12 hours! Were there any unexpected challenges or moments where you had to adapt your initial vision and how did these shape the final outcome?
A big unexpected challenge was lighting. We were viewing this table from practically every angle, and with our incredibly tight schedule (managed exceptionally by AD Cassie Kulish) we just didn't have time to switch lighting setups for every shot. So, every time we needed to shoot a different part of the table we'd just pick it up and rotate it. It became a continuity nightmare but since the edit is so fast, it never really became apparent to the casual viewer. Honestly, if someone were to tell me, "hey the thimble piece is on the wrong spot!" I'd applaud their vigilance.
The concept for Pass Go touches on how society is “gamified,” displayed with a clear Monopoly-like setup that’s rigged against the player. How did you balance the visual narrative of a high-stakes gamble to ensure these social themes were evident without overshadowing the music itself?
By nature of how fast Jordan raps and the speed of the edit, I knew the themes and overall concept might be lost in translation; one of our actors actually asked me (amicably) "is anyone going to understand this?" But I try to remain unconcerned with the audience understanding the themes and focus on ensuring it's all in the video: the secretive handshakes, everyone betting all-in, the other players having more money and chips than Jordan, and even their costumes. The symbolism is embedded in the video and I'm glad that it all speaks on what Jordan is speaking on. As a visual medium, I believe music videos work best when they're both exciting and re-watchable, and I think any confusion lends itself to the latter.
The contrast of dim and intense spotlighted lighting emphasises the unpredictability of the game - drawing the viewer into the intensity of each roll of the dice. Can you talk us through some of your cinematographic decisions to heighten this tension?
Our cinematographer, Matt Liang, got a lot of inspiration from Robert Richardson's techniques. He used the table as a bounce, under-lighting to make our characters appear more sinister, bringing out wrinkles/features in their faces that you don’t usually see with top lighting or side lighting. As for the shot compositions, we aimed for close-ups and details, bombarding you with seemingly important shots yet giving you a split second to understand them. Our location gave us this vast, almost "black void" setting, which wasn't intentional –– we had booked this location for another song with Jordan, but we ended up not shooting for that track. We had signed a location contract so we adapted, and I think there's a nicely ominous, menacing feeling to the space.
“I believe music videos work best when they’re both exciting and re-watchable, and I think any confusion lends itself to the latter.”
Were there any symbolic elements in the design of the game itself, such as props, set design, or framing, that you intended to subtly convey the underlying social critique? Do you think there is a particular moment in the video that perfectly encapsulates the message?
Definitely a ton of symbolism here, I tried to be as detailed with this video as I could. I really aimed to portray the wealth disparity, which is shown through the costumes, accessories, the amount of money and chips the other players had, even the dice they were rolling –– the wealthier characters were throwing some kooky D&D dice. The board has some easter eggs too –– my production designer (Menny Son) and I created the board from scratch, just using a Monopoly board template for the shape. We also created a game guide breaking down the mechanics as kind of a north star of clarity, ensuring that it wasn't just nonsensical. There is a premise to the game. My favorite moment that perfectly captures it all is the final shot, where Duck flips the table after being defeated. It's an act of rage but also fear. He couldn't handle defeat, so he destroyed the game.
You’ve mentioned being drawn to bold, intense, and visually-driven stories. How did you ensure that Pass Go stayed true to your personal directorial style while also meeting the vision of Jordan Webb and the demands of the music industry?
I do my homework –– when I pitch a music video, I have visual references and ideas for every second of the video because I know exactly how it's going to look when it's assembled. And with Pass Go, it's literally 1:1 from conception to completion. Because of this, Jordan placed a lot of trust in me because he can see how passionate I am, and I always aim to keep that energy throughout the entire process. It's especially easy when the music you're working with is killer, and "Pass Go" (and Jordan Webb's entire "High Tides" EP) is next-level music. As for the industry itself, I believe artists thrive when they reward their listeners and create a community out of their fans. I believe putting out the most creative, effortful visuals possible does exactly that. With the visuals, you want the song to come to life –– I'm not sure if anyone is really excited by music videos where the artist is just performing... I'm certainly not.
What's next for you?
The Kairon team and I have quite a few projects in post and soon to release –– narrative shorts, music videos, and I shot a dance short very recently. It's all dropping in a very similar time frame so I'm pumped, and we're starting to get some momentum going, which is pleasing. But I'm young, directing full-time is the goal for which I get out of bed every morning. I want to continue to direct, push myself creatively, and grow my portfolio so I can get signed sooner rather than later. But it's a process and it won't happen overnight, and I've grown to love being in this "early stage" of my career.
Reece Daniels
Director
Jordan Webb
Key Cast
"Jordan Webb"
Elijah Baughman
Key Cast
"Duck"
Joseph Coffey
Key Cast
"Thimble"
Michael James Vargas
Key Cast
"Cat"
Menny Son
Producer
Mezmer
Executive Producer
Matt Liang
Director of Photography
Jivensley Alexis
Line Producer