The Business: (Noun) 1.) The Real Deal 2.) What’s What 3.) To Show How ‘It’s’ Done
Ex. “Patrick Daughters is giving us The Business.”

The hardest working man in Music Videos returns (again-again) with two more shots thus bringing his 2007 output total to 4 videos in just as many months. And from the looks of things you’d swear this man was created with real bits of panther. I mean, even the artists (The Shins and Bright Eyes included) he’s working with are nothing to sneeze at. Like his work, it all seems so effortless that we almost take it for granted, that is until we realize what he’s giving us.

But before we get to that, let’s take a look at who he’s partnered with recently, before the backlash begins. Leslie Feist, or the epitomy of spunk, is rounding third and heading home with her second proper full length, The Reminder, due out May 1st (but a week earlier for those in the U.K. - we see how it is Leslie). Basically she’s Canadian-born, used to be roommates with Peaches, and sometimes plays with the Broken Social Scene conglomerate. Her last album Let It Die was a splash for the indie crowd and even got her single “Mushaboom” a couple of covers (see Conor Oberst), remixes (see Postal Service) and if i’m not mistaken, got it thrown on a commercial or two. In fact this is where we find her first meeting with Mr. Daughters, which would be a sign of things to come.

Feist - Mushaboom
Directed by Patrick Daughters

Via The Directors Bureau

Who knew the deep affection Feist would have with large dance numbers ala Bjork’s “It’s Ohh So Quiet” that it would carry over from her first shot to her more recent ones. Although, not the last word on the shot, highlights did include the flying toast and an angry Peaches grounding Ms. Feist (she’s so angry, even when she dances, now that’s funny).

Feist - 1234

Now, we can’t say for sure if either artist (Feist or Daughters) were affected or even influenced by the GAP commercials of the past or Ok Go’s guilty-pleasure-choreograph-happy videos, but I’m sure we can all see that possibility in “1234″s colorful one-take shot. Definitely a candidate for Bravia’s ad campaign, we find Feist in a stage/warehouse getting in the mix with a troupe of happy colorful dancers. You can almost see Daughter’s thought process on sticking to what works in terms of the successful dancing, bright colors, and happy-go-lucky personality that exudes from Feist. If it ain’t broke, why fix it? And just to add a little bit of spice, he goes for the live one-take production angle and watches the ball fly out of the park.

Sometimes the easiest ideas are the best and if you don’t believe me about her enthusiasm for the shot, just see what she told the NY Times¹ before shooting began:

“I’m going to dance like in ‘Fame,’ ” bubbled Feist, a petite 31-year-old brunette who uses her last name for her solo recording career. “I’m going to be carried around on the shoulders of 50 people, like Madonna in ‘Material Girl,’ only minus the pearls and the back muscles.”

Feist - 1234
Directed by Patrick Daughters

Via The Directors Bureau

Via Feist.com

What this man can do with an enthusiastic artist, a plucky song, and some backup dancers is ridiculous. And the man doesn’t stop there. Just because he had an extra moment, he figured one video was of course, not enough. So, after finishing “Four Winds” and taking care of “1234″ Daughters took the same crew and busted this out only four days later, like it was nothing. Straight up.²

Feist - My Moon, My Man

This time set in an airport terminal, we get “Business Feist” patrolling the walkways on her way out of/in to town only to then use her charm and dance abilities to take over and have her way with her surroundings in all of its flickering choreographed digital glory. As Revolver exec-producer Jannie McInnes explained to Eye Weekly³:

“The whole concept of the choreography is that it’s on a moving sidewalk. After an exhaustive search [of the city], we just kept coming back to the airport. We were only allowed to shoot during the curfew for planes which is 12am-5am.”

Feist - My Moon, My Man (Boys Noize Remix)

Almost as a counterpoint in regards to “1234″, we still get the dancing and vibrant Feist, but the surroundings are darker and colder. Instead of the color attack like “1234″ we only get a quick burst of it during the climax of the shot, which, coupled with the slo-mo, proves to us (not that we needed him to) that he can make his shit work under whatever circumstances, as long as he’s in control. And even with one arm tied behind his back, Daughters had this to say about it all:

“We had to set up the shoot and leave no trace. It reduces us to only a few hours of shooting per day and it’s a lot of pressure.” Was it worth it? “Oh yeah,” he says. “She’s a genuinely good-hearted person and it reflects in the people around her. When you’re with her in her hometown, it just feels like summer camp. It was one of the most enjoyable experiences I’ve had.”

Feist - My Moon, My Man
Directed by Patrick Daughters

Via The Directors Bureau

1. Link taken from Kev’s over on the ‘ville. Thanks man!
2. Thanks now to you too Angie!
3. Link taken from Kayser Sauze over on the ‘ville. Muchas Gracias!

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