Author and journalist Al Chambers recently conducted an interview with Mike Harry of Concentrate, the man behind the promo video for Cinephile's 'Medusa'. The following is a copy of the interview transcript.

AC: Hi Mike. The music industry has gone through fundamental changes in the last ten years. What do you feel the role of the promotional video is today, as compared to 1999 ?

MH: The role of music videos today should still be to first promote the artist, and ultimately the filmmaker. I think music videos have more longevity and exposure today than they did in the 90’s. You Tube, Myspace, Vimeo, and Facebook have become some of the leading outlets for artists to promote their work. The opportunities for exposure on the internet are limitless, instant, and global. However, I have to admit that sometimes I’m nostalgic of the old days of MTV.

AC: You've just completed a video with the Glasgow band "Cinephile". How did this collaboration come about?

MH: I discovered Cinephile through Myspace actually. I was working late one night and began looking for someone new to listen to. I found their page, checked them out, then bought everything that was available on I-Tunes. Additionally, I emailed them just letting them know their efforts and talents were appreciated from around the world. Kenny soon wrote back and we quickly struck up a friendship. We talked about collaborating on the right project for the next year or so and it wasn’t until I took a trip to Scotland early this year for a visit, when we finally got something in motion.

AC: The track is called "Medusa". Can you tell us a bit about your creative approach to this and how the concept evolved ?

MH: The concept for this video evolved fairly quickly. I find that Cinephile have a haunting childlike quality to their music. It’s melodic in an almost uncomfortable way and ‘Medusa’ was no exception. While conceptualizing a video for this song, I came across the classic story of the Pied Piper. In my attempt to create a scenario that was both familiar and surreal, I somehow found myself exploring Jellyfish and fireworks. And living in a household with two children, I’ve been exposed to the unreal imagination and limitless creativity that they have. I’ve learned that anything could be possible through a child’s eyes, including exploding jellyfish.

AC: What petrifies you ?

MH: Heights petrify me. Roofs, open ledges, fire escapes, balconies etc.... I think its a product of the long years in film school. I’m also not a huge fan of large bodies of water.

AC: Are there certain themes or images that you feel recur in your video ?

MH: My work often includes references to heights and water. I tend to make work that’s a bit of a downer and a little darker. I’m generally a happy person and it’s not necessarily a reflection of my inner self every time, but I do like to go to that place and explore every now and again.

AC: Would you say you are particularly influenced by anybody working in feature films ?

MH: Fortunately I find influence and reference in everything around me. Some of the earlier work of directors Alex Proyas (The Crow and Dark City) and Joel Schumacher (The Lost Boys and Flatliners) especially stand out. The art direction and integration of music into those films set a mood and energy that almost play out as small music video vignettes over the course of a feature length film. And I do love the traditional film school classics like Kubrick, Polanski, Tarantino, Fincher, etc, etc.

AC: Dawn of the Dead: Romero or remake ?

MH: Tough one. The opening scene in the remake is pretty intense. However, Romero’s vision set the stage for a lot of great zombie and horror work. I would have to say Romero because maybe without him, zombies would be a little more lame.

AC: I'm a bored billionaire heiress who gives you an unlimited budget to make any damn movie you want. What do you make ?

MH: That’s a loaded question for sure.... I’d first make a proper sequel to the Lost Boys to satisfy the 12yr old boy in me and then finish off the rest of the Cinephile catalog with my library of budget-challenged treatments still sitting on my computer. And then I might woo said heiress into retiring to an island with me where I can sleep for a thousand years. As long as my girlfriend approved, of course.

AC: What was the worst experience you ever had while shooting ?

MH: Every production has it’s own charm.... but the worst experience I ever had while shooting was attempting to transport 30 people and a ton of equipment at 5am in the middle of an intense blizzard to a remote hall somewhere in Connecticut. Not only were we off to a rough start, but we still had the trip home to look forward to. Mother nature dominated not only the mood of that day, but also our budget.

AC: Is there any advice you would give to a young person who wants to make a career from shooting music videos ?

MH: Since it’s unlikely you’ll make a proper living creating music videos exclusively, I’d strongly recommend broadening your horizon to the commercial market or even other mediums such as producing content for the internet. It’s good to be a little more versatile with what you have to offer as it’s a very competitive and saturated industry. The good news is that the affordability of higher end equipment and the accessibility of promotional sites like YouTube and Facebook have leveled the playing field. These days, almost anyone can make a film and have their work shown to some degree. For me, it comes down to what it’s always come down to...originality, creativity, and just trying to tell a good, simple story.

AC: Thank you.