An Exclusive Behind The Scenes Look at Sunflower Bean’s There's A Part I Can't Get Back Music Video

BTS Photography: Meka Boyle | Music Video Director: Harv Frost

Sunflower Bean’s much anticipated music video for There's A Part I Can't Get Back just landed and as an extra special feature for Polyester readers, we’ve gone behind the scenes on the shoot days with photographer Meka Boyle. Taking us through the creative process of making a music video, the creative behind the visuals and the importance of Lemsip is the band’s bassist and front woman, Julia Cumming.

Tell us all about your inspiration for the music video!

The song has a very intense feel to it, and straightforward lyrics that we didn’t want to distract from. It was an interesting experience because usually when making a video, you’re trying to make every moment more exciting, and with this one we were trying to have the song and the visual really working as a team. Harv Frost was instrumental in helping craft the singular visual metaphor of pushing that statue. We needed something that could represent the weight of carrying pain with you, and how with the help of your friends and creativity, there’s a way through.

Walk us through the creative process of making a music video, from start to finish.

It’s truly a team effort! It’s important to make sure the video you’re making is in line with the album, the home of the song. So you have to stay connected to that idea to make sure you’re working in the right direction. Moodboards, styling, hair and makeup, movement….it’s like a dance and everyone has to know the steps or it all falls apart. It really is a team effort, and everyone’s job is invaluable.

How did filming it go? What was your favourite part of the day?

The set of the video, and old derelict church, was even more beautiful than I could have imagined from the pictures. I was stunned by its perfection for the song. Unfortunately, it was very drafty and I spent a lot of time sitting on top of the heater. It was also the end of tour and we were all fighting colds, so I had a lemsip in hand between shots.

My favorite part of the day was probably when our DP decided to try the UV camera, the eerie blue shots where my teeth and the whites of my eyes are glowing. It was a risky setup using a lot of valuable time and film, and there was a chance it might not work at all. But once we were shooting, the unique look helped me tune into the energy the performance needed, something between a forlorn pageant child and Laura Palmer.

Are there any easter eggs in the video we should look out for?

If there were and I explained them, wouldn’t that defeat the purpose?

Is there anything about the music video process that you wish more people knew about?

I wish people could see how hard everyone works to make these works happen! Every second is incredibly considered. But it’s never not cool or fun to make a video, even when it’s challenging. It’s a chance to let your song have a visual voice, and that’s a gift.