Jarred Osborn’s latest film ‘Wild Streak’ for Melbourne band N.Y.C.K is raw and unrestrained. A highlight reel of his visceral writing and directing abilities. He recently sat down with occasional-Wildebeest collaborator Lachie Anthony to talk about how the project came together.
When Wildebeest director Jarred Osborn and childhood friend and singer-songwriter Nick Acquroff (of N.Y.C.K) get together, the conversation invariably turns to their shared passion for storytelling. Although they use distinctly different mediums, each endeavour to take a vivid, personal and honest approach to their craft. It is no wonder then, that this crossover has lead to collaboration in the past, and their latest sees both at their creative best.
‘Wild Streak’ puts stark imagery to an already powerful narrative woven by Acquroff. The film explores the end of innocence experienced in the twilight of youth, when the highs and lows of searching for meaning can turn up a confronting reality. The collaboration came about after Osborn, who had heard a preview of the track (the two share and follow each other’s work closely), began telling his long-time friend about the story he saw playing out alongside it.
A familiar scene ensued, as the two got together over a few drinks and discussed the ideas represented in Acquroff’s writing.
“At some point, we arrived at a juxtaposition between your teens and your 20’s, and how we could show that. The innocence of a young person’s expectations, hopes, dreams, and the way they view the world at that point, really appealed to both of us,” says Osborn.
The film is filled with the blurred nostalgia of late-night camaraderie but quickly spirals to the palpable lows of a comedown. The perfect contrast of the coming-of-age period Osborn envisaged. A highlight reel leaving the audience to fill the gaps of a more in-depth tale.
“I really wanted to explore a more traditional, linear approach to the narrative. I wanted the video to feel like it was lifted from a larger film. That even without the music, the images would still have substance.”
After complete trust was placed in Osborn’s concept by the band and the record label, his penchant for collaboration led him to talented DOP Alex Serafini. The two had worked together in the past and had been wanting to take on a project together with less commercial constraints.
“The cinematography is almost another character and Alex had a very good idea of the aesthetic I wanted, and also the ability to reflect the tension I was looking for in the visuals.”
There are obvious elements to the film that give it a cinematic quality, and the aesthetic and narrative are undoubtedly central to this. However, it is the casting of Nic Denton (older brother) and Ben Keller (younger brother) that put polish to the production. Both reveal a natural disposition that leads the audience to really become involved in the plight of their characters. A rare achievement in under 4 minutes of film.
Ultimately, the film appears to be a cathartic release of Osborn’s writing and directing, an opportunity to collaborate and explore his own wild streak.
“The rules are different with a music video. Or there are kind of no rules. So it’s a place where your true creative integrity will be on show as a director. In some way you’re free from judgement. But in other ways you’re laid bare.”
