Vernie Yeung on Shooting a Thunderous Underwater Spot for ‘House of Dancing Water’
Known for his unique artistic vision and becoming one of the youngest talents on Ridley Scott Associates’ roster at the beginning of his career, Hong Kong-based director, Vernie Yeung, has an incredible eye for elegance with an edge.
His portfolio includes music videos for renowned artists such as Radiohead and Kylie Minogue; commercials for brands such as L'Oréal, Nike and Citibank who he won a record-breaking number of awards for; and Chinese feature film, ‘League of Gods’ starring Jet Li, Tony Leung and Fan Bing Bing.
His latest work sees him take on a tricky underwater brief for the return of the highly popular aquatic show ‘House of Dancing Water’ at City of Dreams, Macau. Balancing artistic vision with commercial goals, the end result is a captivating teaser full of drama that pulls you into the heart of this dramatic love story.
Here, Vernie sits down with LBB’s Sunna Coleman to reveal his inspirations behind the film, the elemental challenges they faced, and what he believes to be the “money shot”.
LBB>What was the initial brief from the client?
Vernie> The initial brief for ‘House of Dancing Water’ was to highlight the contrast between good and evil, with Aani as the hero and the Dark Queen as the villain. The goal was to create a visually exciting and imaginative teaser to attract the audience.
LBB> Tell us about your ideation process and how you landed on the final concept.
Vernie> It is always more fun and imaginative with a direct and simple brief, and I wanted to stick to that approach. My goal for the film was to focus on visually dramatic elements that would enchant the audience with the conflict, without over-explaining the story and without words.
LBB> What was the story you were trying to tell through the spot?
Vernie> Aani wakes up in a deep ocean, much like Alice in Wonderland, discovering a new world full of danger and romance. But the Dark Queen, looming above, is far from pleased with this new adventure.
LBB> Where was the spot filmed and how did you scout the location?
Vernie> We filmed in Guangzhou and Macau. All we needed was a large deep pool and a studio close to Macau.
LBB> What were some of the challenges with filming this underwater and how did you overcome any obstacles?
Vernie> I’ve done underwater shots before, but not fully submerged. We were also filming in the winter, which added its own set of challenges, especially since underwater shooting is already tough. Movements weren’t always as precise as I had imagined, so we had to go with the flow a bit. Thankfully, we had an incredible team and a talented underwater actress, which made all the difference.
LBB> What was the most enjoyable part of the process for you and why?
Vernie> The most enjoyable part was seeing my imagination come to life in post-production. Many of the shots are composed of multiple elements, and it’s always rewarding to watch my vision come together. What’s even more satisfying is that most of what you see in the film is real, with the exception of the sword and thunder, which made it all the more rewarding to see the raw, organic elements shine through.
LBB> What are you most proud of on this project?
Vernie> To be able to make a cool film, not just for myself, but for the clients. At the end of the day, it is a commercial and it has to serve its purpose. Balancing art and business is something that I try to bear in my mind. Both us as creatives and the clients had the same vision on this project. I’m very proud of the great teamwork on this project.
LBB> Which scene is your favourite and why?
Vernie> The thunder scene to me is the money shot. It is definitely my favourite and was the most challenging to achieve. It was a combination of many different elements, and I think it really works.
LBB> Anything else you’d like to share?
Vernie> I think the clients and the agency, also my long-term producer, Angie Cheung, all gave me a lot of freedom and trust on this project and I’m always grateful for opportunities like this.
