Links to the song on Spotify, iTunes & Amazon: ffm.to/a5mnajk “Natalie Wood said...” is the first single from All You Get, the new album from songwriter Andras Jones. Produced by Canadian wildman Ford Pier, and mixed by Grammy Award winner Sheldon Gomberg, this schizophrenically ornate track is accompanied by a video edited by Alan Abbadessa-Green that uses footage from the films of Natalie Wood and the films of Andras Jones to invite the listener/viewer to re-consider the career of Natalie Wood. From Alan Abbadessa-Green: In many podcasts and personal conversations with Andras Jones, he’s spoken of his goal to reach any audience of his artwork on about 14 different levels of understanding . . . all at the same time. Both of us are very much interested in the *Simultaneity* of things. And in editing Andras’ latest music video, for the song “Natalie Wood said...”, I had a unique opportunity and challenge. The complexity of Ford Pier’s production and song progression, what Jones described as “schizophrenically ornate,” allowed me to make a video that was at any given time 5 different videos in one. It should work as a classic “sync film”, something in the Kotzian and synchromystic tradition, as an examination of actress Natalie Wood and her web of reoccuring symbolic motifs (thank Andras for his extensive research of her filmography). Then there’s the socio-political material that her work pushes in your face, and so this video should explore some of the sexism and sexual revolution in Natalie Wood’s career, the seemingly violent struggle with Patriarchy that lands center stage in many of her films. I also wanted it to work as one of those Hollywood retrospectives, or two of those rather. I wanted something that was somehow banal enough that it might slip into a wider and unsuspecting audience, while also serving as a true memorial to someone who is undeniably an incredibly talented actress. Holy shit that scene from “Tomorrow is Forever” with Orson Welles is stunning. And all of this doesn’t even mention the primary role of this being a *Music* video, for a really cool song at that. It was a lot of fun to craft in such a way that all the editing cues are taken from and in service to highlighting the musical dynamics. By riding the complexity and movements of the song, the music itself becomes the one node, the one constant in this otherwise wild barage of media. You might even say it is an anchor to hold onto in a raging sea. And as the siren song lures you to stare into the abyss of Natalie Wood’s tragedy and hope, may the music keep your head above water.