Creative Director, Mark Eshleman

This interview took place on January 16, 2014 when Mark Eshleman was in Australia on tour with Twenty One Pilots, You Me At Six, and Paramore. He along with Twenty One Pilots are shortly heading out on the road again for their headlining tour throughout Europe and then a US tour this Spring.

Mark started creating videos professional in late 2009 with the intention to supply bands with visual content that they needed to showcase their talents to their audience online, but his love for video started long before that.

He grew up knowing in his gut that he wanted to work in video production. Instead of going out and playing sports or video games, he would watch a lot of movies and take every second of the film in. To him movies such as An American Tail: Fievel Goes West, The Princes Bride, Terminator and Willy Wonka & the Chocolate Factor were all on regular rotation.

When he actually got to play with video cameras he realized he liked it even more than he knew he could. He ended up taking a class in seventh grade about the basic forms of video work, after his teacher told him he was good at it he kept pursuing it.

Mark started his own company, Reel Bear Media, and enlisted the help of his friends and videographers John Flanagan and Lindsey Flanagan. The company name was thought up due to the simple fact that Mark didn’t want his name as the company name. He combined different industry terms with different animals and Reel Bear was the one that sounded right. The company logo, an orange snaggletooth bear, was thought up because orange is his favorite color and a snaggletooth signifying that no one is perfect.

In the summer of 2010, having just gotten out of art school and living around the Middletown area with his parents, he was ready to get to work on his first opportunity. A friend of his, that was in a band, was working with a new T-shirt company in Columbus so Mark reached out to that company and told them that he could show them some of his video stuff. The company invited Mark to an event to shoot video and the first band to go on was a local band that the t-shirt company endorsed called Twenty One Pilots.

After meeting Tyler Joseph of Twenty One Pilots that night, they started to communicate more and ended up doing another video that fall. Within the next few months they did the video for “Jar of Hearts.” In fall of 2010 Mark found himself being asked by Tyler “Hey, we have an extra room in my house, want to move in?” and by March of 2011 they had started a Twenty One Pilots web series.

Tyler Joseph’s love of video work even lead him to think up the concept for the “Car Radio” music video back in 2010. The idea from 2010 was that Tyler would be sitting on the bathroom floor of a house; he starts singing the song; he starts to shave his head; he puts the clippers down; and he walks down the hallway. At the time, he wanted to walk into a living room with about a hundred people. Then, they perform the breakdown and at the end, the people disappear, leaving him in the house by himself.

Tyler’s idea for the music video became reality when, in 2013, Twenty One Pilots noticed they had sold out the indoor LC (their hometown pavilion that has the capacity to hold 2,200 people) they wanted to take the opportunity to shoot the video. Tyler and Josh know they can control their hometown crowd so well, because those fans are the original, they’ve been there since the beginning of it all. During the concert they started to play the song as they would and then stopped to explain the concept of the video. Tyler then left the stage, put on the mask, and they started rolling. Al in one take, with about four different cameras, they got that whole section where Tyler split the crowd down the middle, crowd surfed up, and did the breakdown. When they got the footage they needed the concert resumed as if nothing had happened. They got to shoot the rest of the footage a couple days later with the help of the owners of the LC, PromoWest (Productions) who let them come in to capture the part where Tyler takes his mask off, puts it down, and falls off the stage and then the entire bathroom scene.

All throughout 2011 Mark documented the band’s journey with local shows, their first tour and their first time selling out a venue as a headliner in their hometown. It wasn’t long before labels started to take notice and in April of 2012 Twenty One Pilots announced they had signed to Fueled By Ramen Records. Since then Mark has continued to work with the label directly and oversees all thing visual for the band and supply’s any and all needs both on the road documenting and shooting music videos.

 

Photography by Brad Heaton

 

First off how the Australian tour going?

It’s a dream come true to be able to do what I have been doing here in Australia. We all get shuttled to the airport, jump on a plane, shuttle to the next venue, do the show, shuttle to the hotel times infinity. When travel is all figured out, you get the chance to really experience your surroundings. I have enjoyed the weather Australia has to offer; we left Ohio when it was -1 degrees when today, in Adelaide, it was a dry 109 degrees. I love calling the restroom ‘the dunny’ and using the left side of the sidewalk.

How did you come to becoming involved in the creative aspects of art?

I was born an only child and until my mom re-married when I was seven, I would have to find ways to entertain myself during playtime. It was very natural to cling to movies (The Great Mouse Detective, Robin Hood, An American Tale, The Princess Bride, etc.), That led me into recreating these movies scene for scene, line for line on my own with toys. I had a second chance to get lost in the story and the characters, learning the basics of story development and being creative.

You’ve said that you never saw yourself doing the band thing to begin with so at what point did you realize that being in the music industry was right for you?

Entering the music industry just kind of happened there in the beginning. I moved up to Columbus from my hometown and met Tyler Joseph and learned about his love of pairing video with music. When the labels became interested in what the band was doing I was right there with Tyler and Josh Dun with a DVD of our content. Labels count on bands to be a voice online and this DVD proved how good we were at doing that already, on our own with no budgets. If I can continue to work my dream job while traveling the world and hanging out with my best friends the music industry will always be right for me.

You’ve done music videos for Twenty One Pilots, but you’re also known for doing a lot of behind the scenes videos. What is your favorite part about creating behind the scenes videos?

Shooting the day-of is always fun and rewarding but spending the night finding the story of the video is my favorite part. Sure, you can share the day linearly from lobby call to wrap but that’s been done 1,000 times; the editing room allows me to control the pacing and emotion. I know it’s good when I get lost in it and am smiling the entire night while playing back sections over and over, letting shots sit for way too long. I am happy.

What has been your biggest hurdle throughout the creation process?

I fear the inevitable slump. Sometimes it lasts a day, sometimes 11. Unfortunately, the slump shows up randomly and often and causes me to question every piece I have ever shot and every piece I will ever shoot. No one has figured out the formula to kill the slump, the slump lives on.

You own your own company and with the help of John Flanagan and Lindsey Flanagan you all create videos for a variety of bands. Do you like it when your clients give you creative freedom or do you like them to have a clear vision for what they want?

I pride myself on being able to mold ideas. Having a client bring something to the table always makes it easier. When I worked with the band Beartooth, Caleb Shomo and I sat in his studio for a few hours just jumping up and down over these great ideas we were spitting out. I want to work with someone that wants the video to be his or her baby. Their input and excitement fuels mine. Tyler and I live together so we get to have those moments’ at the most ridiculous hours, the hours we are always the most creative. The “Car Radio” music video was all his idea. I work such with creative people.

Your bio on your Twitter says that you do all things creative for Twenty One Pilots. While doing their video stuff you’re also currently doing their lights for this Australian tour. How did you get involved with doing the lights?

Running lights came out of necessity. In late 2011 I had been on the road with twenty one pilots for almost a year and the guys started headlining their first shows outside of Ohio. As a headliner, it helps to have a light show to make your band stand out as a powerhouse band. Other than Tyler and Josh, I knew the songs the best so I would put down the camera and start standing behind the venue’s lighting console every night slowly learning more and more about DMX lighting, different fixtures, industry-standard consoles and such. Before I knew it, I was running a million dollar rig for their 2013 fall trip for concerts and later a multimillion dollar rig that Paramore uses every night. Chad Peters is the Lighting Director for Paramore and has no idea that he is letting a guy that learned DMX in a basement in Ohio play on his console every night. Chad is my favorite guy and I thank him for not asking too many questions.

With so many photographers / filmographers pursing their passions it seems like more bands than not have a creative media person out on the road with them at all times. What do you think it takes to stick out as a creative media person on the road with a band?

One of my early mentors Grant Peele (a director over at Still Motion) once told me, “There is absolutely NO room left in the creative industry. None. It’s packed. But if you’re great at what you do, there is plenty of room.” There are so many bands in the world. So many. How do new bands get signed and make it? You have to deliver great work. It’s more than just great equipment these days; anyone can get their hands on some nice DSLR and a few great lenses. Have a better story and shoot things a little differently. Visiting Vimeo.com and watching some of the popular content on the front page inspires me. Art inspires art. Let your emotions inspire you. Always create. Do instead of being asked to do.

Over this last year Twenty One Pilots have become a worldwide band. Since you’ve been working with them since 2010 how has it been for you watching their progression on the sidelines? Does it get overwhelming sometimes?

The guys are living their dreams and they both realize that and respect their stage. The band’s success does nothing but benefit me so I take pride in being there every step of the way. I encourage fans to mob them at airports and stand outside the bus for hours to get a chance to meet Tyler and Josh. I never feel overwhelmed. I’m thrilled and I can’t wait to meet Emily Osment.

You’ve said before that Tyler Joseph is fired up about video content. When you two work together is there a lot of synergy?  Does he come to you with ideas for videos, or do you go to him with ideas, or is it both?

I have told Tyler countless times that I want him to look into directing sometime. The dude is brilliant. Whenever we are in the early stages of a bigger video shoot I bring all my early ideas to him and he brings his to me. Together we build this great idea and I take it into my room and start creating shots. My favorite time is when we are actually shooting. Tyler is very aware of camera placement and how he needs to perform to relay an emotion or message. He watches playback with me and suggestions camera movements and compositions. Tyler makes me better; I have to bring my A game when working with him. He cares.

Whenever it comes to ideas for a music video or editing or shooting, you like to make things aggressive – to make people think “Why did that happen?” What is your routine when thinking of new ideas for videos? Do you like to be around people to bounce off ideas or do you prefer to think alone?

Coming across an idea usually happens when I am alone with the track. It could be in my room with all the lights off or, more frequently, while driving around in my cool van. The key is getting lost in the moment, find an idea then find a new way to tweak that idea. Different parts of songs (i.e., verse, chorus, bridge) are studied as camera movements. The intro or first verse can be a series of static shots then you have the big bounce to hand-held when the pre-chorus hits or whatever. It varies for each song obviously but that’s how I build my foundation.

I also have a page in my Notes app on my iPhone that has a few dozen ideas I get that aren’t written towards any specific song that can later be molded to fit a tune; ideas that I haven’t seen done before when it comes to camera placement, movements, actions, dialogue, etc. I wish some sweet indie-electronic band would reach out to me so I can do this one idea I’ve had for about three months now.

What is it like to see your work when you’re out and about?

It’s the ultimate win in my eyes. I’ve been in a Journey’s while “Guns for Hands” was playing on their TVs. Unbelievable. Not too long ago we were in NYC for twenty one pilots’ performance on The Morning Buzz and “Car Radio” was playing on VH1 in the lobby. My feet planted in front of the screen and I pointed at this video I put together in my bedroom. I am so thankful that the band lets me tag along and do these things.

How has working with Twenty One Pilots changed since you first started? Do you think they are used to the idea of their lives being documented now?

Josh and I sat next to each other on the flight from Sydney to Melbourne here in Australia. Casually I opened up my backpack and grabbed my camera, stuck it in Josh’s face and got some b-roll of him looking out the window. At the end of my shot I put the camera down and took a step back mentally and realized what I just did. The poor guy was so tired, minding his own business and I shove a camera into his bubble. I laughed to myself and thanked Josh for being so used to me. Both of them are so confident on camera that it makes my job so easy. Some people are just awful on camera but my guys have it down. The only thing that’s changed is we get to do this in different countries.

The Twenty One Pilots symbol exists because you and Tyler stayed up until 5 a.m. trying to design a new T-shirt. After throwing some shapes together and picked a color scheme, you had a logo on accident. This logo has now become a huge representation of the band. Even after you made it and decided that it would be their logo, did you ever have any idea that it would get this big of a reaction?

The two of us didn’t really think too far ahead when the logo found itself on my computer that morning. We just knew it would be powerful to get to the point where the logo meant twenty one pilots to everyone much like the McDonald’s golden arches. Then we found the text version (|-/) and fell in love with the logo all over again. Kids on all social media platforms throw the logo in at the end of their names on their profiles to show off something they believe in, something that has helped them. Your move, Miley.

I know the story of how the music video for “Car Radio” was filmed and how Tyler had the idea since 2010, but how much time was there in between thinking about filming it at their sold out LC Pavilion to the night it was actually filmed? Was it as easy as you thought it was going to be with an audience of that size?

This was the second time twenty one pilots had played the indoor LC. The first time we did a multi-camera shoot and released a few live versions of the songs they played that night so we had to spice up the second homecoming. I can’t remember when it hit us to pursue the idea but it was within a few days before the show. I had all the confidence in the world that Columbus would play along and they did. Other than the one kid that decided to dress up like Waldo and distract literally everyone on YouTube, the fans nailed it and made the video what it is.

Although you all like to create the videos, it’s still a lot of work. Since you all now have a captivated audience, do you feel pressure to keep creating and releasing videos to sustain the interaction with fans? Since you all have to put your all into these videos, how do you stay inspired?

It is a lot of work but we love to push ourselves to continue to present content to Fueled By Ramen to distribute to the fans online. It’s just one of the aspects that make this band so fun to be a fan of. With that in mind we know the content has to be good so we one-up ourselves by thinking outside the box and make something look better than last time. It’s not about how many videos get posted it’s about what gets posted.

How are you all trying to differentiate each show you all play in a particular town?

During the headline tour it’s the same set list every night with the same production and the same cues. If Tyler and Josh were performing for an empty room in each city it would be impossible to differentiate. The fans make it worth it for us. The louder crowds get a better show; it’s such a strange phenomenon.

While on tour with Twenty One Pilots, has there been a specific night a show really sticks out in your memory?

New York always starts a circle pit during “The Run and Go” which doesn’t make any sense to me but I love it. I’m just glad twenty one pilots has such an aggressive fan base of crowd surfers and pushers. Detroit was my favorite show of 2013.

I know that one of your ultimate collaborations would be to do a Paramore music video. Now that you and Twenty One Pilots are currently on tour with them in Australia, have there been any talks of you working with Paramore in the future?

Let me just say Paramore is hands down the nicest group of people I have ever had to pleasure of meeting. They deserve everything that they have going on and I think Hayley remembers my name.

You and your longtime friend, Chance Humphrey, are writing a film script. How it that going?

I hope we can make this film happen, what a dream come true that would be. Chance is such a creative person that loves film and has all the skillsets to drive this project into a new direction that hasn’t been seen in independent film. We haven’t had that week or two of us sitting by a whiteboard jotting down ideas and creating structure but he has been typing away on his typewriter (MacBook Pro) and emailing me ideas. We jump on the phone a couple times a week when I am home. Our goal is to have a finished script by Spring 2015.

Last question, what are you working on in the coming months?

February is dedicated to a twenty one pilots headline run in Europe with me running lights and grabbing footage when I can on days off, a headline US tour in the spring followed by international festivals filling our time in the summer. The goal is to do well over 200 shows this year. More videos, too. I’m glad I don’t have a wife or anything, she would hate this.