RUN AWAY with Sandra Kolstad



Oh, they’re not simply ‘music videos’ anymore – they’ve turned into a director’s blank canvas – a creative vehicle. A few weeks ago a friend sent me a link to Norwegian electronic pop artist Sandra Kolstad’s new video, ‘Run Away’ and I fell in awe of the art direction. Kolstad is known to be magnet for wild ideas and creative energy – this video is no exception. Run Away is full of abstracts and images that might leave you with a few queasy moments…Director Yenni Lee effortlessly channels the unique weird that Kolstad possess in Run Away. I mean that in a good way.

I contacted the director Yenni Lee to see if she would share her storyboarding process with us.

Take a look at ‘Run Away’ with Sandra Kolstad and then join us for a look into the creative process of Norway-based Director Yenni Lee.


Run Away with Yenni Lee

“The story in this film is actually quite straight forward, consisting elements of pain that are easy interpret. But that was also the case, to not hide anything.

It is also formed in a way that gives you the opportunity to interpret it yourself. You can set in your imagination of what has happened to the main character (Sandra Kolstad) when she wakes up, if she is going in circles, or where she is going when in the water. Being in the state of gloom was more important for me rather than showing why. You can’t really see or understand why when you are in oblivion. And this will cause a greater space from your existence.

Kolstad wakes up in the middle of abandoned fields, to find her unconsciously about the big and bleeding wound on her chest. She walks around with this screaming affliction, while conveying what she really wants to do. Run away. She then takes us on a ride of escapism through nature and water.

We shot the video on 16mm film, to get that grainy nostalgic and eerie feeling, and treat the story as a short film, rather than a clean music video. It would have been a whole different mood if we shot this digital. The movements are more smooth in the digital format, and would eliminate that “movie feeling”.  So choosing the film format has been an important part for the look.

Also, nature in this scenario is a backdrop for Sandra’s condition of infinite limbo and detaches her from the real world. The other four characters who looks like Kolstad, are her emotions that are chasing her. And Kolstad will flee just to isolate those parts of herself.

Integrating music and film is a great way to inspire and challenge each other. How does the music affect the universe of the film, and vice versa. Art forms should be integrated and not locked down in independency. I think it’s a great opportunity to show how two very different art forms can build a path to coherency, and together possibly develop a branch of something thrilling and innovative.”