Updated: Sep 28, 2020
It's obviously not too uncommon to face a crossroads in life - to be stood at a fork in the road with no idea what might be around the corner. All too often one road feels safe and familiar and the other unknown. What we often might not admit to ourselves is we know exactly which way we want to go. We can talk it through a million times, endlessly reason with ourselves and god forbid, even throw together a pros and cons list. Though in reality, we often already know what we want, and there aren't a lot of things scarier than admitting that. On 'Hello Moon', Meg Hitchcock does just that.
A few months ago Hitchcock was at a crossroads. She had just performed at the final Party in the Paddock in Tasmania before visiting some friends in Byron Bay. She was in the car with friends, her ticket home to London in hand but all she saw was a ticket back to a lonely life seasoned with long commutes and grey skies. On route to the airport, a mind full of thoughts was replaced with a face full of tears and Hitchcock did what so few of us can muster the courage to do. She listened to what the tears were telling her. She turned that car around, drove straight back to Byron and now she's here to stay.
This story and more of Hitchcock's inner musing's can be heard within her angelic debut single 'Hello Moon'. The artistic vision of the song is accompanied by an 80s horror influenced music video. Lucky for us, Meg is here talk you through it herself, via a series of exclusive polaroids taken on set and the memories + explanations that lie behind them.
Somehow, among the creative chaos, we managed to capture a few golden moments on my Polaroid Sun600 camera, and oh how I will cherish these forever.
The final group shot of the cast, just as we’d finished wrapping up the dining scene at Broken Head Hall. By this point, we’d tried all the food and thrown an assortment of popcorn and feathers everywhere - the table was a complete mess compared to its ‘Wes Anderson’ style perfection at the start.
Testing the positioning for the opening scene. This is me in my old room, in my old house - Annerley. She possesses an unrivalled charm and years of fond memories. I couldn’t have imagined setting the scene anywhere else!
Two wonderfully talented women - Miranda Emblem, the mastermind behind the makeup, and Ash Wickens, my good friend and an incredible dancer.
Everyone got rather into their bizarre characters, we laughed a lot and told a lot of nonsense stories to entertain each other… I remember lots of talk about the papayas.
Brad was pretty much cast to play himself. Apart from the white T, anything other than black is pretty out of character.
An action shot from the test shoot, where things got a little scarier than what we went with in the end. I ended up being fully submerged in the cold ocean, screaming and running through the night.
One of my favourite parts of styling was getting the props for the ‘80s bedroom’ I went to the shop and bought both the George Michael and a Back to The Future Posters and ended up choosing George to make my Mum happy when she would see the video. The thing that really pulled the whole scene together was my friend Jono’s tape player, its undeniably 80s, and aesthetically brilliant - apparently just another adventure to add onto its history.
An ode to the dress.. We were in Launceston, Tasmania just after Party In the Paddock when by complete chance we popped into a random op shop... Moments in, I’m only just flicking through my first rail of clothes, and Kim (who’s the character with the third eye) shouts “Duuuuuude, I’ve found something for you!” She pulls out the silky smooth, royal blue, 80s prom dress. Straight to the changing rooms, it fit like a glove, and little did we know what was yet to come... but I’m grateful for her intuitive genius forever more
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