Cameron is represented in the UK by Tsunami Films and in the US by Public Works. The director worked with famed choreographer Blanca Li and UK post house Rushes to mold the promo.

The video begins in a modern, carefully graded TV studio, where a fictional TV host and the band recline in a sunken, circular couch area. Behind the band are a number of giant, somewhat sullen images of the band hanging from the ceiling. The host declares the commercial break and a round of entertainment for the studio audience ensues. Two groups of dancers, one female, one male and all garbed in retro-modernist costumes and motorcycle helmets engage in a sinuous and sassy dance routine. After a number of she-on-he interactions, the female dancers strip off their outer garb, revealing flesh-colored bodysuits, parade around the set and kick it with the male dancers before a finale. The entire routine is interspersed with the band and host enjoying but largely ignoring the spectacle in a show of presumed blasé indifference.

"The starting point was, the band didn't want to be involved with the video and the record company wanted their involvement, so we had to devise a way of having the band present but keeping their involvement to a minimum," says Cameron. Having met Li at the Sonar Festival in Spain earlier this year, Cameron felt "Music Is My Radar" would be the perfect opportunity for a collaborative effort.

"I got in touch with Blanca. She was working at that point in time with the Paris Opera and doing her first feature," says Cameron. Li and the dancers flew to England and the dance sequence was filmed. "She worked out routines on the Sunday, flew back, and we shot on Wednesday. We had one day to do it. The dancers were extremely professional and able to replicate moves. It was one of the easiest shoots I've had in terms of repeat performance."

Working with Blur, Cameron settled on a set and look derived from '70s German chat shows, typically devoted to high-brow subjects and offering up intellectualized and deadpan debates. To accentuate the erudite feel, the film has a degree of grey grading. Cameron worked with costume designer Laurant Mercier to help reduce the dancers to "pure graphic form."

"I developed the girls' costumes with Mercier, with removable parts so it could be sexed up halfway through, resulting in mayhem towards the end," says Cameron. "The band was quite clear they wanted it culturally neutralized. That's why we went with the helmets; they also reinforced the graphic sameness as did the colors of the dancers' costumes, black and white. This positive and negative could be played up by Blanca to a greater and lesser degree. Also on the day, it helped not having makeup, only having one day to shoot."

Web.files

See the video> www.rushes.co.uk/blur/Blur_240x180.mov