The play of colors and spaces are elements that have been very careful throughout the video in order to represent the emotions beyond what the lyrics and music are able to convey.
Raye, dressed in a seventies style, brings a vintage touch wandering alone through the scenarios where the story takes place. The surroundings, cold and repetitive, reflect her state and emotions. The only space where warm colors predominate is the room where she composes and records herself singing, where she breathes comfort and tranquility.
"Suzanne" by Mark Ronson, RAYE.
On the other hand, Mark Ronson appears in a room playing the guitar, with brown and red tones predominating. It's clear that, like Raye, music is his passion.
He then appears in a large, empty meadow that conveys loneliness and nostalgia. Raye later appears in that same place, connected only by passing through the same space at different times. The tree depicted bears witness to the feelings of both protagonists, who experience melancholy and express it together through music.
Mark Ronson, RAYE. Our Saturday music video. (Official Music Video). METALOCUS MUSIC PROJECT.
Credits.-
Director.- Theodor Guelat.
Brand Partner.- Audemars Piguet.
Prod Co.- Stink.
Creative Agency.- WMA.
Executive Producer (Stink).- Dominic McKiernan.
Producer (Stink).- Jake River Parker.
DoP.- Gianluca Oliva.
Production Manager (Stink).- Emma Stevens Broyd.
Artist Manager (MARK).- Tyler Reymore.
Artist Manager (RAYE).- Paul Keen.
Artist Manager (RAYE).- Sarah Keen.
Artist Agent (RAYE).- Amanda Bretherton & Jalal Rahim at Next Management.
Artist Creative Director (RAYE).- Mikey Robbins.
Artist PA (RAYE).- Scarlet Sharp.
Artist Social Media (RAYE).- Alex Dairo.
AP Manager Brand Experience Music & Collaborations.- Alexandre Wuersch.
AP Project Lead.- Pooja Khosla.
AP Creative Direction.- Claudio Zenger.
WMA Global VP.- Crystina Cinti.
WMA CD.- Mike O’Keefe.
WMA EP.- Dan Matthews.
WMA Strategic Partnerships Lead.- Ollie Oshodi.
WMA Creative Development.- Fin McAllister & Charlie Pollard.
WMA Producers.- Sabrine Murabet & Ines Coleman.
Label.- Columbia Records.
LONDON
1st Assistant Camera / Focus Puller.- Oliver Bingham.
2nd Assistant Camera / Loader.- James Huthwaite.
Camera Trainee.- Cameron Sealby.
Camera Truck Driver.- Rino Sopjani.
Video Playback Operator.- Louis Vella.
Gaffer.- Al Rice.
Electrician.- Alex Styles.
Electrician.- Declan Duffy.
1st Assistant Director.- Fred Wright.
2nd Assistant Director.- Oliver Hill.
AD Runner.- Beth Jesperson.
Runner.- James Duddy.
Runner.- Sam Sharma.
Sound Recordist.- Edwin Weiss.
Production Designer.- Katie South.
Stylist (RAYE).- Eniola Dare.
Makeup Artist (RAYE).- Lan Nguyun.
Hair Stylist (RAYE).- Alex Price.
Artist Groomer (MARK).- Charlie Cullen.
Artist Tailor (MARK).- Brandy Godsil.
Location Manager.- Claire Tovey.
Studio Manager (Studio 13).- George Rutledge.
Recording Engineer.- Riccardo Damian.
NEW YORK
New York Service Production.- Big Kid.
Executive Producer (Big Kid).- Will Noyce.
Producer (Big Kid).- Liam Akiva.
Associate Producer (Big Kid).- Tzipi Edery.
Production Coordinator (Big Kid).- Kendall Gearren.
Featured Drummer.- Eric Hagstrom.
Featured Keys.- Victor Axelrod.
Key Rep.- Scott Barkham.
Engineer.- Loren Humphrey.
Engineer Assist.- Jesse Kotansky.
Engineer Assist.- Liselotte Denis.
1st AC.- Dan Crawley.
2nd AC.- Lisa Eaton.
Loader.- Polly Chesnokova.
VTR.- Jon Chanty.
Gaffer.- Olivia Riportella.
Swing.- Darden Mixon.
Key Grip.- Annie Dean-Ganek.
Best Boy Grip.- Garland Berenzy.
Locations.- Edward Light.
Sound Mixer.- Charles Cann.
Production Designer.- Rusty Snyder.
Set Dresser.- Chazz Foggie.
Art PA.- Charlie Turner.
Art PA.- Cam Gonzales.
Stylist (Mark Ronson).- Michael Fisher.
Stylist Rep.- Alex George.
Stylist Assistant (Mark Ronson).- Molly Macintosh.
Groomer (Mark Ronson).- Laila Hayanil.
Groomer Rep.- Nico Quaratino.
Security.- Tony Payne.
Edit House.- Cabin.
Editor.- Charles Gamble.
Cutting Assistants.- Chris Day & Craig Griffiths.
Producers.- Caylee Banz & Tanya Johnson.
Executive Producer.- Ruth Minkley.
Managing Director.- Kayt Hall.
Post House.- Rascal.
Creative Director.- Markus Lundqvist.
Colourist.- Tim Smith.
Online Artist.- Adrian Larsson.
Executive Producer.- Imogen Pai.
Sound Design.- Izaak Buffin.
Sound Producer.- Clementine Beck.
Lyrics.-
Eyes are like the ocean, her nails are painted green
A cigarette in her mouth and she mouths, "Hey, dear, how you been?" (How you been?)
Grey skies out the window, but she's a summer breeze
Come and set the tone, I dare, come sit down next to me, Suzanne
Her hair hangs like curtains, her smile is warm like June (Warm like June)
She blinks in slow motion just like something in the Looney Tunеs, Looney Tunes
You can't tell if shе's into you, she's a winding road (Winding road)
That I've been running on down since I was seven years old
Suzanne, I would love to hold you if I can
Suzanne, Suzanne
If you'd allow my left arm and my right arm to collide inside the small of your back
Just like that (I do)
I need you, Suzanne (Suzanne)
Oh, Suzanne, how I need you
Ooh, you look so good tonight
So time gives way to the magic hour, sunset at the bar
You rest your left ear on my shoulder and I wonder if that's just how you are (How you are)
I whisper to the waiter, "A glass of something strong"
Suz', I'm about to finally tell you how I've been feeling all along, I said, Suzanne
Eyes are like the ocean (Ocean), nails are painted green (Painted green)
And I know this sounds like a line, but I swear you're the sweetest sight I ever seen (Ever seen)
Now I can't tell if you're into me (Into me), so I'ma say it out loud (I'ma say it out loud)
Things I never say, the things I should've said, I could've, and I guess I'm telling you now
Suzanne, I would love to hold you if I can
Suzanne, Suzanne
If you'd allow my left arm and my right arm to collide inside the small of your back
Just like that (I do)
I need you, Suzanne (Suzanne)
Oh, Suzanne, how I need you
Ooh, you look so good tonight
And I want, and I want, and I want her (You look so good tonight)
And I need her, and I need her, and I need her (Sue, yeah, you look so good tonight)
And I want her, and I need her, oh
So, so good, girl, oh
Things I never say, the things I should've said, I could've, and I guess I'm telling you now
Suzanne, I would love to hold you if I can (Ooh)
Suzanne, Suzanne
If you'd allow my left arm and my right arm to collide inside the small of your back
Just like that (I do)
I need you, Suzanne (Suzanne)
Oh, Suzanne, how I need you (I wanna hold you if I can)
Ooh, you look so good tonight
