Chords for Smashing Pumpkins - The Making of 'Thirty-Three' (With Commentary)

[F#] _ _ _ _ _ _ _ _
_ _ _ _ We were talking one day about the idea that in a video, there's so many amazing moments
that they [D#m] would make great photos.
So [C#] taking that idea in reverse, [F#] we hit upon the idea of like, what if you could just shoot photos?
[D#m] _ If you put together all [A#] these great [F#] photos, would you basically make a different sort of image? _ _
So we hit upon the idea of [B] like, okay, let's shoot [A#]
every piece of [F#] this video with a handheld
_ _ camera.
Technically, you know, [A#m] it was going to be very difficult, so we [F#] had to get these special
cameras that like, guys who shoot sporting events use that hold like [D#m] 150 frames.
_ [C#]
One thing we didn't think about [F#] too much was that Elena really likes to [G#] move when [D#m] she's
shooting photos so she can shoot different [C#] angles, but that [F#] creates a shakiness when
you line them all up.
So it [D#m] was definitely a huge technical [C#] challenge, but it gives the [F#] video a distinction and a
sort of feel that I can't say I've ever seen in any [B] other video.
[G#m] _
Well, in true pumpkin fashion, [F#] we'd always avoided literal [B] symbolism, so we thought,
well, since we've always avoided literal symbolism, [G#] let's in this video do the [F#] exact literal image
in our minds for each of the lines.
So we mapped out what [B] each line would mean, and [C#] we were tweaking it as we go.
[F#] One morning, Billy just said, _ you know, I want you to do this [B] video, and I was [G#m] very
excited because I really wanted to [F#] do something else with the band because I just felt [B] very
comfortable working with [G#m] everyone.
It [F#] looks great.
It was definitely a [B] little like ambiguous as to whether it would really work.
I [F#] think we all thought like, is this going to work?
Because it's like shooting [B] with a camera, shooting like tons and tons of film, but [C#] like,
you know, like in theory, shooting [B] it, it just seemed bizarre.
But [F#] it looks great.
The styling and _ [B] some of the choices of the shots, [F#] it has a lot [C#] of personality from [F#] the
band and it also has a lot of beautiful images in it.
I think it [B] was _ a [F#]
pretty bold [A#] thing _ [F#] _ to shoot something like this with a camera, to [B] shoot still images.
[C#] I think it was a long ass video shoot.
[B] _ _ _ We just decided to [C#] shoot everything in sequence and see how it works.
I mean, it was such an incredible [F#] experiment.
After we finished the video, I looked at it, you know, I looked at it and I said, oh God,
you [C#] know, the faster movements look so much more beautiful.
[F#] I should have done more of that.
But at that point, you just don't know.
So you [B] just wing it.
It was really like making [C#] a movie instead of making [F#] a video.
33s is a very touching [G#m] song, and I think it's a very [C#] symbolic song as [F#] well.
And I felt like at that point, the three of them, it [B] was a very heavy year for [C#] everyone.
_ _ _ [B] _ _ _ _
I remember there was like [F#] a sort of like a silent film part in the movie where [B] it wasn't
the band, it was actors.
I remember that [F#] being really nice.
I remember [B] me and Darcy on a swing set.
That [F#] was really nice.
I [B] mean, we didn't really do anything, but I think it was [C#] just like sort of a nice personality,
[B] _
_ _ [F#] kind of like a warm feeling kind of coming from [B] that shot and that [F#] setup.
I guess where the band was at that point, the success that we had, it was just [Bm] nice
to show [G#m] the band in this different kind of light instead of [F#] like as big mega rock people,
_ [B] you know, rocking with mud people.
[F#] _
[C#] In some sense, it was [B] kind of like maybe like the Disarm video [F#] that it showed personality
and _ beautiful images. _
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