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faithinlouisfuture · 5 months

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I T ’ S B I G G E R T H A N M E

@usergif new year, new fonts: day # 1 - layer styles

[fonts used: impact label (dafont.com), selima (dafont.com), watermark: bebas]

#usergifNYNF #louis tomlinson #bigger than me #louis tomlinson gifs #louis gifs #louisupdates #louisprojectstracks #louistomlinsoncouk #mindofwalls #faith in the future #btm mv #bigger than me mv #i made this #this is what happens when you make stuff last minute 💀#tried something new in that last gif though #i like how it turned out #will experiment more with this style

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seasurfacefullofclouds1 · 5 months

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heyy not to hit u with another request for an analysis lmao but i’d love to hear your take on the bigger than me mv! i only watched it recently but i thought the number of sticks (7 i think?) that louis picks up along the way and the difference in their size/where they’re found/what condition they’re in as well as the smaller stick he pockets at the end seem significant. i know louis prefers to keep a lot of creative choices open to interpretation and likes a healthy dose of mystery in his symbolism (still no idea what 369 means beyond the manifestation method😭) so perhaps it’s a lost cause to try to decipher this haha

I think Louis did mention once that the Bigger Than Me video didn’t have any specific allegory, or that it was open to interpretation.

To me, Louis’ choosing BTM as the first single from FITF, after a long pandemic and delayed tour, shows that the pandemic was an introspective time for him. He reflected on the state of his career and he was ready to switch directions.

It was a different kind of song from Walls singles— bigger in every way, with a grander vision and bolder sonics, more challenging vocals, more yearning for community and engagement.

Visually, Louis chose an ethereal, grand location for the music video, and it was shot with no expenses spared. The director commented that he used cinematic equipment and proportions to frame the video. The drone shots contrasted the immensity of the natural elements with the smallness of the single human being— an isolation that’s increasingly rare on earth.

Let’s contrast the BTM video with Walls, and their separate depictions of “being alone.” In Walls, the location was also a place of relative isolation— the desert. Louis looked into mirrors to find himself, in fantasy rooms where he was the single person surrounded by paired dancers, as the center of a literal target on the floor, in the darkness where demonic faces crowded him, and— most memorably— stranded high on a wall, abandoned. His direction, his “goal,” was the mirage of a door in the desert.

In BTM, Louis is surrounded by the lushness of nature in green and earth tones. The video is tinted with warm overlay. Louis’ photoshoots leading to the album release emphasized green and orange complementary tones— secondary colors, compared to the primary red of Walls. Moreover, Louis is not directionless in BTM— at the very start of the video, he sees the bonfire in the distance. The distance was vast, but still human in scale— eventually, with enough travel and persistence, he reached it.

The imagery and feel of BTM reminds me of these lines from One Direction’s Long Way Down:

“Sailed an ocean and drowned in the waves” acknowledges the naïveté of the nautical imagery, “My hands, your hands/ Tied up like two ships/ Drifting, weightless/ Waves try to break it” in 1D’s Strong (but later, Louis reuses the metaphor to signify taking ownership of his life in Paradise). “Built a cathedral/ but we never prayed” also precedes the church of burnt romances in Only The Brave.

(Off track and not to be a sap but Louis did also write on History and these lyrics, after seeing AOTV, are gut-wrenching:

Bigger Than Me shows Louis walking a long path toward a large fire— both a purifying and transcending metaphor. The sticks he carries throughout his journey range from large to small. The large ones are heavy, burdensome, yet he starts walking with the largest, and eventually tosses it in.

The bonfire is maybe an acknowledgement that some things are not worth carrying forever, but worth releasing into the world, worth leaving behind in ether. The fire is like a ceremonial ritual, a formal way of letting go. Instead of him “going down in flames,” Louis is able to control what he keeps and what he burns. The purification can result in rebirth and renewal; fire is a natural part of earth’s being reborn. The small stick he keeps in his pocket is a memento of Louis’ journey, literally and figuratively.

The number 7 is a coincidence; there are also seven roses in the 28 Official Programme logo. It’s a lucky number. 1/4 of 28.

#bigger than me #bigger than me music video #BTM mv #BTM interpretation

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louisarmpits · 2 years

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Louis knows how to build a bonfire so well because of the lads camping trip

#*#btm mv

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elceeu2morrow · 9 months

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LTHQOfficial: ONE YEAR OF BIGGER THAN ME. [9.1.23]

#lthq official #lt video #btm mv #btm mv bts #9.1.23 #1yr anniversary

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sogoldn · 2 years

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louis + autumn

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berlinini · 2 years

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it's so simple but full of symbolism, references to previous works and has amazing showstopping spectacular scenery and footage. 11/10.

#btm mv

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caralara · 2 years

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he’s fuelling the fire !!!! fuelling the rumour mill !!! with all the gay stuff (wood) !!!! but kept a little gay twig for himself !!!

#btm #bigger than me #btm mv #bigger than me music video #music video #Louis Tomlinson

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always-strong28 · 2 years

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#louis tomlinson #bigger than me #Milan #btm mv #faith in the future #ippodromo snai #btm live #last show #lthq

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shutterbug2012 · 2 years

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this shot right when he sings “it’s bigger than me” poetic cinema at its finest

#m.txt #btm mv #btm #fitf

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faith--in-the-future · 2 years

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really liked the contrapposition between the dead and desert landscape of walls with the green and healthy landscape of the new era, walls imo was hopeful in its own way and the desert was a positive change bc it meant that there were no walls anymore , everything fell down and was destroyed but now we're getting to the second step of creating a new future, bc destroying what kept u trapped is not enough to restart living, we also need rebirth and rebuild after the destruction

#btm mv

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izacore · 2 years

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me @ louis right now

#he was so pretty but i am so confused agshdj #i will wait for the big brains of the fandom to do their thing #btm mv

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seasurfacefullofclouds1 · 2 years

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Louis always includes a few visual puns and Easter eggs in his lyric videos (notably Just Like You). The Bigger Than Me lyric video is fun too.

youtube

The first thing to notice is that the color palette and font usage are similar to the Faith in the Future album cover: vermilion and black, featuring mixed fonts and a checkerboard pattern.

In fact, Louis probably deliberately chose the MARNI striped collar checked pattern jacket because of the graphics. His photoshoot from the release is incorporate into the lyric video.

Now for the highlights:

“HIDE BEHIND A SMILE”: there’s no smile, but the mouth is highlighted. The graphic shows a look of defiance, but the lyrics are a confession of insecurity, the fear of revealing vulnerability

“I DIDN’T READ THE SIGNS”: the graphics are cute, alternating triangles and circles. (I’m thinking of Louis’ ankle tattoo.)

“ALL OF THESE VOICES”: the cacophony of words in the periphery. The graphic also depict an eyeball with the iris in the middle. (My post on Louis’ eye imagery, and the persistence of fish eye lens photos.)

“I DON’T HEAR THEM ANYMORE”: H EAR with the graphic of the ear (a visual pun). It reminds me of this, “where s he lays.”

Then we have the rapidly changing graphics of the chorus:

“IT’S BIGGER THAN ME”: the montage of Louis’ FitF era symbols-> his photos, the smiley face with X’d out eyes, the checkerboard, the floating eye.

The circular graphics also recall the swirling eye graphics of 369 and LTWT (which also featured the checkerboard).

The square is an interesting contrast. It’s in white, flashes by in a millisecond, and unlike the rest of the graphics, the square is hand drawn, a sketch. It brings our attention to Louis’ face inside the circle, but the square also suggests the phrase, “a square peg in a round hole,” meaning that in some ways, Louis may always be an outsider. This is reified by the use of the mismatching fonts: the graphics are a little jarring and out of place, a little bit uncomfortable to read.

“I’VE WOKEN UP FROM MY SLEEP”: once again, we see the almost floating eye in the checkered background (top left)— an eye inside an eye— as the black circle represents a pupil and the red dot, the iris. The iris changes with the music, as one “wakes up from sleep” and our eyes accommodate to waking, adjusting from darkness to light.

I find it fascinating that the eye/ target motif is incorporated into so many aspects of Louis’ work, even in the AFHF graphics of this year.

Bigger Than Me is rich with allusions to our senses, as if discovering them anew after emerging from isolation. It is a metaphor for the philosophical epiphany in the song. Louis is discovering that his musical world is a partnership with his fans: his songwriting in the pandemic is worthwhile only if there’s a chance to share the music afterward.

Louis is also discovering that individual suffering can be put into the context of universal feelings. We can be too hard on ourselves, dwell too much in our own heads, but also take criticisms too deeply into our hearts. Empathy and sympathy give us perspective. We can forgive ourselves, but we can also demand better of other people.

#btm lyric video #bigger than me interpretation #btm mv #louis tomlinson #17 september 2022

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sunshineandlyrics · 2 years

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