Chords for Capital Cities - Safe And Sound (Behind The Scenes)

All right, here we go.
_ _ [G] _ _ _
_ I could lift [C] you up. _
I [A] could show you what you want to see
[G] and take you where [B] you want to [F] be.
You could be my [C] luck. _ _
[A] Even if the sky is falling down,
[G] I know that we'll be safe and [F] sound.
_ _ _ [C] _ We're safe and [Am] sound.
The big idea for the video [G] was that every place has kind of [C] a history.
And in this case, it was this great old [C] theater, the Los Angeles Theater,
and [Am] all the memories of that place [Em] basically come to life,
[G]
celebrating 100 [C] years of dance,
all put together where all the eras mash up into one,
and the [Am] guys go from the [G] 1920s to all the way to [F] 2013.
_ _ [C] _ We're safe and [Am] sound, _ _ _ [Em] _ safe and [F] sound.
It's really cool to see how [C] well those [Am] styles of dance
actually can translate [G] to a general pop [F] indie song
and how it worked so well.
And then there was a lot of genre _ mixing that was happening
where [D] one person from [Am] Bollywood would join up with a B-boy
and they would sort of start dancing together and adopt each [Em] other's styles.
It was actually [A] hard to [B] perform sometimes because we're on the [F] stage
and there's all this crazy [G] dancing happening right in front of us,
[B] and there's times where we have to be performing,
but at the same time I really want to see [F] what's going on on the stage.
[Em] _ _ _
_ [F] _ _ _ _ [C] _ _ _
_ [Am] _ _ _ _ [Em] _ _ _
_ [F] The very first day that I worked with [C] Ryan and Sabu, I was like,
okay, these guys are doing pretty well for [G] not being trained dancers.
They've never learned [F] choreography.
So as non-dancers, I thought they did a [Am] really great job.
We sat down with the guys and we were [G] trying to figure out
what genres of dance [F] stuck out to them.
[C] We started out with this Gene Kelly, Fred [E] Astaire era,
and that was a phrase of movement [C] that was about 6'8 long,
and so it's kind of the biggest chunk that they had to learn.
We didn't really do much with the 80s because they were [Am] really into the 90s.
I feel like our [G] 90s is our biggest bag of tricks.
_ [F] I can lift you [C] up _
I [A] can show you what you want to see [G] and take you where you want to go
The Charleston [F] and the Kid N Play [A] _ were probably our favorite moves
because they're practically the same [G] dance.
I mean, slight variation, [F] but it's really fun.
[C] It just has a good movement to it, and [Am] it's easy to do, actually.
It lets you [G] just kind of be free and be wild.
We [C] had a much more choreographed [C] dance than we did earlier in the day
that was sort of a Gene Kelly, Fred Astaire.
It's [G] really hard to do because it's such [C] a precise dance,
and it was pretty fast because the song is kind of [Am] fast,
so it's unusual to do a dance like [G] that to a song at that [F] speed.
So that was the most challenging.
[C] I would take the [Am] shower
Take me fast
[Em] I would take the [F] shower
This song is at [Em] a particular tempo that [F#] works really well
with a lot of different dance styles.
[G] _ _ _
[Dm] And the song is pretty [F#] simple and universal.
If you've got the steps, you can dance to [D] anything,
and this beat somehow works.
And it's really cool to see all these different types of people
and types of dancers coming together
and joining forces, [Em] having a good time.
We're at Murata [B] Studios, where Motion Theory and Murata are_
Basically, that's where the [F] artists that are bringing the video to life,
[Em] the After Effects artists, the Nuke [D] artists, the illustrators,
designers, art directors, creative directors,
obviously the editor [F] _ as well, are [Em] bringing all this magic to life.
We try to [F] create a new world with new [C] rules and new magic,
and we're trying to [Am] _ bring all of these dancers [Em] together in a mashup
in a way that we [F] haven't seen before.
So when [C] people step out of the television or step out of the movie poster,
[G] we're trying to just break new [F] ground in every way,
so it's a new kind of magic.
Integrating our archive [B] footage with the live-action stuff
and treating it so it's still part of its era
[D] really is, I feel, separates itself from a [E] lot of music videos out there.
I knew [C] going in what we were going to do.
We're going to put the West Coast B-Boys
versus the East Coast Swing Dancers.
We're going to put the [G] funk guy against the salsa.
Once we started [C] getting these things that we didn't plan for,
it was going to create [Am] things that we couldn't even imagine.
_ [G] _ _ _