Chords for Jamiroquai - The Story of Virtual Insanity

So I got to the set and there's about, I dunno, 50 people there.
And I can hear, North!
North, fast!
West, slow!
South, quickly!
Brrrrrrr!
Rumble!
Brrrrrrr!
And I think, what is going on?
The [Eb] Jumanakoi video, how did we do [Ab] that?
Do you know how many times I've been [Eb] asked that question? _
[Ab] _ _ [Db] _ We were [Ab] touring Japan quite heavily.
And we were up in Sendai, up [Bb] in the north, and it was snowing outside.
[Ebm] I looked out the window and [Db] big city [Gb] skyscrapers, [C] you know, huge [B] city.
[Bb] Nobody on the street, not [Ebm] a soul.
[Bb] Streets, big empty, big boulevards, no one on it.
And then just said to this little old lady, you know, where is everybody?
And she went, [Gb] _ _ [Eb] entrance over there.
[B] Walked down these steps, still nobody, and then suddenly [G] thousands of people,
just [Ebm] a whole world completely underground.
[Eb] And I just thought, wow, you know, this is the [Gb] future.
[B] Obviously the play on words from virtual reality [Bb] to virtual insanity. _
[B] _ _ [D] _ _ [Ebm] _ _ The first thing [Gb] I had to do was find [Gm] an amazing director for it.
[Eb] Jonathan Glazer had just shot Street Spirit [Bb] for Radiohead, [B] which was an incredible video.
Everybody was going mad about it.
It had things like, you know,
sort of speed [D] ramping in the edit, [Ebm] which nobody's seen before, and it's [Abm] beautifully done.
And he [Ab] seemed like the obvious choice to do it.
I had an idea that we'd use moving [B] travelators, [Ab] like you get at the airport,
which was going to be technically impossible to do.
He wanted the moving floor, which obviously is the famous starting [Ebm] point.
We met with [Db] Jonathan, his producer, Jay and his [B] manager at a pub.
Jay acted out the video on the pavement outside the pub while we were watching.
So I kind of told Jonathan what he wanted, and he says, you know, I want this floor moving,
[Cm] I'm going to move [B] like this, and what have [G] you.
And Jonathan took that and then went away and came up with the idea that ended up being made.
I had a stupid idea of exactly [B] the same idea, but basically the set was going to be built on [Ebm] hydraulics,
and like [Eb] _
everything in the set was going to be able to move independently [Gb] of everything else.
The production [B] designer came back with an estimate [C] figure for the [Ebm] build of that of like 280,000 pounds,
which is like ridiculous.
[F] It was one of the guys on the [B] production team, and he [Bb] said, why [Ebm] don't we just not [Fm] move the floor?
Why don't we just [Ebm] move the thing, you know?
And I remember [Ab] people going, oh yeah, great, stupid [D] idea.
But it wasn't a stupid [Gb] idea at all, it was a great idea.
Then I got a phone call through the director just saying, I think I've got it, I've cracked [Ab] it.
The floor won't move, the room will move, be pushed.
I didn't get it, I couldn't quite understand.
He said, you'll see when you get to the set.
So I got to the set and there's about, I don't know, 50 people there,
and I can hear, north, north fast, [C] west slow, [B] south quickly.
[Eb] _ _ _ [G] _ Rumbling, and [Db] those are the wheels, you know, this [E] great big room moving around.
So we did one where I just sort [Bb] of [Db] moved around a bit, [Gb] stood about,
and then a sofa came at me and a chair came from the other end.
[Bb] And then it clicked where you had to be [Gb] in order to give the [Db] impression of the furniture [C] moving.
And then when I walked back through, I went, oh, I get it, [B] this is cool.
You're just made [Ebm] of virtual insanity now, [D] always seen [Ebm] through.
[B] I don't think anybody else could have pulled that [Bb] off.
I mean, there's a famous one where he tiptoes around the sofa at the back,
which is like a [Abm] take, we were like, my God, that's incredible,
because [Ab] he didn't hit the wall, [Eb] he didn't go into the sofa,
and bearing in mind everything's moving.
It was nearly a [Bb] fuck up because you couldn't really see [Eb] the sofa,
but somehow I knew it was coming at me, that sofa's behind you.
And the other [Abm] thing, yeah, I mean, when I go onto my knees and I [D] spin,
it came towards me, I wasn't really ready for it, and I sort [B] of, you know, up against it.
[Eb] Because the other thing about this was, like, if you could see a mark moving across the floor,
you'd have kind of guessed where it was.
And again, [C] in post-production, as much as you could do [B] back in the 90s,
we had to get rid of any major marks, if there were any in post,
because a major mark would have given the game away.
We [E] started off saying, I think it'd be good if you [Ebm] moved from there to there,
and we did this with the chair.
[Eb] And then they'd say, OK.
And [Ebm] then he [Dm] did it.
And then I remember saying to him at one [Eb] point,
do that [B] instead.
And he said, listen, I've been doing this in front of [Gb] my bedroom mirror
since I was four years old.
I think even when I started music and going on the stage, yeah, I had a feel for _ where to be,
and my singing is quite a physical thing, it's not really a stand still.
So I'm always on the move.
I had the confidence, I suppose,
and the sense of my own movement and how it could look in order to make that one work.
I mean, the visual fuck-ups which are [Eb] there are when the rest of the band [Abm] go backwards
and I come forwards and there's a bit of set wobble.
[Eb] _
There's a bit of Acorn [Ebm] Antiques _ going on [Eb] there.
So there were four [B] shots, and I'll admit it, that's it.
It's only four shots.
[Eb] And the last one, I had [Ab] [Ebm] two blue fleeces, [Bm] one slightly darker blue than the other [Eb] one.
So if you look, you'll see I obviously picked the wrong one up.
Last shot, put the wrong one on.
So it's actually lighter blue.
Hold on, continuity.
[Ebm] The other thing was the blood starts to pour out of the hole.
And of course, [Gb] I mean, you can imagine once the blood starts to pour, that's it.
That is your shot.
End of set.
Everybody when it came in at Sony was very excited.
It was [B] a track I think that kind [D] of broke in the US.
[Eb] I mean, they performed it [B] at the MTV Awards.
They did have Travelators [D] on stage.
I remember watching it.
The right director, the right [Eb] artist, the right song, and the [Ab] right idea, and [Fm] the right execution.
[B] I admire what he does very [Bbm] much, and he's got a really [Fm] specific talent.
And [Ebm] that was just a good stage for his talent.
But the idea, you know, [Ab] you or me in there would have looked ridiculous.
The [Gbm] bottom line is it's visually [Ebm] entertaining.
You can [Db] watch it, and it's a [Gb] great visually [F] entertaining thing.
I want to be [Ab] entertained [D] by it.
You know, that's always at the back [Eb] of my mind.
And I'm, you know, if [Bb] it can entertain [D] me, surely it can entertain other people.
[Eb] Because I'm definitely my own worst critic.
[Bb] You know, I will definitely be 100% going, that's crap.
Do it again.
I hate it.
The [Gb] job is to entertain people.
[C] _ And [B] I've done a bit of that.
_ [Bb] _ _ _ _ _ _
_ _ _ _ _ _ _ _
[B] _ _ [D] _ _ [Ebm] _ _ _
[B] And I've always [D] seen you.
[Ebm] Because I'm back in love with [B] you.
For you, sis, [D] we'll see.
[Ebm] I'll lend you technology.
[B] For now, there ain't [D] no sound.
[Ebm] But we all live underground. _
[B] Now, the [D] end of him.
[Ebm] He all gives you freedom.