Chords for The Making Of Hayley Kiyoko's "What I Need" Video | Framework

Life isn't perfect and sometimes it sucks and sometimes you're in situations that are
scary and I like to show that because to me that's what making real art [Cm] is.
What I need, what I need, what I need is for [Gm] you to be a show no, no.
For [Bb] you to be a show no, no, no.
For you to be a [F] show no, no.
[Cm] What I need, what I need, what I need is to [Gm] tell me that it shows no, no.
In my [Bb] mind I was imagining kind of like the [D] early 90s and kind of like the older films
of these road trips and kind of mischief and getting into trouble and somehow getting out of it.
And so I was painting this picture [Eb] of things kind of unraveling but still coming together
in the end.
_ _ [D] _ _ _ _
_ _ _ _ _ [E] _ _ _
_ [Bb] So this whole scene was improv'd.
They would do the same and then I'd be like, [B] okay, this is going a little too this way.
I need, let's bring it back and let's bring it back more about you guys not understanding each other.
They did it about [G] three times and then I kind of comped it all together in the editing room
to create this dialogue, which wasn't the easiest thing I probably should have written
in a script.
So fucking ungrateful.
Go.
I've been [Eb] planning on going for a long fucking time and I won't be back.
Why did you turn out this way?
I've heard these lines before of just like, you know, why are you this way?
I don't understand.
For Kehlani, her mother figure was her aunt.
And so I really wanted to build that dynamic.
And also we're starting to have more representation for the youth, but there's not a lot of videos
where parents can watch and relate to that experience with their kid.
And so [Bb] I loved the idea of showing that.
Can I put my jacket on? _ _ _ _ _ _
_ _ _ _ _ [Eb] _ _ [C] _
[G] When we scouted this location, we [Bb] went, we would stand in and do the [F] dancing and I'd
film it on the iPhone and [G] send it to my DP and he'd be like, wait, let's do it [Bb] this way.
So we really would map out each shot.
So going into the shoot, I knew what angle we were going to shoot at and how it was going to flow.
It does take time because when we shoot this scene and we're dancing and seeing how the
camera's moving, we have to pause and I have to watch the monitor and make sure it's okay.
And then we keep going. _ _
_ _ _ [F] _ _ [Eb] _ _ _
_ [G] _ _ _ _ [C] _ _
This scene for [D] me especially was very hard because I'd never directed kind of like an
action scene before. _
_ _ _ _ _ _ [Bb] We've got like a PA here.
We've got a PA on this side.
And then my camera operator is literally standing in the middle as this car's going this way and _ swerving. _ _
_ _ [G] _ _ _ To figure out that choreography was hard and this is also a stunt guy and then a stunt
guy and then no one's in the passenger seat. _
_ [Eb] _ _ _ [G] This is my favorite scene.
Number one, I can't run for shit.
Number two, this was really complicated to do.
And number three, it just is fun.
We had the camera mounted on the truck driving alongside us, timing out how fast I could run.
[Bb] _
_ _ _ _ _ [F] _ _
[Bb] I'm behind following in a car, [Cm] right?
And then there's a walkie talkie here and I'm talking to her.
So I'm going, okay, look at the camera.
Laugh.
Look down.
Look to the left.
Laugh more.
Be insecure.
Be quiet.
Be flirtatious.
And so I'm telling her what to do and then she's just doing it.
Because she's [Gm] great.
_ [Bb] _ _ _ _ [G] _ _ _
_ [Em] _ _ We needed a problem to go down.
We needed a conflict.
[Am] I needed Kehlani's character to betray me or make me feel abandoned.
To kind of have that full circle [Eb] story. _ _ _ _
_ _ Our car broke down like a mile down the road.
Can we get a ride?
_ Let me get that.
[D] I got it.
[Eb] Right here. _
_ _ _ Get [Ab] in the car.
Get in the car.
Get in the [N] car.
You're gonna make me miss my slot?
What do you want me to do?
Walk?
The car's a mile away.
I'm not too scared.
Get in the car, Hayden.
I'm gonna go. _
_ _ This was an epic scene.
I really loved the idea of us making out on the side of the road.
It was funny.
My mom actually helped with this idea.
I called her and complaining because I was like, I can't figure out how [Cm] they get back together.
My mom was like, you should just have her come running after you.
She left the car or something bad happened in the truck and she didn't like it and she left.
_ _ [Gm] _
_ I [Bb] told my mom, I was like, mom, you put together a lesbian love story.
And she was like, no, honey.
It's just a love story between two people.
And I was like, ugh.
We do fun and happy.
We do the best you can do [F] and I love you.
It's so important to have [G] representation in film [Gm] and TV.
[Bb] And so why not have that in the music [Gm] industry as well?
And I think that's the whole struggle.
If you don't see someone that looks like you doing what you want to do, then you can't dream it.
No, no, no.
It's [Bb] gonna be sure.
It's gonna be [F] sure. _ _ _ _
[N] _ When she says, I'm sorry.
Oh my God, kill me.
I loved that moment.
I was like, I was like, this is just the best.
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