Music Video
Michael Bay directed the music video. He also directed the videos for "Objects in the Rear View Mirror May Appear Closer than They Are" and "Rock and Roll Dreams Come Through", also from Bat Out of Hell II. Filming took place in Los Angeles County, California in July 1993; the opening chase was filmed at Chávez Ravine, with the interior mansion scenes filmed at Greystone Mansion in Beverly Hills. The cinematographer was Daniel Pearl, particularly known for filming The Texas Chain Saw Massacre in 1973. Pearl says that this video "is one of my personal all-time favorite projects... I think the cinematography is pure, and it tells a story about the song."
The video is based on Beauty and the Beast and The Phantom of the Opera. Bob Keane did Meat Loaf's make-up, which took up to two hours to apply. The make-up was designed to be simple and scary, yet "with the ability to make him sympathetic." It went over budget, and was filmed in 90 °F (32 °C) heat, across four days. According to one executive, it "probably had the budget of Four Weddings and a Funeral." It is the abridged seven minute single version, rather than the twelve minute (11:58) album version.
The actress in the video, Dana Patrick, is miming to Crosby's vocals, however, as she would to Patti Russo's in the 1995 song "I'd Lie for You (And That's the Truth)". According to the captions aired on Pop-Up Video, Patrick received several offers for record deals after the video aired, by executives who assumed she was actually singing in the video.
Read more about this topic: I'd Do Anything For Love (But I Won't Do That)
Famous quotes containing the words music and/or video:
“Westminster Abbey is nature crystallized into a conventional form by man, with his sorrows, his joys, his failures, and his seeking for the Great Spirit. It is a frozen requiem, with a nation’s prayer ever in dumb music ascending.”
—M. E. W. Sherwood (1826–1903)
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
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