Viet Nam News -
Đinh Hà Uyên Thư is an accomplished music director who has produced music videos (MV) for pop singers such as Hồ Ngọc Hà, Sơn Tùng M-TP, Tóc Tiên and Issac.
Two of the director’s MVs, titled Buông Đôi Tay Nhau Ra and Ngày Mai, have been nominated for the annual Music Devotion Awards’ best MV of the year.
The best MV of the year is a new category at the music awards that were launched by the Vietnam News Agency’s Culture & Sport daily.
Thư spoke about MV production in Việt Nam.
Do you know why pop singers prefer producing MVs instead of albums and singles?
MV production has been developing rapidly in Việt Nam in the last two years, both in terms of quantity and quality. Almost all MVs in the country are being produced by people aged between 30 and 40. They are fresh and have a creative bent of mind.
A few years ago, young audiences watched only foreign MVs. But they are now much more interested in made-in-Việt Nam productions. In my opinion, this is a good sign for the development of music in the domestic entertainment industry.
It is a fact that singers are now thinking about MV production. In the past, MV, CDs and DVDs were not popular because social networks had not grown so much.
Now, singers always give priority to an MV because they think their images will become popular quickly due to higher visibility from the video. It has become important.
In your opinion, is there a trend that is followed while producing MVs in Việt Nam?
No, there is no trend. Each song has its own rhythm and most of the songs are love duets.
I will not confirm there is a trend. I think almost all MV producers in Việt Nam, at present, like to shoot scenes with natural beauty and focus on the free style of singing.
These days, young directors are implementing new and interesting concepts in their MVs.
Can you tell us about the MV-producing technology in Việt Nam? Is there a gap between Vietnamese MVs and MVs in other countries in the region?
I think the gap between MV-producing techniques in Việt Nam and other regional countries is not large. Technology is growing rapidly in Việt Nam. However, directors rarely use high-end technology to produce MVs because it costs more.
What do you think of the potential of MVs in Việt Nam?
Vietnamese directors, in general, are still learning from international MVs. Việt Nam’s MVs are being inspired by foreign styles.
Many people think we are just copying foreign MVs. But in my opinion, it is good because MV production and the cinema industry in developed countries are growing very fast.
I want the audiences to place their trust in MV producers, including me, and encourage us to show our individual creativity.
I strongly believe young Vietnamese directors will combine the knowledge they have learned from other countries with their own individual art and creativity to make good MVs.
Could you name some emerging directors?
There are many MV producers, and they are mostly young people. I admire them a lot. They have their own creative styles. Triệu Quang Huy, Bone Hồ, Phan Lên and Nhu Đặng are some popular names.
Huy is a characterised director. His style is very clear. He will raise his voice to convey a personal message through a music product. He is strong in MV editing.
MVs by Bone Hồ and his team are about humanity, with stories on philosophy. Audiences feel a greater sense of positivity after watching Bone Hồ’s MVs.
MVs by Phan Lên are modern. He uses visual effects through dance in his works.
Nhu Đặng prefers to shoot familiar community images such as old living quarters, workers, barbers and children. He message is always new, interesting and charming. — VNS