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Fleetwood Mac - Big Love

Music Video
ArtistFleetwood Mac
SongBig Love
DirectorDaniel Kleinman
IntroNo
OutroNo
Sound MixStereo
Technical Specificationscolour - format unknown

Wiki

Synopsis

The video opens on a grand mansion before the camera begins an extended pullback through its rooms and corridors. As the view keeps retreating, Lindsey Buckingham appears performing the song while other Fleetwood Mac members emerge with their instruments. The stately interiors give way to more dreamlike images, including outdoor and beach settings, creating a sense of emotional distance and restless searching. The video closes with a stylized accelerated sequence, echoing the song's theme of looking out for an elusive, overwhelming love.

Factoids & Trivia

  • Much of the mansion footage was filmed at Kimberly Crest, a Victorian-era estate in Redlands, California. The location had also appeared in the 1981 horror film "Hell Night."
  • The shoot at Kimberly Crest was completed in a single day. Additional material was filmed at a beach location and on a soundstage, with some reports also identifying Hawaii as a filming location.
  • The video's signature movement was created with a camera mounted on a small crane running along a track. The continuous pullback gives the impression that the viewer is being drawn away from the band and the mansion without a conventional cut.
  • MTV premiered the video during "Mac Attack," a promotional weekend built around interviews and Fleetwood Mac programming in connection with "Tango in the Night."
  • "Big Love" began as a Lindsey Buckingham song intended for a solo album. When Fleetwood Mac started work on "Tango in the Night," Buckingham brought the track into the band's project instead.
  • The high, ghostly vocal sounds on the album recording are Buckingham's own voice, processed with variable-speed effects. Stevie Nicks contributed vocals to the 12-inch remix, which helped fuel the common assumption that she sang on the original recording.
  • The final section uses sped-up, reversed footage, giving the ending a deliberately disorienting quality rather than resolving the video's visual journey in a conventional way.
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