The Mouthpiece-repped director on working with her idols, moving from Edinburgh to London (with geese) - and the need for greater mental health support to cope with the demands of the industry.Rianne White is a multi-faceted creative whose extensive list of credits as a director and editor include music videos for Young Fathers, Aurora, Ellie Goulding, Lola Young and The Proclaimers, and the short film Sugar For Your Tea, showcased in festivals around the world. In the past few months Rianne has added two exceptional videos heralding the exciting return of well-loved bands - Franz Ferdinand and Black Country New Road. Rianne has also worked for the TV series Outlander and the short film Nevada, directed by Ruth Paxton, as a choreographer and has collaborated on impactful projects including the Scottish campaign United To Prevent Suicide. Her work consistently explores themes of the ever-evolving resilience within identity and the need for connection with our people, our planet and our inner worlds.Having recently moved from her native Edinburgh to London she now gives us a glimpse into her own world via the SNAPSHOT Q&A. And you can find out what she thinks is 'sagacious'. What a great word...Name: Rianne WhiteBirthday: 2nd November 1991Where did you grow up? Edinburgh, Scotland.Place of further education and course (if any)? I never thought I would go into further education after leaving school as quickly as possible at the age of 16. But impulsively, years later, I took possibly the longest route (a casual 10+ hour trip) to Falmouth University to study a BA in Choreography. It was here that I taught myself film through the lens of physicality and movement. Those were some wild years on the coast.Where do you live now? I moved to London 6 months ago.Name a film or video or other creative work that had a huge influence on your career choice?I remember being very (very) young and finding the VHS of Tommy (1975, Dir. Ken Russell) and being completely fixed to the screen. The scene of him crashing through the mirror into the swimming pool embedded itself in my brain and conjured this curiosity into how cinema can punctuate inner worlds so deeply and beautifully. I don’t think I could understand a lot of what I saw at the age I was, but I remember whispering to myself that he was now free. Weightless in water. Transformed. I haven’t watched it since - I fear it would be like brushing your teeth right before a great coffee. Don’t want to spoil the memory.Labyrinth (1982, Dir. Jim Henson) was another one that made my expansive imagination feel seen in many ways as a child. David Bowie has always featured throughout my life beamed in through the womb to each postcode we lived in. It was wonderful to understand him here so young. My Scorpio only child gripped onto this with both hands, finding the theatrics energising and brilliant.Madonna's Frozen was such an important and inspiring visual for me.I also recall pre-double digits in age when I saw Frozen. NOT “the cold never bothered me anyway” one, but Madonna’s music video released in 1998 (Dir. Chris Cunningham). It permeated my mind in how she moved, the endless desert, birds and hounds - this was such an important and inspiring visual for me. The understanding and knowledge of music videos seeped into every pore, I was instantly addicted to where the music took the artist — what world, what shape of movement and if I was so lucky, which animal would find its way on screen alongside them. I was hooked!What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?Life had been turbulent in my early to mid-twenties, shaped by family traumas and the discovery of mental health, with all the frills that come with it. I distinctly remember being at home in Edinburgh, staying with my mother at the time, when I received a message from Young Fathers' management about a potential music video.Within days, I was trotting down Leith Walk to meet them in their studio and discuss ideas. It was such an instant click, and as they played Lord through the speakers, I honestly felt an arrival within myself and instantly knew how important and essential it was for us to create art at this time.‘If wishes were horses, then beggars will ride’. The concept started with a rocking horse, and evolved into the wonderful Alloysious horseback on Magic. It was a dream producing, directing and editing this piece and waking up post-release explosion of news.This journey took me around the world to film festivals, landed the work in publications I had idolised, led to meetings with production houses, and ultimately resulted in signing with Partizan globally for three years. Most importantly, it brought me back to life, reigniting my focus on the power of the arts. If you ever have a moment, listen to Lord at full volume on headphones. It is magic.Best film(s) you saw last year?Perfect Days (2023) - this is like the book on the shelf that catches your eye to read time and time again before finally picking it up EXACTLY when you need it most. This Wim Wenders film, released 2023, gave me so much joy recently. I had sore cheeks from smiling all through it as its poetry and meditation of gratitude held by Kōji Yakusho’s character is so profound and understood. This is a deep inhalation, a tapping on the shoulder to open your eyes to what is around and find what truly brings you joy.Kneecap (2024, Dir. Rich Peppiatt) - this film triggered a constant ‘fuck yeah!’ reaction throughout. It combines the ingredients of electric film-making and cast - crowned by a story routed in language, defiance and legacy. Liam Óg, Naoise Ó Cairealláin & DJ Próvai are stand out.The Girl with the Needle (2024, Dir. Magnus von Horn) - hardcore trauma wrapped in the most stunning cinematic ribbon. Vic Carmen Sonne is mesmeric, and watching her veiled in black and white throughout her performance was such a treat. I enjoyed this, although I needed to hotbox myself in sage and incense after to bring my heart rate down.Favourite song/album/music artist in the past year?Kae Tempest holds a rhythm in my heart. Everything they do is just hitting a frequency and appetite for lyricism I don’t often feel absorbed within anywhere else. I am constantly in awe and grateful to have spent time with this beautiful mind and person. And Doechii’s album Alligator Bites Nevel Heal is sagacious. Offt. I love sticking this on.I am also a playlist addict. Last year's eclectic Christmas generational hotlist holding its weight through 2025 is studded with Tori Amos (Precious Things – one of the greatest tunes), Depeche Mode, Warren Ellis, Radiohead, Biig Piig, Nao, The Cure, Yeah Yeah Yeah’s, PJ Harvey to Khruangbin.It's alarming that in this line of work you’re constantly advised not to be overly political.Favourite music video/videos in the past year?Allégorie Citadine (aka An Urban Allegory) - a short film, directed by Alice Rohrwacher & JR, that's a beautiful exploration through the eyes of a child. This has so many great moments, and the child actor has one of the most beautifully expressive faces.I loved the Jungle series of music videos by directors J Lloyd [and Charlie Di Placedo], choreographed by Shay Latukolan and shot by the babe that is Tasha Duursma. Absolute tunes!Conceptually, I loved Waxxwork's Kasabian's music video which features a skydiver jumping out of a helicopter with the video of the band playing real time on the phone screen as it hurtles towards earth. There have been so many debates involving AI, and here is an example of how the magnitude, bravery and craft of an idea is as awe-inspiring as its final results when pulled off ‘IRL’.What was (or usually is) your favourite night out last year? The nights out that start with the side eye ‘lets go for one’ and then transpires into new found friends, a lot of dancing and uncontrollable laughter.In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?Franz Ferdinand's Night Or Day was, hands down, one of the best experiences all round. From the first listen I was transported to my youth in T in The Park and being in the bounce of the crowds to Take Me Out in the Scottish cry of ‘here we, here we, here we fucking go’ and having them echo throughout Scotland and beyond. It’s such a defining moment to collaborate with artists whose music has illuminated parts of my life - and even more incredible to work with them on home turf in Scotland, in the very place where they recorded the music. Woah!I have so much love and respect for everyone involved and couldn’t be more impressed by the incredible individuals who make up Franz Ferdinand. Alex, Audrey, Bob, Dino, and Julian are such genuine souls, and they made this experience truly unforgettable.It was also a real treat that Alex foraged potatoes and rosemary from his garden and rustled them up for the crew - true gent! What a bunch of legends. I’m so grateful for the treasured new friendships with these wonders and can’t wait to hear what’s next! Their The Human Fear record, released earlier this year, is an absolute rocket - get it in your ears!Above: Alex Kapranos, lead singer of Franz Ferdinand, picking rosemary - shot on 35mm by Rianne White.Another absolute dream was working with Black Country, New Road on their beautiful song Besties. Never have I been so happy to be stood in a field with mud up to my thighs, grinning while filming.This all came through a spark ignited with the song itself from the first listen. I remember responding to it by writing about my childhood bestie Sophie (of almost 30 years). We would write to each other often and mastermind ways to get back to each other after a devastating parting very early in our childhood when I moved back to Scotland. The understanding of female friendships was so pure and informed by the intricacies of map drawing and endless imaginative worlds with no care of distance. One deeply understood platonic love, one objective – finding your bestie.Meeting the band, and ideating with Georgia and Ginny was the most wholesome and beautifully shared moment as all the parts came together. Fireworks, hounds and the heartbeat of the harpsichord found us running across parts of Hastings and sharing a collective vision of dropping the world for your bestie. Black Country, New Road are truly brilliant!What are your favourite other (non-mv) projects of the past year or so?Working with HUGO across two commercial projects was an incredible experience - a true testament to the energy and passion this kick-ass brand brings to set. I adore these wonderful people. It was a pleasure to work on their collaboration with Bella Poarch in Milan and to feel the electricity of creatives across stills, socials, and film - one huge dance against the clock unfolding in rapid succession.Their trust and support made the whole experience feel limitless and free. And of course, I was joined by my ride-or-die DoP, Tasha Duursma... Who, let’s face it, is an absolute radiant talent.Months later, we reunited for HUGO’s F1 Racing Bulls collection in London with Daniel Ricciardo and Yuki Tsunoda. It was another perfect fusion of energy and creativity. Daniel and Yuki were hilarious and a joy to direct, and it was deeply humbling to be back with the HUGO gang once again.What’s the most surprising thing that’s happened last year?Waking up in a new postcode and calling it home is surprising, even when manifested and planned into boxes of books, art supplies and enough plants to oxygenate another planet. The move from Edinburgh to London by van was pretty smooth with my partner-in-crime through the crowds of The Fringe, several weather fronts and when hitting the open road under a migration of geese – also travelling south.A few days after my birthday last year, a notification popped up that a photograph I had taken was chosen to be exhibited in the Glasgow Gallery of Photography’s Women in Photography collection. It’s been magic to have a part of me up in Scotland while I am down here [in London], and the support from my favourite people.Most annoying/irksome thing that’s been going on this year (work-related or otherwise)?Honestly, with the world right now it feels impossible even to hold the word ‘annoying’ in context with how immensely depressing and heartbroken the state of humanity is – especially with our mass media exposure of the genocide of Palestinian people alongside the need for collective liberation against oppression of Sudan, Congo, Tigray, Lebanon, Yemen... and may other places that are being underrepresented by Western media. This sided with Trump and the far right - fucking kill me now. Beaming so much love to our LGBTQ+ beautiful queer community – I love you, I see you.It's alarming in this line of work (or any) that you’re constantly advised not to be overly political or let your mouth run on topics that might upset. It has been beautiful to come together with friends and family in creating noise and awareness. I am so grateful to those who sponsored and supported my ‘Stride For Palestinians’ fundraiser with Medical Aid for Palestinians and other links/sources shared. It’s the tip of the iceberg, but it's led to many conversations and modes of action. When life feels too overwhelming, I am so grateful for my community – the people who love the people, nature and freedom on this planet.The need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE.Your top suggestion to change and improve how the music video industry works?It feels like the ‘known thing’ that music videos don't have a lot of money and that to make a career solely of music videos is fundamentally not doable for the vast majority of people - unless you come from money/willing to give part/majority of your fee to the project itself. As a person that does not fall in this category it has been extremely hard to balance passion with financial security.There should be more support for creatives in the pitching process, empowering fees for time spent on creative ideation, especially in line with numerous treatment submissions. In all areas of production, from pre-to-post, the need for mental health support to alleviate the burnout spin of pressures and relationships across crew is HUGE. I have felt the machine of expectation in spells of ‘we need to get this across the line’ and the sacrifice of creative/payment, or the toxic positivity of ‘but this is a great opportunity/ you should be grateful’ in line with the amount of work required from craft and soul. It is the best job in the world to me, but it is hard work.I have been so fortunate with the people I have created with, and I have the upmost respect for the brilliance and empathy that exists within our teams. We need to support our creative minds better, and celebrate the meeting of music and film in the way it truly deserves for all artists involved.What are you looking forward to for 2025?Creatively I am pouring my heart into developing a short I have been dreaming about for years. I am so excited for this to evolve and grow with me and be able to collaborate with brilliant people. In a couple weeks I am off to Japan to celebrate my partner's birthday and see great friends for adventures seasoned with cherry blossoms, street photography, new tastes and culture.On my return, I want to hit the ground running and dive even further into the world of creation. There are so many musicians that have my inner world bouncing with inspiration and collaborations with brands that excite me deeply. I will be fully openfor business in May 2025 and cannot wait for what is to come. Here we, here we, here we.....• Rianne White is represented for music videos by Claire Stubbs at Mouthpiece; watch more of her work here

He has made an awesome black and white surfing film for singer-songwriter Isakov - a passion project, shot in Ireland, that stands comparison with a certain famous ad. It was time to ask the Rogue Films director some questions. Joe Connor Likes to push himself. The director, who has worked with artists including The Rolling Stones, Sam Smith, Harry Styles, Coldplay and Placebo, as well as brands like Louis Vuitton, Volvo and Land Rover, became hooked on the terrifying beauty of big-wave surfing during a chance trip to Hawaii - the sheer scale of the waves and the fearlessness of those who chase them.Connor is a versatile creative - director, photographer, and musician (one half of the UKVMA-nominated electronic duo Supermodel) - who made the leap from the theatre, where he ran his own company and directed productions, to film over ten years ago. Last year he also directed his first feature, A Message To You, a documentary about The SpecialsHe also continuously engages in personal projects to challenge himself. So when his longtime friend Gregory Alan Isakov shared an early copy of his new album, which includes the sun-soaked track Mistakes, Connor recognised a chance to realise his latest visual mission. Instead of returning to Hawaii, Connor chose to take an unconventional route by focusing on Mullaghmore in Ireland. This location is known for its dramatic big waves, providing thrilling 50-foot peelers under the right conditions, allowing him to infuse his signature atmospheric visual style into the project. In the resulting video, surfer Ryan Watts carves through these apocalyptic waves on a lone quest, crashing through monstrous barrels and wiping out into the abyss. Rendered in black and white, the stunning footage juxtaposes the ocean’s menacing ferocity with the fragility of man - the thrill and the danger of the sport.It's amazing, and we wanted to find out more how Joe Connor achieved it.I wanted to capture surfing authentically, convey how terrifying these waves can be, whilst also telling an emotional story.PROMONEWS: How did this project happen? Did it originate with a music video commission or start life as a personal project (or some other way)?JOE CONNOR: This project came about completely organically. I met Greg about 12 years ago in a little bar in Brighton. He was touring the UK [at the time]. We became friends, kept in touch, and always caught up when he came through the UK. We'd always talked about doing something together.He sent me his album before it came out to see if anything resonated with me. Aside from being an astounding piece of work, Mistakes struck me as something beautiful. Once I'd settled on the track, a sequence of coincidences led me to Mullaghmore Head in Donegal. It's a mythical place, and I think that comes across in the film.Mullaghmore has a reputation as a dangerous and unpredictable mutant wave. A wipeout here can kill. P: How knowledgable are you about surfing? Have you been a surfer, ever filmed surfing before?JC: I'm actually not a surfer - I've never surfed. There weren't many waves in Manchester when I was growing up. But I tend to hyper-focus on subjects that catch my interest.Last year, while staying on Hawaii's North Shore watching people surf Pipeline, I became obsessed with the mentality required to surf such an incredibly dangerous reef. I'd never known waves could be lethal the way Pipeline can be - it's truly terrifying. I just became obsessed with surfing - I'd fall asleep watching surf films every night.When this song came up, I wanted to challenge myself not only to capture surfing authentically and convey how utterly terrifying these waves can be whilst also telling an emotional story through it. To go beyond mere documentation and find something more eternal that resonated deeper. I think people are yearning for work that stays with them longer.The key piece of this project was the surf cinematographer, Clem McInerney... a genius.P: When (and how) did you cast your surfer, Ryan Watts? What’s Ryan’s backstory?JC: The key piece of this project was the surf cinematographer. I needed someone who knew the waves, knew the landscape, knew the surfers, but was also an artist who could capture the ocean in a dynamic, poetic way. That person was Clem McInerney, and Clem was the one who proposed Ryan.I can't really describe Ryan, he's a mythical creature. Some say he's still out there surfing now.P: You would be forgiven for thinking this was shot in California, Hawaii, etc. But its shot in County Donegal. What were the factors that led you to shoot there? JC: Gregory's voice is magic - it sends you into a dream state - but his lyrics have a depth that gets into your bones. I knew sun-kissed Californian or Hawaiian landscapes wouldn't do the song justice; the sea needed to be powerful, dangerous, terrifying, cold, brutal. You had to feel like the surfer was on a knife edge, a lonely tightrope with real consequences.I became obsessed with the mentality required to surf such an incredibly dangerous reef.I'd travelled up the west coast of Ireland just before Covid and remembered hearing about these waves as big as houses. Mullaghmore has a reputation as a dangerous and unpredictable mutant wave. A wipeout here can kill, it's not a joke. As soon as I started to think about this project, I knew It needed to be shot there. P: When did you shoot the video, and how many days were you shooting? Did you know when you went to Donegal that the conditions would be ideal for what you wanted to achieve?JC: We planned this shoot meticulously but kept it simple. With just myself and Clem as crew, we could move nimbly with the ocean and find calm spots for underwater work.The timing worked perfectly. The big weather storms in the States meant plenty of swell was crossing the Atlantic. Clem is a master at getting himself in the right places at the right times. The guy is a genius. I leant on his experience, expertise, knowledge and skills a lot over this project and the final film is a testament to his work.I knew sun-kissed Californian or Hawaiian landscapes wouldn't do the song justice.P: So how did you organise the shoot? When Ryan is surfing through a wave, where are you/DoP Clem shooting from? What cameras are you using? (Is it as tricky as it looks?)JC: We broke down the shoot into controllable locations to capture specific story beats and moments that complemented the big wave surfing. Working in calm water, we focused on getting compelling performances and details that elevated this beyond mere documentation into a cinematic narrative.This approach allowed us to build layers of visual storytelling - from the raw power of nature in the big wave sequences to intimate moments that revealed the psychological and emotional aspects of facing such formidable conditions.Clem worked underwater while I was on the cliffs getting battered by the sea. For the wave work, Clem operated from various positions. Sometimes on the back of a jet ski, other times in the water managing the swell and currents to get the perfect angle at the perfect moment. I really can't stress how impressed I am with this guy's skill - and he's a great laugh as well. A total pleasure to spend two days with.Ryan is a mythical creature. Some say he's still out there surfing now.P: Was the fact you’re shooting in a northern ocean off Ireland the main reason you finished the project in black and white?JC: Shooting in natural light across multiple days in uncontrollable environments - with sea conditions varying from gin-clear to foggy - meant finding a look that balanced all the footage would be challenging. I had a feeling black and white would be the way to go, as it would unify the project and focus attention on the story rather than the changing conditions.That being said, the grade done by my longtime partner-in-crime George K at Black Kite is astounding. Black and white may look easy, but it's incredibly difficult for a colourist to achieve the right tonality, contrast, shape, balance, and feeling in monochrome. They don't call him the prince of darkness for nothing.P: Is your surfing footage better than the surfing footage in that famous Guinness ad?That's a big statement. To have my work mentioned in the same sentence as the master is a compliment I'll take.• Joe Connor is based at Rogue in the UK, and represented for music videos by Alexa Haywood at Free Agent; more of his work here.

The commercials director, making his very first promo, says a shared experience with the acclaimed actor drove the project - and his love for a classic Gus Van Sant movie. Stuart McIntyre's video for the title track of the new Sam Fender album has a lot in common with previous Fender videos - and one important difference.The singer-songwriter's anthemic songs tends to inspire visuals that are big cinematic experiences, with a strong emotional core. McIntyre's promo for People Watching follows that pattern, and then adds a special ingredient: the main protagonist happens to be played by one of the world's best screen actors.In various roles - from Sherlock to Fleabag to All Of Us Strangers to Ripley - Andrew Scott has been a mesmerising presence. In the People Watching video he brings his trademark intensity, and compelling ambiguity, to his role as an apparently rootless character, drifting through small-town America, engaging in a series of brief encounters along the way. But this time he burns up the screen without a word of dialogue.As the song reaches its crescendo, McIntyre brings in other elements, flashbacks to the past - the home movie footage of a young boy, and a sick woman in bed - into a bravura sequence where the Scott character is overwhelmed by their emotional turmoil. It's a remarkable, transcendent moment to express the potentially crippling impact of grief. In fact, bereavement runs through the course of the project. It inspired Fender's song, and as Stuart McIntyre explains, it has affected both himself and Andrew Scott in recent times. Known for his work in commercials, including work for Apple Music, Louis Vuitton and more, McIntyre made a late start as a director, which came after establishing himself as a successful commercials editor. Now he has belatedly directed his first official music video - which turns out to be very special indeed.So we got in touch with him to find out the background to the project from his perspective, to find out how it all happened, and about working with Andrew Scott, one of the great screen actors of our time.The song is about loss, and when it found me, I was already living inside that grief. PROMONEWS: How did this project begin for you? STUART MCINTYRE: China Presles, my producer at Wanda [in Paris], brought me the project. I had never done a music video before, but we had been talking about it for a while - she was just waiting for the right one to come along. And I guess this was it. The right song, the right story, the right moment. Some projects just feel meant to be.The brief struck something deep in me. The song is about loss, and when it found me, I was already living inside that grief. My father had passed just weeks before. The weight of it hadn’t settled yet - it was still shifting, still raw, still catching me off guard.What was the crucial part of the brief that appealed to you? SM: What truly resonated with me was how the brief wasn’t focussed on a literal narrative but on capturing the emotional weight of loss - the way it lingers and the way it reshapes you.Above: Stuart McIntyre (left) with Andrew Scott on the People Watching shoot in San Pedro, CA, on January 8th 2025. They referenced Gus Van Sant’s My Own Private Idaho - a dreamlike meditation on unrequited love and the endless search for connection. I love this film, not just for its aesthetic or mood, but for its truth - the kind that settles in your bones. The ache of lived experience. I wanted to channel that same vulnerability, the way River Phoenix’s character [in the movie] longs for a sense of home, for belonging. You don’t just hear it in his words; you see it in his face, in the silences, in the weight he carries. That unspoken yearning.And then there was that moment - 3:27 in the song. The brief singled it out - the swell, the shift, the emotional breaking point. It wasn’t just a climax; it was a reckoning. The challenge wasn’t just to arrive there, but to earn it. To build toward it in a way that made it inevitable, inescapable. That moment had to mean something. It had to hit.Andrew was already a fan of Sam’s work [but] it was the song itself that truly resonated with him.And how did you respond to that in your treatment? SM: I did my best to put that emotion into words. But I’ve always believed in Robert Bresson’s philosophy on filmmaking - you don’t make just one film, you make three. The one you write, the one you shoot, and the one you edit.The treatment was just the first step, a blueprint for feeling rather than something rigidly set in stone. I wanted to create space for discovery. For the unspoken moments, for the unexpected nuances that only emerge when you’re deep in the process. The real film comes alive in the in-between, in the way it evolves from page to frame to cut.Above: Andrew Scott on set of the People Watching video, with DoP Max Goldman.Can you tell us a bit more about how Andrew Scott became attached to the project? SM: Andrew came on board after we were greenlit. I don’t know the exact details of how the label reached out, but my understanding is that Andrew was already a fan of Sam’s work. However, it was the song itself that truly resonated with him. Having recently lost his mother, its themes of grief and remembrance felt deeply personal, and he may have seen an opportunity to explore those emotions through the film.That personal connection brought an unforgettable authenticity to his performance, making this collaboration all the more meaningful for everyone.This character is always reaching... grasping for something just beyond his reach.Was there a lot of discussion between yourself and Andrew about his character before the shoot?SM: Andrew and I spoke at length about the character - before the shoot and throughout. His motivations, his grief, his quiet longing. But more than that, we talked about our own experiences.One idea that resonated deeply with both of us was how this character is always reaching - for touch, for connection, for something to hold onto. Whether through hugs, holding hands, even through conflict, he’s grasping for something just beyond his reach. Trying to fill a void. Trying to tether himself to the world. That ache sits inside him, unspoken but ever-present.Above: Stuart McIntyre (right) filming the deathbed scene.But the real turning point came when Andrew shared a sketch he had drawn of his mother. The moment I saw it, I knew - that was the heart of the film. That was what he had been chasing all along. Throughout the story, we see him sketching, but we never quite see what he’s drawing, until the very end. That realization gave everything a deeper weight, an emotional throughline that felt inevitable.It must be said, Andrew gave a lot to this film. More than I could have ever asked for. He allowed himself to be vulnerable, to let the camera see him. That kind of bravery doesn’t happen without trust. And for me, for all of us on set, it was essential to create a space where he felt safe enough to let go, to explore, to give himself fully to the moment.And you feel it. In every glance, in every silence, in every flicker of his eyes—there’s something raw, something searching. A longing that never quite finds its answer. It’s beautiful. It’s heartbreaking. I’m so grateful.When Andrew shared his sketch of his mother... I knew that was the heart of the film.When and where did you shoot the video? How long did you have to shoot it? SM: We shot in San Pedro, CA. My very first shoot in LA was there, and I’ve been drawn to it ever since. There’s an honesty to the place, something raw and unfiltered, both in its landscapes and in its people. It felt right for this story, where we wanted to evoke a sense of Americana—the kind captured by Robert Frank’s photographs, John Steinbeck’s stories, Wim Wenders’ road-worn poetry. San Pedro already held the kind of truth we were searching for.What were the biggest challenges on the shoot, and what were the most memorable moments? SM: My most memorable moment was simply working with everyone. Like every artistic journey, challenges arise, but when you’re surrounded by great people - from PAs to renowned actors - those challenges transform into opportunities.But this wasn’t merely about telling a story. It was about capturing something unspoken.Producer China Presles believed in this project from the very start, guiding it to the right home with unwavering trust. My closest collaborator, cinematographer Max Goldman, and I immersed ourselves in the story, shaping scenes together, finding meaning in every frame. His poetic eye didn’t just capture visuals—it elevated the soul of the film.Editor Talia Pasqua took our footage and wove its pulse into an emotional, living story. Her perspective was invaluable; I can’t imagine the film without her instinctive ability to carve out its heart. And behind the scenes, agent Alexa Haywood played a crucial role in bringing it all together, ensuring this project became a reality.The problem-solving, the shared passion, the unspoken understanding between collaborators - it all blended into something not just enjoyable, but deeply fulfilling. Everyone poured themselves into this film, and you can feel that energy in every frame.The biggest challenge? Not running out of film! Shooting on 16mm meant I had to be conservative, which is far from my usual approach. I love to let the camera roll, to discover moments organically, but this limitation forced all of us to be intentional, to trust our instincts, to make every frame count. And in the end, that restraint led to some of the film’s most powerful creative choices.And did you have much (or any) direct communication with Sam Fender during the process? If so, at which point did he make a valuable contribution?SM: I didn’t have the chance to speak directly with Sam, but I collaborated closely with creative director, Semera Khan, whose insights became a guiding force in shaping the film’s heart. She shared Sam’s vision, his hopes for the piece, and, most importantly, the weight of the song’s meaning - the love and grief intertwined in his tribute to Annie Orwin, his godma.Sam’s presence was profoundly felt through Samera’s guidance, in every note of the song, and in the raw emotion he infused into it.Above: McIntyre (standing) talks to Scott between takes, filming outside a motel in San Pedro.From our very first conversation with Andrew, we kept returning to grief, loss, and the delicate responsibility of honouring those we’ve lost. But this wasn’t merely about telling a story. It was about capturing something unspoken, something that belonged to Sam and Annie yet resonated with all of us. Everyone on set carried their own experiences of loss, their own quiet understanding of its weight. That shared knowing united us, urging us to create something honest, something that mattered.Since its release, I’ve been overwhelmed by messages from people navigating their own grief, sharing how this film has touched them. It’s a profound reminder of why we create—to connect, to console, and to remind each other that we don’t bear our grief alone.I’m incredibly proud to have helped bring this story to life, to have crafted something that lingers beyond the screen.• Stuart McIntyre is represented for music videos in the UK by Alexa Haywood at Free Agent.

The Black Kite Studios colour producer on his love of street photography, buying Fontaines D.C. for his Dad and why he's feeling positive about the year ahead - including Black Kite's chances in the VFX football league.After a successful first year producing for three of the top colourist talents in London, Jamie McCubbin is looking forward to a busy 2025 for Black Kite Studios' colour department.Having previously worked as a VFX producer at Glassworks in Amsterdam, and before that at Okay Studio, Jamie joined Black Kite in late 2023 as colour producer for three of the most experienced, respected and in-demand colourists in London - George K, Rich Fearon and Tom Mangham.In the past 12 months he has colour-produced a number of music videos - including for Cat Burns, Self-Esteem, Tourist and Mura Masa - as well as numerous commercials. His crucial contribution to the Black Kite colour team's creative output was underlined by him taking an equally important role in the company football team - as goalkeeper.As we found out when we quizzed Jamie - courtesy of the first Snapshot Q&A of the year - he also has an exciting year ahead with his side project, as part of a filmmaking collective. And he's looking forward to "Manchester's own Woodstock". Name: Jamie McCubbinBirthday: 18.07.89Where did you grow up? Merseyside, LiverpoolPlace of further education and course (if any)? Manchester Met – studied AdvertisingWhere do you live now? South London massiveA grade can transform something in a very short space of time.Name a film or video or other creative work that had a huge influence on your career choice?I’m into street photography and spend time around the city taking photos of things. London always has something interesting to shoot and there’s literally drama on every corner. William Eggleston is a hero and I finally got my hands on some of his photobooks showcasing his glorious 35mm colour work.Photographers like Eggleston have influenced how I see visual media which has allowed me to feel so passionate about colour grading and picture post. The more photobooks I can get my hands on the better. Garry Winogrand, Martin Parr, Nan Goldin... the list is endless.What were the important first projects for you, in terms of a learning experience and getting noticed, or a foothold in the industry?On my first day as an intern in post [at Okay Studio] I had the opportunity to sit in a grade suite. I sat at the back on a nice sofa listening to the DP and colourist discuss their project and talk shop. I began to understand how fundamental colour is to the end result of a project and my appreciation grew early on.I think a grade can completely transform something in a very short space of time and as a producer I’ve been lucky to be a part that process since starting out.Best film(s) you saw last year?I’ve realised I’m much more of a film person rather than TV series person, so I try to watch as many films as I can. An old friend Rich Peppiatt directed Kneecap last year which is up for a BAFTA! Another UK film I loved was Aftersun by Charlotte Wells.For a big blockbuster, I thought Barbie was an absolute riot! It made me laugh out loud and looked the part both production design and grade.Favourite song/album/music artist in the past year?My daily tube commute consists of an album in the morning and a podcast in the evening. I listened a lot to the latest Mount Kimbie album The Sunset Violent for something a bit calm. When I wanted more of a foot stomp to get the day going I listened to the new Fontaines DC album. I bought my Dad that on vinyl for his record collection with the sole intention to inherit it back!Involving the colourists in pre-production is a great way to collaborate.Favourite music video/videos in the past year?Really enjoyed Luna Carmoon’s promo for Fontaines DC's Here’s The Thing – a great mix of narrative storytelling within a music video. The best music videos are short stories in a condensed form and this one really stood out for me when I saw it. I caught Luna’s debut feature Hoard via BBC Film, which showcases her talent as a strong British voice.I liked rubberband.’s video for Bakar's Alive! too. A super-simple idea with its off-the-the-wall naturalistic vibe holding up Piccadilly Circus - radical! DP Patrick Golan did an awesome job with a mix of long lenses and handheld which worked really well with the music track.What was (or usually is) your favourite night out last year? Down the pub with friends and a pocket of pound coins for the pool table.In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?We have a supremely talented team of colourists at Black Kite - George K, Rich Fearon and Tom Mangham, who are all a pleasure to work alongside.Last year Rich graded with the wonderful Ivana Bobic from Riff Raff on a video for Future Islands' The Thief. The video was a dance film with a colour palette based on the album’s cover artwork and we worked with DP Nanu Segal and Ivana to develop a LUT for the shoot.Involving the colourists as early on as pre-production is a great way to collaborate and spark an interest so I’m always keen for opening that dialogue up at the very beginning of a project. The video turned out super nice and just as we hoped.We value music videos as a creative outlet and they tend to have the most ambitious visual grade briefs.What are your favourite other (non-mv) projects of the past year or so?The standout project of last year for me was KFC – Believe In Chicken directed by Vedran Rupic at Business Club via Mother, which Black Kite did all VFX / Online along with grade by our very own Tom Mangham. The creative was cool, ambitious, and shone through from shoot to delivery.I remember seeing an initial edit and thinking it was a scene pulled directly from a feature film with a hypnotic soundtrack and great choreography. I knew it would be a great spot to grade and Tom did an incredible job bringing it to life with a strong 35mm print look. I’ve caught it regularly on TV and in the cinema and it’s always a joy to watch.What’s the most surprising thing that’s happened last year?Some friends and I run a small collective making short films on the side. Producing shorts on my own from shoot to delivery can be stressful but really fun.On the back of this, we landed a funding grant via the BFI which was a great surprise! Receiving a chunk of money and EP support from the BFI team to make a short film was amazing, so we were chuffed to get the funding and make something fun.Most annoying/irksome thing that’s been going on this year (work-related or otherwise)?I play goalkeeper for Black Kite’s team as part of the VFX football league. It’s a blast playing with a bunch of other post houses each week. We were pipped to last year’s league title, so we're going for the gold in 2025 with the season starting this month!Above: Jamie (middle of back row, in yellow) with teammates in Black Kite Studios football teamWe were pipped to last year’s league title, so we're going for the gold in 2025!Your top suggestion to change and improve how the music video industry works?I’d always encourage young and upcoming directors to be bold in their choices to seek out creatives who they feel can bring something special to their project, regardless of the boundaries music videos can have with budget, schedule, etc.On the grade side, we value music videos as a creative outlet and they tend to have the most ambitious visual grade briefs. Music videos are a collaborative effort and rely on everyone involved to give their full energy and attention. We should always celebrate the music video world and what it offers creatively to Directors and DP’s as well as editors and colourists on the post side.What are you looking forward to for 2025?To quote the footballing term ‘Bouncebackability’ – I think the year ahead will be a positive one for our industry all round, which has been in an ever-changing flux since these past few years since Covid and even the writer’s strikes.For me personally, I landed tickets for Oasis at Heaton Park in July. I'm fully expecting a frenzy will hit the UK this summer – Manchester’s very own Woodstock.• Jamie McCubbin is a colour producer at Black Kite Studios in London; email Jamie for more information about the Black Kite colourists at jamie.mccubbin@blackkitestudios.com