We spoke to the Pulse-signed young director about his breakthrough into the big time,  making a video for one of American hip-hop's most visually astute superstars.

Zac Dov Wiesel has been making great strides in the past few years. Since his videos for flamboyant rapper/singer Rodney Chrome, including the mesmerising To The Money, started getting word-of-mouth buzz in late 2022, the Australian-born, LA-based director has been seen as one to watch, potentially a major talent in the making.

That was reinforced last year by a brace of dazzling VFX-fired videos for alt-pop artist Audrey Nuna - and that video for Aussie disco-pop outfit Confidence Man: the 'naked-in-a-helicopter' one for I Can't Lose You. And Dov Wiesel also signed to Pulse Films' directors roster for good measure.

Now after showing that considerable promise, Dov Wiesel has struck gold with the new video for rap queen Megan Thee Stallion. She is an artist with an iconic presence in numerous music videos - for her own songs and in collaboration with other artists - and Dov Wiesel's promo for Whenever is a classic Megan video in every sense. It’s precision-tooled to showcase her considerable combination of unbridled physicality and unphased sassiness.

The video is a series of visually striking vignettes within a surreal 'waiting room' scenario, and he brings a welcome sense of deadpan humour and a knowing nod to absurdity as Megan steamrollers confidently through this dreamworld.

So, with release of Whenever, we asked Zac Dov Wiesel (above, on-set with Megan) about the making of the video and discovered that once the job was confirmed, it all happened very quickly...     

PROMONEWS: How did the process start for you on this project? Was there a video or videos you've made that led Megan’s team to reach out to you?

ZAC DOV WIESEL: I was meant to work with Megan’s team last year, so they were familiar with my work. Beyond that, I have no clue what attracted Megan and her team to my work!

What kind of brief did you get with the track?

ZDW: I got a series of images from her team. Some of the images I really connected with and just sparked lots of the sets we saw in the video.

Did you pitch one idea, or several?

ZDW: I pitched one idea that I believed in. Megan's original brief was super strong, so I felt like I knew what I wanted to do. I did at the end of the deck sneak some alternate editorial set ups that I liked but didn't know how to make them fit into the scope. None of them made the cut though. You only get one shot, do not miss your chance. This opportunity comes once in a lifetime, yo

Megan is a star. It's always fun working with someone like that.

Did you get to communicate with Megan or her team during this stage?

ZDW: The treatment was a super-quick turnaround, so I didn’t communicate with her team. But once I submitted it, they were super-quick for feedback and to start the conversation. Everything moved pretty fast. Vroom vroom.

What do you think was the key idea in your treatment that won over Megan - or was it a number of things?

ZDW: I am not sure!! I never asked her! The design of the deck was super-nice and clear, which is something I struggle with making work all the time. Definitely a top three deck of mine.

Did Megan bring her own ideas to the table, in terms of characters and looks? Or did you create the ideas for the characters she plays, and you collaborate from that point?

ZDW: Yes, she did! Originally a scuba diver was featured in the video as an extra, but after our first phone call she was super-excited by trying to be that scuba diver. She had some great specific references for that look too. The challenge was making that work within our day, and that meant doing a 'scuba' look without getting her wet. 

Liam Moore, my production designer, showed me this amazing Sade reference for No Ordinary Love which ended up being the best solution. Also, lots of references she sent, inspired many of the set ups in the video. Orange and Clocks were featured in the brief heavily. 

Once I submitted the treatment Megan's team were super-quick with feedback. Everything moved pretty fast.

How long did you have to prep the video between approval and its shooting?

ZDW: Five dayss from greenlight; so it was super-fast and furious. Super grateful for my team who supported me and allowed things to move super-quick.

How did you approach directing Megan? Does she need or ask for much direction?  

ZDW: Megan is a star; it's always so fun working with someone like that. 

The level of production polish is on a different level to what we’ve seen in your work before. Was it challenging making that adjustment - or just enjoyable? 

ZDW: It was something that making a Megan video called for. I love trying different things and having the ability to just be so tapped in with all the heads of department is so fun. The control of studio builds and studio days is something I would love to keep doing. It makes for a fun day.

What were the crucial things you had with this project to make the vision you wanted to make?

ZDW: My friends and my team made it so possible. The DP who shot this, Shane Bagwell, was the first DP I had ever worked with seven years ago. Will Noyce who produced this alongside Pulse in LA, had been on some of my first sets in America while I was a student. And Liam Moore, he really showed up and #out on such a short timeline, really making everything come to life. Pulse Films also empowered me to flourish like a butterfly.

What was your overall objective with the Whenever video - and did you achieve everything you wanted?

ZDW: I wanted to find a way to ground these random editorial images into one space and environment. I thought that would be a great challenge.  Do something extremely editorial and beauty focused and seemingly random but connected. So, to me I felt like I did achieve everything I wanted.

We really shot every single shot we had shortlisted, so shout out to the AD Lane Stroud. Lane also taught me how to handstand properly. Doing handstands is a great way to regulate your nervous system while on set.

• Zac Dov Wiesel is based at Pulse Films for music videos and branded content, represented for music videos in the UK by Hands. More of his work here.