Director's Representation

Alexa Haywood at Free Agent UK

Colin Solal Cardo directs a spectacular performance&nbsp;promo for Wolf Alice in another&nbsp;showcase for lead singer Ellie Rowsell, choreographed by Ryan Heffington - and co-starring actor Lucy Boynton.&nbsp;The video for Just Two Girls is a celebration of female friendship, highlighting the power of connection, which has Rowsell and Boynton creating a stir on&nbsp;a night out in a posh London restaurant, after starting with a few drinks at the bar.&nbsp;&nbsp;Following the acclaimed 70s musical-influenced video for <a href="https://www.promonews.tv/videos/2025/05/20/wolf-alice-bloom-baby-bloom-colin-solal-cardo/91110">Bloom Baby Bloom</a> for the first song from the new Wolf Alice album The Clearing, its a different kind of production number orchestrated by Colin Solal Cardo in collaboration with Ryan Heffington.It also offers a different kind of sophistication, again with great casting around the main performers, a fabulous location and terrific energy in the way its shot and of course, the choreography. The result is captivating, a powerful expression of unabashed freedom, told with considerable flair.&nbsp;[imgtoken data:1][imgtoken data:2]

United Kingdom

Colin Solal Cardo

Ryan Heffington

Stink Films

Dom Mckiernan

Chris Murdoch

Nadia Szymanska

Rob Daglish

Marsheen

John O’Riordan

Pundersons Gardens

Cinelab Film and Digital

Nathan M. Legger

Danny Rumbelow

Milo Brown

Jake Whitehouse

Dan Huntley

Tom Nowell

Jack Appleyard

Gary David Moore

Michael Lewin

Anna Payne

Yoshi Miyazaki

Rock

Wolf Alice 'Just Two Girls' by Colin Solal Cardo

Wolf Alice - Just Two Girls (Official Video)

Directing duo Holy Magury direct an intense VFX-fired promo for mysterious Paris-based producer Prince 85.&nbsp;The video for All Of Us is a frenetic mix of Y2K textures and hallucinatory effects, following the artist on a visceral POV journey through the streets.&nbsp;Prince 85 becomes increasingly overwhelmed by the hostile stares of strangers. The tension builds until it erupts into a violent, unprovoked attack. We discover that the artist was targeted because of his difference: he is not human.A raw, symbolic, and unsettling debut that blurs the line between realism and futuristic fable.&nbsp;[imgtoken data:1]&nbsp;

France

Holy Magury

Gary Farkas

Phantasm.tv

Magnus Nordenhof Jønck

Sarah Gabay Réhel

Benoit Bequeraut

Léo Larour

Vincent Amor

Electronic

Dance

Prince 85 'All Of Us' by Holy Magury

Prince-85-'All-Of-Us'-by-Holy-Magury

<h3>He has made an awesome black and white surfing film for singer-songwriter Isakov - a passion project, shot in Ireland, that stands comparison with&nbsp;a certain famous ad.&nbsp;It was time to ask the Rogue Films director some questions.&nbsp;</h3>Joe Connor Likes to push himself.&nbsp;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&nbsp;directed his first feature, A Message To You, a documentary about The SpecialsHe also continuously engages in personal projects to challenge himself. So&nbsp;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.&nbsp;[vidtoken data:0] 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.<blockquote>I wanted to&nbsp;capture surfing authentically,&nbsp;convey how&nbsp;terrifying these waves can be, whilst also telling an emotional story.</blockquote><h3>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)?</h3>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&nbsp;before it came out to see if anything resonated with me. Aside from being an astounding piece of work, Mistakes&nbsp;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.[imgtoken data:1]<blockquote>Mullaghmore&nbsp;has a reputation as a dangerous and unpredictable mutant wave. A wipeout here can kill.&nbsp;</blockquote><h3>P: How knowledgable are you about surfing? Have you been a surfer, ever filmed surfing before?</h3>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.&nbsp;I think people are yearning for work that stays with them longer.[imgtoken data:2]<blockquote>The key piece of this project was the surf cinematographer, Clem McInerney...&nbsp;a genius.</blockquote><h3>P: When (and how) did you cast your surfer, Ryan Watts? What’s Ryan’s backstory?</h3>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.<h3>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?&nbsp;</h3>JC: Gregory's voice is magic - it sends you into a dream state - but his lyrics&nbsp;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&nbsp;surfer was on a&nbsp;knife edge,&nbsp;a lonely tightrope with real consequences.[imgtoken data:3]<blockquote>I became obsessed with the mentality required to surf such an incredibly dangerous reef.</blockquote>I'd travelled up the west coast of Ireland just before Covid and remembered hearing about these waves as big as houses. Mullaghmore&nbsp;has a reputation as a dangerous and unpredictable mutant wave. A wipeout here can kill,&nbsp;it's not a joke. As soon as I started to think about this project, I knew It needed to be shot there.&nbsp;<h3>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?</h3>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.[imgtoken data:4]<blockquote>I knew sun-kissed Californian or Hawaiian landscapes wouldn't do the song justice.</blockquote><h3>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?)</h3>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.[imgtoken data:5]<blockquote>Ryan is a mythical creature. Some say he's still out there surfing now.</blockquote><h3>P: Was the fact you’re shooting in a northern ocean off Ireland the main reason you finished the project in black and white?</h3>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.<h3>P: Is your surfing footage better than the surfing footage in that famous Guinness ad?</h3>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 <a href="https://www.roguefilms.co.uk/directors-roster/joe-connor" target="_blank">here</a>.

Joe Connor

Rogue Films

Joe Connor on capturing Ireland’s giant waves for Gregory Alan Isakov's Mistakes: 'You had to feel the surfer is on a knife edge.'

Gregory Alan Isakov - Mistakes (Official Music Video)

Elliott Gonzo helms a dark, dystopian promo for the team-up of Goldie and Casisdead, where rapper Cas is pitted against a monstrous dictator - Goldie - and&nbsp;humans have been replaced by machines.Taking cues from the likes of Blade Runner and The Matrix, the pulsating video for Still the Same plunges into a world entirely dominated by AI.&nbsp;Cas plays the hero on a mission to&nbsp;take down Goldie, the corporate bigwig who runs this ultra-sophisticated, machine-only society.Retrofuturistic graphics and modern technology intertwine to create a fearful cityscape, with&nbsp;Elliott Gonzo's experience with cinematic, abstract concepts leading the way.&nbsp;This is a chilling, precise world where AI rules every corner, really messing with what we thought we knew about reality, and Gonzo balances&nbsp;breathtaking VFX graphics with character work and narrative, to create something grungy and visually rich.[imgtoken data:1][imgtoken data:2]

Fin O Sullivan

Buse Simon

Elliott Gonzo

Dave Gourlay

DEEGEE

John Hassay

Charlie Relph

Oscar Ferguson

Tom Colli

Lewis Watts

Yerlan Tanayev

The Mill

London Records

Garage

Goldie x Casisdead 'Still The Same' by Elliott Gonzo 

Goldie-X-Casisdead-'Still-The-Same'-by-Elliott-Gonzo-

Luna Carmoon completes her trilogy of videos for Fontaines D.C., ingeniously uniting the leading protagonists of the Hoard&nbsp;director's two previous videos for songs from the band's acclaimed album ROMANCE - and themed to match the album's title.'Martin' (played by Ewan Mitchell) enters the chemists for the meds to treat the wounds incurred during the brilliant <a href="https://staging.promonews.tv/videos/2024/08/23/fontaines-dc-modern-world-luna-carmoon/87842" target="_blank">In The Modern World </a>video, when he sees 'Spider' (Grace Collender), working there as a sales assistant, after her witchy exploits in the mesmerizing <a href="https://staging.promonews.tv/videos/2024/08/08/fontaines-dc-heres-thing-luna-carmoon/87678" target="_blank">Here's The Thing</a> promo.And it really is love at first sight for both of them.&nbsp;&nbsp;

Luna Carmoon

ProdCo

Theo Hue Williams

Ian Pons Jewell

Zico Judge

Jaime Ackroyd

Nellie Heron-anstead

Scott Wright

XL Recordings

Fontaines D.C. 'It's Amazing To Be Young' by Luna Carmoon

Fontaines DC - It's Amazing To Be Young (Official Video)

<h3>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.&nbsp;</h3>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&nbsp;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&nbsp;- from Sherlock to Fleabag to All Of Us Strangers to&nbsp;Ripley&nbsp;-&nbsp;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&nbsp;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&nbsp;-&nbsp;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&nbsp;a remarkable, transcendent moment&nbsp;to express&nbsp;the potentially crippling impact of grief.&nbsp;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.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;[vidtoken data:0]Known for his work in commercials, including work for Apple Music, Louis Vuitton&nbsp;and more, McIntyre&nbsp;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&nbsp;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.<blockquote>The song is about&nbsp;loss, and when it found me, I was already living inside that grief.&nbsp;</blockquote>PROMONEWS: How did this project begin for you?&nbsp;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&nbsp;feel&nbsp;meant to be.The brief struck something deep in me. The song is about&nbsp;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?&nbsp;SM:&nbsp;What truly resonated with me was how the brief&nbsp;wasn’t focussed on a literal narrative but on capturing the emotional weight of loss - the way it lingers and the way it&nbsp;reshapes&nbsp;you.[imgtoken data:1]Above: Stuart McIntyre (left)&nbsp;with Andrew Scott on&nbsp;the People Watching shoot in San Pedro, CA, on January 8th 2025.&nbsp;They referenced <a href="https://www.imdb.com/title/tt0102494/" target="_blank">Gus Van Sant’s&nbsp;</a><a href="https://www.imdb.com/title/tt0102494/" target="_blank">My Own Private Idaho</a> -&nbsp;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&nbsp;truth - the kind that settles in your bones. The ache of lived experience.&nbsp;I wanted to channel that same vulnerability, the way River Phoenix’s character [in the movie]&nbsp;longs for a sense of&nbsp;home, for&nbsp;belonging. You don’t just hear it in his words; you&nbsp;see&nbsp;it in his face, in the silences, in the weight he carries. That unspoken yearning.And then there was&nbsp;that&nbsp;moment - 3:27&nbsp;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&nbsp;reckoning. The challenge wasn’t just to arrive there, but to&nbsp;earn&nbsp;it. To build toward it in a way that made it inevitable, inescapable. That moment had to&nbsp;mean&nbsp;something. It had to&nbsp;hit.<blockquote>Andrew was already a fan of Sam’s work [but] it was the song itself that truly resonated with him.</blockquote>And how did you respond to that in your treatment?&nbsp;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.[imgtoken data:2]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?&nbsp;&nbsp;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.<blockquote>This character is always reaching... grasping for something just beyond his reach.</blockquote>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.[imgtoken data:3]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,&nbsp;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.&nbsp;I’m so grateful.<blockquote>When Andrew shared his sketch of his mother... I knew that was the heart of the film.</blockquote>When and where did you shoot the video? How long did you have to shoot it?&nbsp;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&nbsp;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?&nbsp;SM: My most memorable moment was simply&nbsp;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.[imgtoken data:4]<blockquote>But this wasn’t merely about telling a story. It was about capturing something unspoken.</blockquote>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&nbsp;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&nbsp;feel&nbsp;that energy in every frame.The biggest challenge?&nbsp;Not running out of film!&nbsp;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&nbsp;intentional, to trust our instincts, to make every frame&nbsp;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.[imgtoken data:5]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.

Stuart Mcintyre

Mynd

Wanda Productions

'Andrew gave more than I could've ever asked for' : Stuart McIntyre on making Sam Fender’s People Watching video with Andrew Scott

Sam Fender - People Watching (Official Video starring Andrew Scott)

Joe Connor captures surfer Ryan Watts' mastery of the waves pounding the North West Ireland coastline in his extraordinary video for&nbsp;Colorado-based singer-songwriter Gregory Alan Isakov.Connor collaborated with specialist cameraman Clem&nbsp;McInerney to shoot New Zealander Watts riding the pipeline through huge Atlantic Ocean waves crashing into the rocky coast of County Donegal.&nbsp;Watts's skill and enigmatic presence&nbsp;provides a highly effective accompaniment for Isakov's plaintive track Mistakes.It's astonishing footage - graded to a silvertone-tinged black and white by George K at Black Kite. Arguably the best ever shot for a music video.&nbsp;

United States

Clem McInerney

Jacques Simon

Trim Editing

George K

Black Kite Studios

Singer-songwriter

Gregory Alan Isakov 'Mistakes' by Joe Connor

He is renowned for those qualities which nobody else quite matches - the intensity, the charisma, the intelligence, the ambivalent morality. So after Ripley, Sherlock, Fleabag, Hamlet and all - where does a Sam Fender music video stand in the range of Andrew Scott's screen achievements?&nbsp;It's right up there.&nbsp;In Stuart A McIntyre video for Fender's People Watching, Scott is a man on the move, drifting&nbsp;through the American West. His combination of purposefulness and unpredictability in McIntyre's highly fluid and cinematic direction is compelling viewing. Echoes of Scott's former roles, together with his sheer magnetism, invite us to speculate on his true motivations.&nbsp;But that's only half the story. The video is a journey to&nbsp;revelation for the viewer. And its how you reach that point is where the real magic lies. So this is one of the rare&nbsp;ones, where there's a transcendent moment which can only really come in a music video...The point when Scott starts dancing with himself, as Fender's track hits its crescendo, the image goes blurry, like the film itself can barely hold itself together. The emotion. Wow.It's not just about Andrew Scott, but the achievement of everyone involved here: McIntyre, DoP Max Goldman, editor&nbsp;Talia Pasqua (a brilliant job), commissioners Semera Khan and Kirstin Cruickshank, and more.&nbsp;But paradoxically, with no dialogue to speak, Scott is&nbsp;unchained. He moves to a different level,&nbsp;to become one of his most memorable characters. Unmissable.&nbsp; &nbsp;&nbsp;

Andrew Scott

Max Goldman

Semera Khan

Kirstin Cruickshank

China Presles

Andrew Gallo

Brittany Porter

Talia Pasqua

Cabin Edit

Tom Poole

Company 3

Sam Fender 'People Watching' by Stuart A. McIntyre

Elliott James Reay brings the 1950s back to modern-day Manchester in James Slater's engrossing video for the young singer-songwriter's second single.22 year old, Bury-born Reay has become a global social media sensation this year with his songs and style heavily influenced by the early rock 'n' roll era. And as he steps out of an American 50s car to stroll down a Manchester street performing Boy In Love, Reay holds the attention with his easy charisma and good looks evoking the young Elvis Presley or '50s movie icon James Dean.&nbsp;Starting with an extended, choreographed Steadicam shot through autumnal Manchester before moving to his final destination on the stage of a working men's club, the video delivers an impressive showcase for Elliott James Reay, and his contribution&nbsp;to&nbsp;the great rock 'n' roll tradition.&nbsp;&nbsp;

Chelsea O’Connor

Robbie Canale

James Slater

Tim Ellis

Zomdic Films

Emily Tedrake

Chris Sarginson

Paul Mortlock

Sarah Palmer

Samuel Rodriguez

Elaine Boyle

Ethan Samuel Jacobs

Rock & Roll

Elliot James Reay 'Boy In Love' by James Slater

Elliot-James-Reay-'Boy-In-Love'-by-James-Slater

Things are getting very steamy around Morgan's house in Kassandra Powell's latest for the&nbsp;UK pop &amp; R&amp;B singer.Following up their sizzling collab with <a href="https://www.promonews.tv/videos/2024/08/21/morgan-bum-bum-kassandra-powell/87807" target="_blank">Bum Bum</a>, the video for Wheel Up adds Jamaican dancehall superstar Byron Messia for the action here.The video has a scorching, sweaty&nbsp;summer energy, to help you ignore the fact that the nights are drawing in and the Christmas ads have just come out.&nbsp;&nbsp;

Maureen Kargbo

Mahezi

Bevan Agyemang

Kassandra Powell

Jordan Rowley

CAMP

Stephen Crabb

Chaimaa Ormazaba

Francesca Woods

Michael Baugh

Luke De Borde

Falco Caldeira

Yves Alawe

Teffany Stoby

Lauretta Power

Rob Maguire

Alexandre Nerzic

Creative Outpost

Red Bull Records

Morgan X Byron Messiah 'Wheel Up' by Kassandra Powell

Morgan-X-Byron-Messiah-'Wheel-Up'-by-Kassandra-Powell

Kassandra Powell reunites with pop singer-songwriter Girli for their&nbsp;fourth collab, with a humourous take on the efforts we take to resolve our relationship problems.&nbsp;The video for 2 Year Itch explores commitment issues in a concept that recreates the early TV-era&nbsp;of vintage&nbsp;cosmetic advertising, and satirises human weakness for&nbsp;'snake oil' cures. Girli is the brains behind '2 Year Itch Cream', acting as both therapist and salesperson&nbsp;as she urges couples whose relationships are going stale to try the dubious product and relight their spark - and rakes in the cash.&nbsp;From the sets to the styling, the era-specific details are top-notch. An autumnal array of patterns and fabrics present a mid-20th century aesthetic to&nbsp;contrast&nbsp;Girli's usually hyper-vibrant persona, which also feels authentic to the track.[imgtoken data:1]

Fingal Green

Ollie Ireland

Mia Maxwell

Gaël Houdin

Al Rice

Stephen Dunn

Khalil Vaughan

Mack Behan

James Wicks

Alexia Kerwat

Molly Aukett

Saphron Morgan

Charlie France

Jonny Tully

No.8

Yousif Elterefi

Girli '2 Year Itch' by Kassandra Powell

2 Year Itch (Official Music Video)

The&nbsp;director, signed to Rogue Films' new breakthrough talent division REBEL.&nbsp;in the UK, talks about his whirlwind year, the importance of having trust in his work - and has two answers for most questions in his Snapshot.&nbsp;&nbsp;&nbsp;Jeremi Durand is a French director and photographer who divides his time between Paris and London - when he's not travelling the world making beautifully cinematic, thought-provoking films.A former designer specialising in design fiction, his move into filmmaking and photography quickly&nbsp;attracted&nbsp;attention and acclaim as he developed his distinctive visual style creating&nbsp;memorable&nbsp;imagery through a combination of&nbsp;in-camera and post&nbsp;effects.&nbsp;He has worked with high-profile talent such as Muse, Placebo, Röyksopp, Gesaffelstein, Digitalism, Yodelice, Zimmer, Kaycyy, Jon Bellion &amp; Illenium - and tennis legend Roger Federer.&nbsp;In the past year, he has become a member of the founding directing roster at&nbsp;REBEL., the new division for breakthrough talent at Rogue Films, for his UK home,&nbsp;while also making two acclaimed videos for Chinese Man and Mustard featuring Travis Scott. So we're delighted that&nbsp;Jeremi found time to sit down with the probing questions on the Snapshot Q&amp;A, before he speeds off in the fast lane to the big time...&nbsp;Name: Jeremi DurandBirthday: 24th January 1983. I grew up in the 90s. I moved to the UK in 2004.Where did you grow up? St Etienne, France.Place of further education and course (if any)? Product Design &amp; Design Fiction at Sheffield Hallam University, then moved to London and studied acting at the Actors Temple on Warren Street.Where do you live now? Between North London and France.What were the important first projects for you, in terms of a learning experience and getting noticed?Zimmer's Lost Your Mind, which was my first professional music video. Kaycyy X Gesaffelstein's OKAY! &amp;&nbsp;The Sun. And <a href="https://vimeo.com/688439798" target="_blank">MUSE's Compliance</a>. These three MVs represent three different major steps in my career.[vidtoken data:0][vidtoken data:1]Best film you’ve seen this year? Dune II &amp; <a href="https://www.youtube.com/watch?v=Qlbr7gJgBus" target="_blank">Emilia Perez</a>.Favourite song/album/music artist this year? Billie Eilish's Hit Me Hard And Soft, for the richness and finessing of her music. And&nbsp;Dua Lipa's Radical Optimism, for the extreme efficiency of the tracks.Favourite music video/videos you’ve seen this year?&nbsp;Kendrick Lamar - Not Like Us.&nbsp;Asap Rocky - Taylor Swif. I know, I subtly squeeze two choices in each of your questions - I’m sorry, but there’s just too much to like! I promise I’ll try to stop.<blockquote>The most important improvement to the industry would simply be planning more in advance, label side.</blockquote>What has been (or usually is) your favourite night out this year? Boiler Room wherever they are. It never disappoints.Name a film or video or other creative work that had a huge influence on your career choice?Honestly, that’s such a big question… you’re not helping, ha! I think it’s a combination of so many creative inspirations that funnel down into one little spark, one instant, and step after step, that paves one’s career choice. I could speak about Tim Walker’s photography work, as well as Storm Thorgerson’s or David LaChapelle’s.Music videos from the likes of Martin de Thurah (Röyksopp - What Else Is There) or Chris Cunningham (Portishead – Only You). Also, Rocky I and Rocky II. Don’t ask me why.[vidtoken data:2]&nbsp;In terms of&nbsp;music video-related jobs of the past year or so - what was the most rewarding creatively, and why?<a href="https://www.promonews.tv/videos/2023/11/07/chinese-man-weve-been-here-jeremi-durand/84046" target="_blank">Chinese Man - We’ve Been Here Before</a>.&nbsp;First of all, we had the complete and full trust from label and artists, so it enabled us to go all the way and create something special for this very special track. And I absolutely love the music. Even after 1000 times of listening to it, it still gets me every time; This track has a very specific tone to it since it’s a waltz with hip hop on top. Matching that uniqueness was the biggest challenge, but the most rewarding experience once we found the right vision.Eventually, almost everything is in-camera. VFX were mainly used to clean, help with one multi-pass, or enhance a few bits here and there, which also extremely rewarding to me. Don’t get me wrong, I love VFX, but I also love shooting practically. In fact, I love the combo. I’m also looking forward to embrace AI technologies in my work. Never to replace the craft, but rather to help push it out of the park creatively - exactly what VFX have been doing for 30 years now.[vidtoken data:3]<blockquote>Matching the uniqueness of the track was the challenge, but most rewarding once we found the right vision.</blockquote>Mustard ft Travis Scott - Parking Lot. Shooting in LA with my dream team, shooting Travis... what else is there? Big shout out to Jordan Buck (DOP) here. He had a lot to do, and the experience ended up being very rewarding. We’re going to enter the festivals circuit now, so we’ll see how much more rewarding it can get.[vidtoken data:4]What are your favourite other (non-mv) projects of the past year or so?A commercial that I shot with MYND (c/o WANDA) for SYNC in Vilnius, Lithuania. Crazy brief, crazy team, crazy clients, everything to be loved! I made this with David Wright, my friend and one of the best DPs there is.&nbsp;We had a lot of fun working on this one as it’s very cinematic and it feels very much like a blockbuster trailer. We had a lot of freedom and trust too.[vidtoken data:5]What’s the most surprising thing that’s happened this year? Going from being awfully quiet at the beginning of 2024, to utterly and crazy busy in no time, flying back and forth to LA to shoot with Travis. Also signing with top notch production companies across Europe and the US.Most annoying/irksome thing that’s been going on this year (work-related or otherwise)? Briefs with unrealistic budgets and deadlines that I see landing on my desk from time to time. 100% of the time, you can be sure that no project ever sees the light of day in the end.Your top suggestion to change and improve how the music video industry works?Paying directors in the final round for writing full treatments&nbsp;would seem fair. However, to me, the most important improvement would simply be planning more in advance, label side. There is a reasonable amount of time that would undoubtedly benefit the final result of any project. So why jeopardize your project straight from the beginning? Trust and (some) time, are the two most precious assets for any project success I believe.Eventually, more union [presence] maybe, and more mentoring for the younger directors. I see a lot of people trying to help and that’s a very good thing, but I think it needs to be more structured and more supported by companies.What are you looking forward to most for the rest of the year? My next project, always. And snowboarding, always #2.• Jeremi Durand is with <a href="https://www.roguefilms.co.uk/rebel" target="_blank">REBEL.</a>, the new platform for breakthrough talent at Rogue Films,&nbsp;in the UK, and represented by Alexa Haywood at Free Agent for&nbsp;music videos.

Jeremi Durand

THE SNAPSHOT Q&A: Jeremi Durand

ZIMMER, Ft. Fhin - Lost Your Mind (Official Music Video)

OKAY! & THE SUN - KAYCYY x GESAFFELSTEIN (Official 2 Music Videos)

Röyksopp - What Else Is There?

Chinese Man feat. Isadora, Stogie T. & Miscellaneous - We've Been Here Before (Official Music Video)

MUSTARD ft Travis Scott - PARKING LOT (Official Music Video - DC & Spinoff)

SYNC - USE DIGITAL WITHOUT DIGITAL USING YOU - OFFICIAL GLOBAL CAMPAIGN (commercial)

Charlie Di Placido brings his magic formula to Perrie, and that really works out in the video for You Go Your Way.Well known for his one-shot choreography videos - most famously, although not exclusively for Jungle - and now having recently worked with Kylie Minogue and guests, Di Placido brings the style and the star power together in one package here.The benefit is that the ex-Little Mix star Perrie can hold her own among a troupe of wonderful dancers and with a great location, cinematography and typically skilful Steadicam-work by Gary Kent, this video looks marvellous, from first to last.Top notch stuff from both director and the artist. It's arguably the best vehicle yet&nbsp;for Perrie's new solo career.&nbsp;

Shereen Assopiah

Charlie Di Placido

Matt Craig

Contentus Maximus

Massimo Filipe

Brandon Quan 

Oli Hill

Ollie Bingham

Dan Howe

Christin Olesen

Aaron Carlo

Wilma Stigson

Cassie Lomas

Alex Gregory

B. Art

Perrie 'You Go Your Way' by Charlie Di Placido

Perrie - You Go Your Way (Official Video)

Kassandra Powell links up with Bambie Thug for a second time - following their collab on the Eurovision entry <a href="https://www.promonews.tv/videos/2024/03/18/bambie-thug-doomsday-blues-kassandra-powell/85718" target="_blank">Doomsday Blues</a>&nbsp;-&nbsp;creating a dark fantasy for new track Hex So Heavy.&nbsp;The ambitious visual is full of haunting imagery, and switches between the depths of a slimy underworld to a strange pastel environment.&nbsp;From the slick - yet unnerving - SFX makeup through to the top-notch art direction, it's a devilishly dark promo, infused with horror iconography and a sense of unabashed experimentation.&nbsp;Speaking about the&nbsp;video, Bambie reveals: “I was thrilled to collaborate once again with Camp Productions, who worked with me on Doomsday, for this video. Kassandra Powell, one of my favourite directors, brought her incredible vision to this project, and our creative chemistry was undeniable once again.“The video tells the story of a shapeshifting witch conjuring spells of revenge from the underworld, and a cunning nymph above ground who has stolen a magical machete from the witch. The nymph, basking in her ill-gotten gains and the adoration of others, believes she’s escaped unscathed. But little does she know, the witch has been watching and waiting to strike back."Drawing inspiration from Suspiria and Lord Of The Rings, Hex So Heavy is the first chapter in a saga about reclaiming authenticity stolen by another.”