Director's Representation

Mouthpiece

Harv Frost directs The Travelling Show for Manchester indie rock band Picture Parlour, part of the filmmaker's creative direction for the entire campaign, covering&nbsp;multiple music videos, visualisers, stills, artwork and merchandise.The video is a showcase of performance and narrative, interwoven in an abstract yet inspired way.&nbsp;With the campaign unfolding across different formats, it's&nbsp;a glimpse into the world Frost and the band have created."Working with Picture Parlour has been an exercise of true creative expression from our first meeting," says Harv Frost. "Being along for the ride on this campaign, and working alongside them in bringing the visual world of the record to life was a truly rewarding process."Our first video in the campaign, <a href="https://www.promonews.tv/videos/2025/05/06/picture-parlour-who%E2%80%99s-there-love-without-you-harv-frost/90934" target="_blank">Who’s There To Love Without You?</a>,&nbsp;is a love letter to Northern Soul and the venues that birthed the subculture that are now lost in time. {That] was an inspiring launching off point of what would become an almost seven&nbsp;month long friendship and collaboration.[imgtoken data:1]"Being a part of the campaign more holistically, right down to the album sleeve, press photos and the conceptual world that the album takes place in has been incredibly gratifying. The second video in the campaign for <a href="https://www.youtube.com/watch?v=P6lnvCfsod8" target="_blank">Cielo Drive</a>&nbsp;had me tag along on the bands writing retreat in Paris to self shoot them on Super 8 lurking streets, and I got to try my hand at shooting and operating Super 8 for the first time which was slightly nerve-wracking as I was fully expecting it all to be over or under exposed and we would have nothing to edit. Thankfully it turned out gorgeous, and was lovingly edited by Eden Read."The final video in the campaign is for me, by far a favourite. It’s a deeply personal track for Kate (the lead singer), and required a sensitive approach. For me, I set out with the goal of creating a character study, a video that focused on performance and ‘acting’ than I’ve ever done before."My overall goal being ‘I want to make people weep by the end of it’, and I certainly cried so that’s a win if you ask me. This video was a passion project in the truest sense, in which Kate and I had to really trust our relationship and lean on each other to bring out the performance. The first video and the last are spiritual sequels to one and other, with plot points, characters and emotional beats carried on from the first."

United Kingdom

Jessica Lythgoe

Harv Frost

Emily Barker

Kode

Louie Johnson

Charlotte Croft

Laura Flack

Georgia Hope

Imogen Perry

Dan Levy

Alternative

Rock

Indie

Picture Parlour 'The Travelling Show' by Harv Frost

Picture Parlour - The Travelling Show

Harv Frost's latest for Brighton band Black Honey plays with nostalgia using stylized stock footage and performance cutaways to build the illusion of an old-time TV broadcast.In the Shallow video the alt/indie rock outfit leans into the retro aesthetic while letting the rough edges show.[imgtoken data:1]

Enrica Miller

Henry Richmond

Bad Bones Films

Jed Clist

Adam Singodia

Lily Roberts

Daragh Mccann

Rowan Hutchings

Omar Ragab

Macy Trieu-Dingle

Viktoriia Kostruk

Dasha Taivas

Black Honey 'Shallow' by Harv Frost

Black-Honey-'Shallow'-by-Harv-Frost

<h3>The KODE director has spent the past few months with Oasis on their spectacularly successful comeback tour - mostly pointing his camera at&nbsp;the fans. It's not only led to a remarkable document of the biggest pop culture moment of the year, it's also elevated what is possible in the live concert space.</h3>A remarkable year for filmmaker Daniel Broadley began with him working with one of the UK's biggest artists, Sam Fender, on his latest stadium tour&nbsp;in support of his new album. Capturing the Fender live shows was a big project - but things were about to&nbsp;get much bigger.&nbsp;Broadley's creative partnership with Fender over the past two years caught the attention of the management team putting together the biggest comeback tour for a long time... perhaps of all time. Oasis came calling and Broadley was then able to make a wonderful contribution to what has become the outstanding pop cultural phenomenon of the year.&nbsp;On one level, Broadley's work on the Oasis Live '25 tour could be simply described as social media content, as its purpose is to exist on those platforms. That was certainly his primary objective of his and his team's main role on the tour: creating short recap videos from each show from a combination of band footage and audience moments that they have taken before and during the concert, which has then been posted on <a href="https://www.instagram.com/oasis/?hl=en" target="_blank">the band's Instagram</a> and elsewhere.&nbsp;But much as the reaction of fans to the Oasis reunion has transcended most people's expectations, the footage taken by Broadley and his colleagues have also transcended their original function. An understanding that the fan experience was central to this tour has led to them becoming pretty much the sole focus of an intriguing offshoot of the recap videos - - the video 'postcards' from the tour.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133796882?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #2 - Biblical"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>With a range of mobile camera equipment and a superb range of lenses,&nbsp;Broadley and photographer Joshua Halling and their tiny crew, took a conceptual approach to shooting their footage, including a number of locked-off shots from a series of locations both in and around the stadium where the Oasis show was taking place. And the footage taken on those cameras has become the source of the 'postcards'. With each one being several seconds in length - as opposed to being a part of a fast cutting montage of action - you are invited into a much more intimate moment of the fan experience.&nbsp;In a&nbsp;way, it's quite simple, but it's also groundbreaking. And it's both artistic statement and genuine visual document of the impact of the Oasis comeback upon the fans attending the shows. It's powerful enough to transcend the platforms for which it was intended - but it's also been hugely successful on those platforms, fuelling even greater&nbsp;buzz around the tour, amassing millions of organic views in the process.&nbsp;The Oasis Live '25 video postcards are&nbsp;immersive, contemporary, and deeply human.&nbsp; They provide another level of&nbsp;emotional connection with the band. They are also highly cinematic, capturing the energy, excitement, scale and moments of intimacy at these shows.&nbsp;As such, they are all of a piece with great concert films, going all the way back to&nbsp;Woodstock. But arguably they have elevated the visual language of live music coverage in the social media era.&nbsp;We spoke to Dan Broadley about how this project started, how they find their subjects - before, during and after the show&nbsp;- and ask him to reveal his absolute favourite Oasis Live '25 postcard&nbsp;so far.[imgtoken data:1]&nbsp;Filmmakers on tour - with Oasis: above, left to right: Jay Davidson, Daniel Broadley, Joshua Halling.<blockquote>I cannot begin to describe the mixture of adrenaline, anxiety and anticipation [before the first show].</blockquote>Can you explain how you became involved in the the idea of ‘postcards’ from the Oasis 2025 shows came about?&nbsp;DANIEL BROADLEY: The initial conversations between myself, Joshua Halling, the lead photographer,&nbsp;and the label and management were mostly about how we shift the focus from the band itself and onto the fans. We knew there would be a story about the generational shift between the people who’d followed the band up until their split, and then a new generation of fans who’d found them during the hiatus.But beyond that, there was this idea that every fan would be having their own unique experience, whether squashed against the front barrier, dancing at the back of the room or even sitting outside the venue whilst the show went on.The term ‘Postcards’ was coined some years previous during a viral trend on Instagram and TikTok for travel/tourism films where the camera would remain static whilst capturing an uninterrupted candid moment. I first remember seeing filmmaker <a href="https://www.instagram.com/daiki.shino/?hl=en" target="_blank">Daiki Shinomiya</a> do this.However, it wasn’t something that I’d seen done a lot in music. Editing seems to have gotten faster and more intense in recent years, with the rise of film emulation techniques and the inclusion of flash-frame cuts&nbsp;and busy sound design elements. At the start of 2025 slowing down and holding a frame was certainly not a popular choice for live music recaps.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133795856?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #3- Burger Van"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;Was there a particular inspiration for this idea, or a reference point?DB: There are parallels between football (in fact any major sporting event) and the Oasis comeback shows. A lot of our inspiration came from that. Josh had actually done some really beautiful photo-doc work with Manchester United in the months leading up to the tour, shining a light on the different generations of fans, which went into our original pitch deck, as well as excerpts from <a href="https://www.elliottdavenport.com/back-on-our-perch" target="_blank">Elliott Davenport’s exceptional book Back On Our Perch</a><a href="https://www.elliottdavenport.com/back-on-our-perch" target="_blank">,</a>&nbsp;where he followed a Liverpool FC victory parade through the city, intimately capturing the vibrant chaos through a lens.Our very own Harriet Bols (photographer on the Oasis tour) shared with us a series of ‘Postcards’ she’d shot alongside a team at Parklife festival the year previous, which confirmed the concept would work in a musical setting. And&nbsp;<a href="https://www.instagram.com/charlottealex_/?hl=en" target="_blank">Charlotte Alex</a> is another brilliant photographer who’s recently moved into video whilst touring with Sigrid. She brings a stillness to her work that was a big inspiration. As well as filmmaker <a href="https://www.instagram.com/willwarr/?hl=en" target="_blank">Will Warr</a> and his stunning locked-off vignettes of his family.Lastly the work that Brendan Yates and Pat McRory created for their own band <a href="https://www.youtube.com/channel/UCP5O_Y-RbtVJUEv4uLP-O8A" target="_blank">Turnstile</a> proved that just because the songs carry the sonics of an earthquake doesn’t mean the accompanying visuals have to as well. A creative decision that Trevor Roberts then carried over into their tour visuals.[imgtoken data:2]<blockquote>I knew... this thing was going to be a runaway freight train.&nbsp;</blockquote>Were you surprised by the passion and excitement of the fans and the emotion expressed by them during the shows, or was that anticipated?&nbsp; (and why you did them in the first place?)DB: Honestly, no-one knew what was going to happen before this tour started. There were so many unknowns, because Oasis hadn’t played a show since 2009. The world has changed since then and there was nothing to gauge this on. What does an Oasis concert look like in 2025? Would fans cry? Or fight? Both? Neither?I knew deep down that no matter how much we planned (which we did meticulously) this thing was going to be a runaway freight train without any tracks. We just needed to hang on tight and make sure we were ready to deviate from the original plan at a moment’s notice if need be.Was the prime motivation to create excellent content for social platforms, or to do an alternative form of documentation of the Oasis reunion, to sit alongside a more conventional capturing of the live shows?DB: We were always hired to solely lead the social media content team. That’s been our key goal from the start and continues to be our primary purpose as the tour’s gone on.Oasis left the world in a time before social media became what it is now, and there were a lot of questions about how we make sure that when they show up on all these platforms the content doesn’t feel like a legacy band trying to ‘fit in’. It needed to be bold, unique and in its own lane.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133798106?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #4 - Fan on Shoulders"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;How did you approach the project in terms of manpower, cameras and positioning at the concerts? (And how many concerts on the tour did you cover?)DB: As with any project, budget dictates manpower. We worked out that having a core team of four - lead by myself on the video front and Joshua Halling on the photo front - would give us enough coverage to capture what we needed at each show, with the option of adding one more local person to each of our teams for key shows that needed more coverage for press or TV.Our core team consists of myself and Jay Davison on video, and Joshua Halling and Harriet Bols on photography.Were your team briefed to find stories among the fans, or during moments with the band?DB: The goal is to always be reactive. If we brief too hard then each show becomes a ticklist, and extraordinary or unpredictable moments get missed. As the tour has progressed and the set list ingrained in our heads we are able to instinctively position ourselves in the right place at the right time for key moments from the band, whilst keeping another eye on what’s going on in the room.[imgtoken data:3]<blockquote>The postcards concept was new to [Jay and myself]....&nbsp;It feels like being back at film school again.</blockquote>Did you shoot yourself, or were you directing, like a live concert director, getting the camera feeds coming back to you during the show?DB: I direct, shoot, edit and grade, which means I put a lot of trust in my collaborators. Fortunately Jay is also a talented multi-disciplinary filmmaker, which means I can confidently delegate parts of the project to him.We work very well together. In many ways we have similar sensibilities and style, but the postcards concept was new to us both, and navigating that together has been a lot of fun. It feels like being back at film school again.What were your own favourite moments whilst shooting the shows? And which are your favourite postcards?DB: My favourite moment was probably before the show even started. Walking up the service ramp towards the stage at the first show in Cardiff, the same ramp that thirty minutes later Oasis would walk up, in what will arguably be remembered as the biggest musical comeback in history, whilst Richard Ashcroft’s Bittersweet Symphony ricocheted off of the walls as he finished his support set... that's a moment I’ll carry with me until the day I die. I cannot even begin to describe the mixture of adrenaline, anxiety and anticipation that I was feeling right there and then.And which are your favourite postcards?DB: My favourite postcard has to be the one we’ve now dubbed as ‘The crying man’. It was during a show in Chicago. I saw Harrie [Bols] fixating on something down by the front barrier during Don’t Look Back In Anger. I think she may have even summoned me to come and capture it alongside her.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133794066?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #1 - The Crying Man"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>[It was] A man crying his heart out during the chorus of the song. It felt like he embodied every single Oasis fan and how they were feeling. He was so in the moment he didn’t even notice me filming which meant I was able to capture an incredibly intimate portrait of his experience. It left me in tears, it felt like all his pain was pouring out of him as he screamed the lyrics.I was actually lucky enough to meet him and tell him what that shot meant to me at a later gig. His name is Ian Young, and I feel like he’s now become the mascot for the Oasis Live ‘25 tour.<blockquote>One of the bitterest pills to swallow is the impermanence of social media content.</blockquote>The postcards made a huge impact on socials. Was there a quick turnaround between shooting them and posting them, or did you have an amount of time to curate the material you’d captured at a show?DB: Though our team on the ground is led by myself and Joshua, we are incredibly lucky to be led ourselves by the head of creative at Ignition - Sarah Mansfield. Sarah is the reason we were picked for this job, she saw something in our work that others might have missed. She has been our guiding light since the tour began, championing our creative decisions, fighting for our vision. Noneof this would look the way it looks without her. She curates all the postcards for the various social channels.The turnaround is usually dictated by the amount of time before the next city/country. We try to get content out before the next block starts so it’s as fresh as possible. Sometimes we have a few days, sometimes less than one.<div style="padding:56.25% 0 0 0;position:relative;"><iframe allow="autoplay; fullscreen; picture-in-picture; clipboard-write; encrypted-media; web-share" frameborder="0" referrerpolicy="strict-origin-when-cross-origin" src="https://player.vimeo.com/video/1133797623?badge=0&amp;autopause=0&amp;player_id=0&amp;app_id=58479&amp;muted=1" style="position:absolute;top:0;left:0;width:100%;height:100%;" title="Oasis - Postcard #5 - Facetime"></iframe></div><script src="https://player.vimeo.com/api/player.js"></script>&nbsp;It's been an amazing campaign, but by its nature a social campaign is something that exists for a while and then disappears. So is there a more permanent place where this remarkable document will live on. In fact... live forever?DB: I think one of the bitterest pills to swallow is the impermanence of social media content. We try not to let that dictate the quality of what we are creating. I strive to make each recap edit in the same way I would approach a music video, or commercial - albeit with less resources and faster turnarounds.Hopefully there’s a place for the content to live once the tour has finished that will allow people to continue to enjoy it. However, if its purpose was to be fleeting and momentary then so be it. The experience is more important to me than the souvenir.• Daniel Broadley is a director at <a href="https://kodemedia.com/" target="_blank">KODE</a>, and he's represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Claire Stubbs at Mouthpiece</a>. Check out the continuing stream of recap videos and video postcards on the <a href="https://www.instagram.com/oasis/?hl=en" target="_blank">Oasis Instagram</a>.

Daniel Broadley

'No-one knew what would happen before this tour started.' | Daniel Broadley on creating video postcards for Oasis Live '25

Dora Paphides directs an evocative, studio-based&nbsp;promo for Perrie.&nbsp;The video for Rocket Scientist is a stripped-back masterclass in minimalism, carried by Perrie's emotional performance, inspired&nbsp;styling and water-based vignettes.&nbsp;DoP Adam Singodia's use of&nbsp;contrast and shadow adds a textural feel to the video, creating a raw and intimate aesthetic.&nbsp;

Aaron Carlo

Dora Paphides

Wojciech Czarkowski

Michael Lewin

Kian Altmann

Nathan Killham

Oli Hill

Ollie Pearson

Richard Perry

Lauren Coutts

Megan Lee

Electric Theatre Collective

Perrie 'Rocket Scientist' by Dora Paphides

Perrie - Rocket Scientist (Official Video)

Tyrus directs a coruscating, atmospheric promo for dance&nbsp;producer Sub Focus, featuring Fireboy DML and Irah.&nbsp;The video for Original Don is a quick-cut black and white promo, with enigmatic performance setups and feverish dance moves taking centre stage.&nbsp;Keeping things slick and simple, everything takes place in a large industrial space, with strobing lights and projections blurring together in frantic harmony.&nbsp;A rousing visual to get you off your seat.[imgtoken data:1][imgtoken data:2]&nbsp;

Alysha Patel

Kash Powell

Rory Clarke

Oliver Whitworth

Aga Dziedzic

Tyrus

Bertin Avdiu

Academy Films

Kim Jarrett

Ken Liew

Cassius Kane

Sarah Jaffe

Heza Jalloh

Katya Chatwell

Max Tuite

Ruby Yu

Lucy Grinham

Samuel Maton

Slink Post

Danyal Kadir

Island Records

Dance

Electronic

Sub Focus Ft. Fireboy DML And Irah 'Original Don' by Tyrus

Sub-Focus-Ft.-Fireboy-Dml-And-Irah-'Original-Don'-by-Tyrus

The Rolling Stones' incredible history comes to life in Camille Boumans' fabulous mixed-media promo for The Stones's rollicking cover version of Shirley &amp; Company's Shame, Shame, Shame.&nbsp;The video is an explosion&nbsp;of The Stones' greatest moments, a vibrant archive of vintage clips and stills, unfolding through the&nbsp;pages of a&nbsp;packed scrapbook. It's a concept which allows Boumans to deliver a huge amount of information - vintage footage, lines of lyrics,&nbsp;a miscellany of textures - with lots of imaginative graphic ideas.&nbsp;It also feels hand-crafted, like it was stitched together with bits and pieces from the Stones archive with a lot of love - and as its a bit rough around the edges, with pure&nbsp;rock ’n’ roll attitude.[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Amy Hancock

Adolfo Redaño

Camille Boumans

Leo Green

Sharlene Oola

Partizan

Joanna Asia Szyczewska

Semera Khan

Danny Herman

Lauren Mills

Jack McGinity

Studio RM

Polydor

The Rolling Stones 'Shame, Shame, Shame' by Camille Boumans

The-Rolling-Stones-'Shame,-Shame,-Shame'-by-Camille-Boumans

Fred Rowson teams up with the evergreen Mael Brothers for the latest release in Sparks'&nbsp;50-plus year career, with a video featuring Rebecca Lucy Taylor - aka Self Esteem - and a steamroller.For Porcupine, a characteristically quirky Sparks song about a woman with a rather spiky temperament, Rebecca is&nbsp;cast as a femme fatale harbouring a vendetta, with keys to the very latest in steamroller technology.&nbsp;Cue low-speed thrills as Russell and Ron are faced with a vengeful Rebecca at the wheel of the&nbsp;Lamborghini of steamrollers.There can only be one possible outcome...&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Katie South

Fred Rowson

Jack Bingham

Blink Productions

Stefan Yap

Paul Weston

Lottie O'Connell

Anil Duru

Ethne Read

Lauren Bell

Fey Carla Adediji

Byron London

Sam Sneade

Nielsan Bohl

Nicola Simmons

Selected Works

Sparks 'Porcupine' by Fred Rowson 

Sparks-'Porcupine'-by-Fred-Rowson

Iggy London returns to music videos with an effervescent affair for rising R&amp;B star&nbsp;Sekou.The delightful video for Catching Bodies features the young British singer strutting their stuff&nbsp;through a London estate&nbsp;on a hot summer's day, through the buzz of everyday life - and performing mostly to the camera on a shot tracking along the street.Iggy provides a uplifting sense of the joy in a sizzling summer's day in the city, elevated by the colour palette of Peter Bishop's cinematography and Tim Smith's grade.&nbsp;Above all, it's a vehicle for Sekou's distinctive personality and a song that should keep the summer vibes going for a while longer.[imgtoken data:1]

James Middleton

Frankie Spence

Charlie Dalton

Jai Durban

Ellie Rimmer

Iggy London

Sam Murray

Park Pictures

Dan Curwin

Harrison Newman

Peter Bishop

Shelley Jones

Tara Leonard

Embla Conneely

Laura Carrion Del Pozo

Alex Hudson

Toby Mckay

Kairo Jones

Remi Black

Manu Loca

Marie Reitner

Ben Elkaim

Trim Editing

Tim Smith

Rascal Post

Sekou 'Catching Bodies' by Iggy London

Sekou-'Catching-Bodies'-by-Iggy-London

Jake Erland's latest for&nbsp;Olivia Dean continues in the uplifting musical theatre atmosphere&nbsp;of his previous videos for the singer's soon-to-be-released new album, The Art Of Loving - a smooth and smart combination of performance and craft.In fact, the video for Man I Need takes the 'backstage' ambience of Olivia's video for <a href="https://www.promonews.tv/videos/2025/07/08/olivia-dean-nice-each-other-jake-erland/91763" target="_blank">Nice To Each Other</a> and brings it up a notch in sophistication. Olivia once again moves between scenes courtesy of&nbsp;theatrical devices and in-camera sleight of hand, but the transitions and scenery has a more front-of-house feel.And once again, Olivia Dean provides an on-screen warmth and relatability that has been a feature of her videos from the start. A great addition to the successful&nbsp;video campaign for her much-anticipated new album.&nbsp;

Furmann Ahmed

Simone Beyene

Jake Erland

Rowan Macintosh King

Isabella Furness

Mesh Henry

Olivia Dean 'Man I Need' by Jake Erland

Olivia-Dean-'Man-I-Need'-by-Jake-Erland

Dora Paphides is back with another pop extravaganza - this time for Perrie's new track, putting their own&nbsp;twist on some classic chick-flick movies.&nbsp;Featuring the song's co-writer Nina Nesbitt, the&nbsp;video for If He Wanted To He Would is a mash-up of the likes of&nbsp;Mean Girls, The Holiday, Pretty Woman, Love Actually - or an alternative ending to&nbsp;The Princess Diaries, where instead of happily-ever-after, Perrie and Nina decided to storm the palace and wreak havoc.[imgtoken data:1]It begins with Perrie driving to the big country house, where Nina watches her ex-boyfriend (Jack Brett Anderson) plead for forgiveness for his misdeeds via the medium of written placards ("Sorry I Slept With Your Sister", etc)&nbsp;in the style of the famous scene in Love Actually.&nbsp;And then Perrie's car runs him over.While Perrie&nbsp;and Nina celebrate their friendship&nbsp;in the big house with some pampering and dressing up, the vain ex continues to provide the laughs through his hapless attempts to gain Nina's attention - and eventually gets more comeuppance from Perrie. A strong concept that's impressively executed and a&nbsp;fitting accompaniment to the track.&nbsp;[imgtoken data:2]"When writing this, I really wanted to celebrate female friendship - the power of platonic love and the joy of showing up for your mates," explains Paphides.&nbsp;"For me, directing is about holding up a visual mirror to the song, and this track is overflowing with joy. Perrie came in with brilliant ideas about referencing movies, which I loved, because it gave us a shared language to build from. The heart of the video is the very real experience of heartbreak and the comfort of friends - but placed in a completely fantastical world, to match the euphoria the song brings.[imgtoken data:3]"Working with Perrie was a total dream. She’s incredibly collaborative, full of energy, and has that rare star quality where the second she starts performing, she’s magnetic. I don’t think I’ve ever seen a higher hit rate of amazing takes."If the video feels joyful to watch, it’s because we had so much fun making it. Honestly, one of my favourite projects I’ve worked on to date."&nbsp;

Lucy Cooper

Aaron Franco

Mark Lane

Charlie Knight

Darren Sinnott

Ali Copland

Marcus Albertson

Ali Baines

James Huthwaite

Geri Docherty

The Quarry

Perrie 'If He Wanted To He Would' by Dora Paphides

Perrie - If He Wanted To He Would (Official Video)

A chess match transforms into&nbsp;a big musical production number in Iris Luz's scintillating collaboration with PinkPantheress - featuring&nbsp;US singer&nbsp;Destin Conrad as the eponymous Romeo.We start in reality as Pink enters a chess tournament&nbsp;that's taking place in a South London community hall - and where Pink proceeds to demolish the opposition, The Queen's Gambit-fashion. Destin is playing on another table, and they can't help give each other the eye, indulging in some flirting while winning their separate matches.And then, when they come together to play each other,&nbsp;it turns into a full-on musical fantasy: the chessboard is the dancefloor, the chess pieces becoming dancers, and this musical - with Pink performing&nbsp;next to a giant Queen chesspiece - plays out as Pink and Destin start the game in the real world... where Pink quickly takes control.Building on the excellent previous videos of her current Fancy That album campaign, Pink's signature style, and love of strong patterns - black and white checks and tartan - is slickly woven into the lighthearted narrative. Every element is delivered to a high level, and works to frame the singer and her message.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;It's a great addition to the PinkPantheress canon and an exciting step forward for Iris Luz, following her recent videos for the likes of Victoria&nbsp;and George Riley.&nbsp;[imgtoken data:1][imgtoken data:2]

Elena Isolini

Jack O'Mullane

Renäta Fabri

Milena Agbaba

Iris Luz

Ayomide Alli

Imran Malik

Tuomas Nurmi

Scarlet Green

Rose Lucas

Gary Kent

Bertie Wood

Milo Brown

James Burns

Simon Donnellon

Andi Chu

Warner Bros. Records Inc.

Oscar Stewart

Will Cousins

PinkPantheress 'Romeo' by Iris Luz

Pinkpantheress-'Romeo'-by-Iris-Luz

<h3>The Spindle director’s debut music video pays tribute to&nbsp;a modern TV classic. She explains how it happened, and why it needed to be as faithful to the original&nbsp;as possible. On-set photography by Amaka Lin.&nbsp;</h3>Bonnie MacRae was stepping into uncharted territory with her video for singer-songwriter Chloe Slater's song Harriet. Firstly, she had not made a pop promo before, for anyone. And secondly, this was going to be a homage - and not just referencing that work. She was aiming for, in many ways, a complete copy. And the pressure was on, as the original was something that many people know - and seriously love.The brief was to recreate scenes from <a href="https://www.bbc.co.uk/iplayer/episodes/p089g8rs/normal-people" target="_blank">Normal People</a>, the TV adaptation of Sally Rooney's acclaimed novel, ostensibly to highlight the often-noted resemblance between Chloe Slater and Daisy Edgar-Jones, the female lead actor in the show. But such is the emotional pull that the drama has upon&nbsp;MacRae (and many others) she became determined to go 'all in' -&nbsp;to an extent that the likeness between the show and the Harriet video is considerable. At times even uncanny.&nbsp;&nbsp;[vidtoken data:0]This is a departure for MacRae, an up-and-coming director from Dundee who has been building her reputation with work in its own distinctive style.&nbsp;She signed with London-based production company Spindle earlier this year, having made her mark with two short films that tackle important topics with an appealing irreverence:&nbsp;Mind Yersel', about suicide, has been used by the NHS for training healthcare professionals;&nbsp;<a href="https://www.spindle.co/work/endometriosis-uk/" target="_blank">All Up There</a>,&nbsp;about the condition of endometriosis,&nbsp;won a YDA Award and has been recently developed into an awareness campaign for the charity Endometriosis UK.Her latest short, <a href="https://www.spindle.co/work/happy-birthday-daniel/" target="_blank">Happy Birthday Daniel</a>, co-produced by&nbsp;Spindle, is a tongue-in-cheek&nbsp;character comedy (it stars&nbsp;Lizzie Davidson of BBC's Such Brave Girls and Rhea Norwood of Netflix's Heartstopper) that's just starting its festival run.&nbsp;And a TV project also in development is further evidence of MacRae's status as an exciting breakthrough talent.But when Promonews spoke to her, the Harriet video had just been released - and not surprisingly, our conversation was all about that.&nbsp;<blockquote>I wanted it to be exact to the point that you’d have to do a&nbsp;double-take.</blockquote>PROMONEWS: Bonnie, how did this&nbsp;project start for you? &nbsp;BONNIE MACRAE: I was initially asked to pitch on the video about a month before the shoot, I’d known of Chloe’s music and had seen her come up across my Instagram feed a few times but this was both our first instance of working together – and my first ever music video.When did the idea emerge to re-create scenes from Normal People?BM: That was brought to the table as part of the initial brief. In the comments section of nearly every social media post of Chloe’s, you’ll find people comparing her to Daisy Edgar Jones. I think for Chloe, it almost started out as a bit of a joke, and then combined with her love for Normal People, it felt like a really creative and original way to address the resemblance.[imgtoken data:1]Above: Chloe Slater on set of the Harriet video<blockquote>I think for Chloe, it almost started out as a bit of a joke.&nbsp;</blockquote>It then became a collaboration between us both, figuring out what scenes to draw inspiration from, how we would land that balance between humour and something a little bit deeper, relating it back to the lyrics of the song, getting to the root of why Chloe penned it in the first place and channelling that into the visuals.&nbsp;[But] It’s one thing saying you can recreate something and [another thing]&nbsp;actually being able to do it; that was a little mini-stress I realised after winning the job. I decided right from that point that if we were going to make this, it should be as precise as possible, otherwise it could fall a bit flat. And then that’s when we started to work really specifically.[imgtoken data:2]Above: Bonnie MacRea (right) with Chloe Slater on set&nbsp;Why did you pick those&nbsp;particular scenes from the show?BM: With the very first brief, Chloe sent across a few scenes that she really wanted to include, which just so happened to be the same ones that stuck out so vividly in my mind. There’s obviously so many to choose from, but I wanted to make sure we were recreating the ones that felt the most visually iconic.For example, I knew I wanted to recreate Connell’s bedroom with that recognisable wallpaper and duvet as on first glance, I think even those who aren’t huge fans of the show will see it and can put two and two together and identify it as Normal People. The same goes for those grey school uniforms, and that long French braid in Marianne’s hair – instantly recognisable snippets of the show that also felt in alignment with the song and its lyrics.[imgtoken data:3]Above: Chloe Slater with co-star Gus Steele on setHave you attempted anything like this before?BM: Never. This was a completely different production experience to anything I’ve worked on before. The original show is shot in a way that doesn’t creatively come naturally to me. It’s framed in a way that I perhaps wouldn’t have shot it, so it was fascinating to have to almost mould my own work around someone else's in that way.Usually when you take inspiration from something you don’t take it quite so literally. It was a new experience having to brief our HODs to so rigorously match every single detail as closely as possible. It was also daunting because it is my first music video, and this is a world I really want to be in, so I put a bit of pressure on myself to do it well. We worked hard in pre-production to find specific props and wardrobe items and similar locations, but you never really know until the camera rolls and you look at the monitor for the first time, if it’s actually going to pay off.&nbsp;I’m so glad to say that I think it did![imgtoken data:4]<blockquote>It was fascinating to have to almost mould my own work around someone else's.</blockquote>What were the biggest challenges in making it happen?BM: The main challenge was that we had a small budget and one day to shoot four of the show’s most iconic scenes all over South London. But that to me was also the best part. It felt like a real achievement by the end of the day to see what we had managed to do and I also think being restricted both time and money-wise naturally makes you all the more creative.One of the other main challenges was recreating our locations, specifically our interior sets – Connell’s bedroom and the pool setup for instance. We shot in this massive house that 1. Had a pool that really felt similar to that of the original show but 2. Didn’t have any rooms that were boxy and contained like we needed.[imgtoken data:5]It meant we had to build a tiny bedroom within a bedroom and our amazing production designer&nbsp;Lucie Brooks Butler&nbsp;and her team really smashed it in such a small space of time. Lucie came up with the smart idea of bringing in a tall wardrobe and wrapping half of it in our wallpaper to try and emulate that original bedroom composition.[imgtoken data:6][imgtoken data:7]I also really wanted to be as specific as possible. I wanted it to be exact to the point that you’d have to double-take to figure out if you were watching the music video or the real thing. Specificity was really the main working practice across all departments – we set out to find the exact same bedroom wallpaper, the same school tie, the exact replica of Connell’s chain, the same GAA ticket stubs pasted to his bedroom walls.What aspects of the re-creation are you happiest with?BM: I’m really delighted with the supermarket scene. We shot in this small Polish shop on Streatham High Street that ended up feeling very similar to the show, and Chloe is actually wearing the exact dress Daisy wears which is a nice easter egg too.[imgtoken data:8][imgtoken data:9]Our brilliant 1st AD, Dom Asbridge, would be holding up my iPad next to the monitor so that we could watch the show play out alongside what we were shooting. I got super specific with both Chloe and Gus in even the smallest of movements – if Marianne takes her earphones out and that lasts three seconds, let’s make sure we take the same amount of time ourselves. If she raises her right arm at a certain angle to grab a jar off the shelf, let’s try and have Chloe reach that same position.I’m also really proud of how we recreated the bedroom scene. It was honestly very weird putting both Chloe and Gus into position and seeing the show come to life in front of us all. We even got particular in the tiny art details around the room that no one will probably ever notice or think twice about. For example, we managed to source the exact same vintage plate that sits on the side of Connell’s desk – you can actually barely see it in frame in the show or the music video but it’s very satisfying for me knowing that little details like that made it in there.[imgtoken data:10]<blockquote>Being restricted both time and money-wise naturally makes you all the more creative.</blockquote>I also really love our field scenes when they’re in their school uniforms – to me that set up is Normal People and to watch that play back in the edit for the first time and see how close we got was really fun. Who knew a little field in Croydon could masquerade itself as rural Sligo?What’s the primary purpose of doing this – humour, or something deeper? Or is it just to highlight Chloe’s rather uncanny likeness to Daisy?BM:&nbsp;I think it’s a bit of both. Addressing the uncanny likeness I think demands a bit of humour. This is a homage to the show and while we worked really hard to get that replication right, we also aren’t trying to take it too seriously.[imgtoken data:11][imgtoken data:12]I think it’s such a smart idea from Chloe in using the show as a vessel to form this world around ‘Harriet’. So many (including myself) are also still so obsessed with&nbsp;Normal People, even though it came out a good few years ago now, to me it still feels so relevant.Why do you think Normal People resonates so much?The show came out as such a crazy time -&nbsp;at the very start of lockdown when everything was a bit scary and unknown. I binged it almost all in one go - 1. Because it felt nice to have something to escape into and distract myself from and&nbsp;2. The show offered up this totally immersive world that I’d never experienced before.[imgtoken data:13]Above: cast and crew at the end of the Harriet shootI also think that to take an amazing novel like&nbsp;Normal People&nbsp;and to then adapt it so successfully is maybe quite rare. The way the show is shot literally feels like Sally Rooney’s writing. It’s really visceral and I think that makes it so relatable and true to real life in a way most TV fails to do.If you had the chance to do another Chloe/Daisy comparison video, which of Daisy’s other TV shows or movies would you pick?&nbsp;BM: We actually joked about this on set. Maybe my new thing is directing lookalike music videos… I haven’t actually seen it but I know Daisy was in Twisters.&nbsp;So I’d like to see how we’d fancy our chances of replicating a devastating tornado on a similar budget in a day in the same field in Croydon.&nbsp;• Bonnie MacRae is based at Spindle and represented for music videos by Claire Stubbs at Mouthpiece. See her work at Spindle <a href="https://www.spindle.co/directors/bonnie-macrae/" target="_blank">here</a>

Bonnie MacRae

Spindle

BTS: Bonnie MacRae on Chloe Slater's Harriet | 'Normal People still feels so relevant.'

Chloe Slater - Harriet (Official Video)

Daniel Sachon's tumultuous video for Demi Lovato unveils a reimagined Demi, free from the scars of her past and untouched by the chaos around her.The promo for Fast counterintuitively has the singer as the calm centre at the heart of a storm, walking through a nighttime city scene engulfed in hysteria. With a large cast of extras, there is craziness at every turn, orchestrated by Sachon with an admirable eye for detail within the overall concept.&nbsp;Through this tightly-orchestrated mayhem - shot on a studio backlot -&nbsp;Demi emerges in complete control, setting the tone for her new chapter.&nbsp;Her final glance at the camera is the only acknowledgment of the outside world, intentional and poised.[imgtoken data:1]