Production Company

Factory Films

http://www.youtube.com/watchv=TkSuIr83CEY Colonel Weng Wah - aka Ben Hsiung - teams up with Andrea Colomb for this cool and distinctive piece for new track Manyana.

Colonel Weng Wah 'Manyana' by Andrea Colomb

Colonel-Weng-Wah-'Manyana'-by-Andrea-Colomb

Recent Factory Films signing Andrea Colomb masks the intense fire stomp of We Are Ocean's Waiting Room with this dark, claustrophobic piece for their forthcoming album Go Now And Live (April 25th).

AJ Colomb

Marie

Louise Murphy

Ben Hsiung

Chris Baker

We Are The Ocean's Waiting Room by Andrea Colomb

After their first collaboration last year for the debut single <a href="http://www.promonews.tv/2010/05/11/hurts%E2%80%99-better-than-love-by-w-i-z/" target="_blank">Better Than Love</a>, Hurts are back together with WIZ once again for the video for Sunday - and come up with a melodrama like no other. 
Switching from classic European arthouse to a fetishistic fantasy world, its audacious, gorgeous, kinky - quite simply a video only WIZ would make.

W.I.Z.

Scott O'Donnell

David Johnson

Julia Knight @ Trim

Maria Miu

The Mill

Ovidiu Paunescu

Mihaela Ularu

Aubrey Woodiwiss

Hurts’ Sunday by W.I.Z. - the director's cut

Hurts’-Sunday-by-W.I.Z.---the-director's-cut

A trip to the seaside - unmistakably glamourous Southend - brings the memories flooding back for this particular lady in Jamie Thraves's evocative promo for Japanese Popstars' synth-popping Song For Lisa. 
From Campbell Beaton and Tiernan Hanby: "We would like to thank the Nicolas family for all their hard work and putting up with such an intensive shoot - without their understanding and support none of this would have been possible. We'd also like to thank Adventure Island and Carl at Rushes. And finally Brendan at Beach casting for doing such a spectacular job with the actors".

Jamie Thraves

Campbell Be

Florence Chow

Tiernan Han

Alex Berry

Rushes

Nicola Brown

Japanese Popstars’ Song For Lisa by Jamie Thraves

Alex and Liane get to grips with the big widescreen pop of new Polydor signing Clare Maguire for her single The Last Dance with this similarly epic promo - complete with dramatic fireworks and sinister gathering clouds. Very Close Encounters...

AlexandLiane

Caroline Greig

Nickie Sault

Will Bex

Ed Butcher

Paul Percival

Carlos Nazario

Simone Grattarola

Munky

Sam Seager

Emily Tedrake

Ross Anderson

Clare Maguire’s The Last Dance by AlexandLiane

Clare-Maguire’s-The-Last-Dance-by-AlexandLiane

Shot in West Sussex, Sophie Muller nails the mid-tempo balladry of Cheryl Cole's The Flood with this classy, quite understated (for Cole) promo with excellent cinematic shots of the raging sea.

Cheryl Cole <a href="http://www.cherylcole.com/" target="_blank">website</a>

Sophie Muller

Rob Small

Chris Kelly

Richard Stewart

Alison Dominitz

Lisa Laud

Victoria Adcock

Cheryl Cole’s The Flood by Sophie Muller

Cheryl-Cole’s-The-Flood-by-Sophie-Muller

The Cocknbullkid is the frustrated person in the one-eyed monster suit... or is she
The big fella takes on a life of his own in Jamie Thraves' lighthearted and highly enjoyable vid-cum-short film. With a great ending!

Nadia Lakhani

Ross Hallard

Air Post Production

Ailsa Robertson

Cocknbullkid's One Eye Open by Jamie Thraves

Heat and lust, rebellion and romance, as WIZ bestows some intense film magic on a very catchy song, with the help of a typically crack team.

Phil Tidy

Tom Lindsay

Prime Focus

Tom Russell

Magnetic Man feat Katy B’s Perfect Stranger by WIZ

With live projections by Frieder Weiss, the 'engineer of the arts' known for developing software like <a href=" http://frieder-weiss.de/eyecon/index.html " target="_blank">Eyecon</a> that uses human motion to trigger other media.

Jon Adams

James H

Suzy Davis

James Hackett

Kylie Minogue’s Get Outta My Way by AlexandLiane

Featuring a stirling performance from Ray Winstone sharing his experience of divine intervention in his youth after being struck by lightning, John Hillcoat's powerful promo for UNKLE's The Answer is full to the brim of dramatic, beautiful imagery mirroring Winstone's take on life. 
The track is from UNKLE's latest EP, due on September 28th. 

Watch: <a href="http://www.factoryfilms.net/music-director/john-hillcoat/answer" target="_blank">Quicktime Movie</a>

John Hillcoat

Paul Fennelly

Blake Claridge

UNKLE’s The Answer by John Hillcoat

John Hillcoat delivers this wild and camp series of cinematic images of bathing lady, wolfmen, band-as-Roman-centurians with unearthly powers and general scareyness to match the twitching, nervous, whacked-out tones of Grinderman&#39;s Heathen Child. Brilliant.

Malachy McAnenny

Steve Annis

John Moule

Grinderman’s Heathen Child by John Hillcoat

Grinderman 'Heathen Child' - Director: John Hillcoat

Grinderman - a side project of Nick Cave &amp; The Bad Seeds - are due to release their second album in September and John Hillcoat has directed a rather excellent (and scary) trailer for it. The full promo will follow later. 
This is the first thing Hillcoat has done since directing the much acclaimed movie The Road. 

Watch: <a href="http://www.factoryfilms.net/galleries/Grinderman_Trailer.mov" target="_blank">Quicktime Movie</a>

Grinderman II Trailer by John Hillcoat

England play their second match at the 2010 World Cup tonight, so what better time to post this on Promo Because it might actually not worth bothering about next week. 
Is that too pessimistic, considering we're playing Algeria tonight, regarded as a very moderate side, who probably won't play with a recognised forward Well, let's put it this way: no. This is England we're talking about here: dodgy keeper, wobbly defence, kick and rush football... It's a humiliating disaster waiting to happen.
And Shout For England does have the authentic anguish of the long-suffering England fan - the criticism mixed with the still-lingering belief, which has of course become chubby funnyman James Corden's stock-in-trade. Like Capello shouting at the players all the time, his schtick is a bit of a cul de sac. But, Mike O'Keefe at Sony has made a wise selection when it comes to making the video. He's gone for experience - and certainly a safer pair of hands than Robert Green. 
Fourteen years ago Pedro Romhanyi made the video for this song's spiritual predecessor, Skinner &amp; Baddiel &amp; Lightning Seeds's Three Lions (it's also Pedro's first video in four years - far too long). This one relies more on England footie footage than the Baddiel and Skinner video, and Dizzee leads the crowd, assured as ever. Not clear what Corden actually contributes to proceedings, but thanks to Pedro knowing his footie, the video has the right feel. And, for a bonus, there aren't any vuvezelas. 
Possibly a good omen too After Pedro's Three Lions video for Euro 96, we got to the semis. I think I may be clutching at straws here...

Pedro Romhanyi

Gareth Francis/Tim Steele

Simon Chaudoir

Ben Peters

Big Buoy

Mike O'Keefe

Shout For England feat. Dizzee Rascal & James Corden’s Shout by Pedro Romhanyi

There are sexy videos, and then there are sexy W.I.Z. videos. 
Like this one for Hurts' big song Better Than Love. It's a bold, beautiful, unapologetically serious pulse-quickener. Better watch it more than once.

Caroline Hicks

Corvin Cristian

Hannah Bhuiya

Dan Millar

Hurts’ Better Than Love by W.I.Z.

Don't anyone ever say that Dizzee doesn't know where the party's at...

Robbie Ryan

Sarah Ascroft

Dizzee Rascal’s Dirtee Disco by Jamie Thraves

Rowden De Fresnes

Katie MacGregor

David Bartlett (male dancers)

Cheryl Cole’s Parachute by AlexandLiane

Cheryl-Cole’s-Parachute-by-AlexandLiane

After making a big noise in the press at the end of last year, this long-awaited new material from Sade sees the singer teaming up with her old friend Sophie Muller on the cutting-edge Soldier Of Love. 
Shot on a big stage with huge back projections - brilliantly shot as ever by Steve Chivers - Sophie turns in a classy, excellent promo for the first important comeback of 2010.

Steve Chivers

Sade’s Soldier Of Love by Sophie Muller

A lovely merging of a compelling idea with performance for Corinne Bailey Rae's return by Jamie Thraves. 
It's Corinne's Groundhog Day, but Jamie's take on I'd Do It All Again hits an altogether more poignant note than the movie. And it's not often you're actually left wondering what happens next.

Rachel Rumbold

Corinne Bailey Rae’s I’d Do It All Again by Jamie Thraves

Dizzee and WIZ reunite for their second video together, and deliver another passionate broadside at England in its utter rottenness. 
Diz, the voice of reason in artful dodger garb, takes on the celebrity-obsessed, money-worshipping, torch-wielding, grotesque mob - in a typically ye olde English procession hailing new English values. 
Broad sweeps of symbolism hit the nail firmly on the head - and the whole thing rocks as well. Great work, produced in about two weeks flat by Phil Tidy.

W.I.Z

Denzil Armour

Imogen Hammond

Julia Knight

Sean Mayo

Dizzee Rascal’s Dirtee Money by WIZ

AlexandLiane&#39;s new one for La Roux - and it&#39;s bizarre indoor poolside futuristic-Eighties cocktail partytime! And she has her work cut out winning over a very tough crowd. The polar opposite of Dizzee&#39;s Holiday.

Georgina Fillmore

Dan Sherwen

Gary Brown

La Roux’s I’m Not Your Toy by AlexandLiane

Performance and projections, pulled into a typically polished, very watchable whole by Grant Gee.
It looks great - beautifully shot by Denzil, graded by Richard Fearon at Prime Focus - and so is Jerry Chater's edit. But Paul Smith will still insist on wearing that bloody hat...

Grant Gee

Claire Oxley

Jerry Ch

Laura Tunstall

Maximo Park’s Questing Not Coasting by Grant Gee

New girl Paloma gets a big launch from Sophie and her team. Unmistakeable Muller.

Uncle

Paloma Faith’s Stone Cold Sober by Sophie Muller

The collaboration between Oasis and WIZ has had its ups and downs lately. So thank the Lord the video for Falling Down has now successfully emerged unscathed. Because it&#39;s a genuine, proper WIZ music film.Not surprisingly considering the subject matter its attracting a lot of attention: the sex-and-drugs shenanigans of a royal family member among the &#39;lower orders&#39; - a contemporary Princess Margaret if you like - who joins the actual Windsor clan on the balcony at Buck House at the end.Hats off to New York Magazine&#39;s <a href="http://nymag.com/daily/entertainment/2009/02/new_royal-baiting_oasis_video.html">Vulture</a> blog which hails the Falling Down video as a throwback to the ambitious sweep of the &#39;golden age&#39; of videos, and says &quot;like all great music videos, it successfully draws a conceptual outline while leaving the viewer to paint his or her own conclusions.&quot;Which is to say: it&#39;s sensual, it&#39;s psychological, it&#39;s political. And it&#39;s goddamn great music video-making. No-one does it quite like WIZ.[imgtoken data:1]&nbsp;

Ben Cooper

Daniel Landin

Oasis’s Falling Down by WIZ

Yes, it's the third Tings Tings video for That's Not My Name - this one (after the first was rejected and it's somewhat controversial replacement) is for America.

Apart from looking great, this one ups the feminist ante by putting all those names Katie gets called on five foot-wide flourescent letters (Scotchlite again).
And most important of all, there's skipping. Which, for those of a certain immaturity, brings back warm memories of Malcolm McLaren's brilliant, forward-thinking album Duck Rock so many eons ago, and <a href="http://uk.youtube.com/watchv=X-bX-xuQxBI">this</a>.

MTV making of article <a href="http://www.mtv.com/news/articles/1597891/20081024/ting_tings.jhtmlreferer=sphere_related_content/">here</a>

Grant Jue

David Lanzenberg

Radiant Images, Los Angeles

Bryan Younce

Ting Tings’ That’s Not My Name (vsn. 3) by AlexandLiane

Ting-Tings’-That’s-Not-My-Name-(vsn.-3)-by-AlexandLiane

Keane's new video is a polished, high tech affair by Grant Gee, in one of his infrequent, always notable forays into music videos.
Of course it's largely a sideline from Grant's main task of being the king of music docs. He's made two classics of the genre: Meeting People Is Easy (about Radiohead circa OK Computer), and Joy Division. The latter recently picked up the UK Film Council's best cinema documentary prize at the 2008 Grierson British Documentary Awards.
Of course Grant's made at least one classic video too: Radiohead's No Surprises - the making of which is chronicled in Meeting People Is Easy. And that's brilliantly homaged - video and making of - by Stuart Lanceley's entry in Adam &amp; Joe's Video Wars (and featured by Adam at BUG 10): <a href="http://uk.youtube.com/watchv=sDz4rBV-ACo">The Meatballs Song</a>.

Tom Townend

Chris Lightburn

UNIT

Dilly Gent

Keane’s Perfect Symmetry by Grant Gee

Keane’s-Perfect-Symmetry-by-Grant-Gee

Duffy keeps cranking out the hits, and Sophie returns after her excellent job on Stepping Stone to provide the Chicago-ish production number.
She's written the book on the pop video, of course, but the emphasis on choreography is actually a bit of a departure.

http://uk.youtube.com/watchv=2n0kvTeDgtg[/youtube]

Gregg Shoulder

Duffy’s Rain On Your Parade by Sophie Muller

Duffy’s-Rain-On-Your-Parade-by-Sophie-Muller

Tremendously good video for the rockin' Texan boys White Denim by Tom Haines - with the band in a Bermondsey junkyard, replete with groovy dancers, erotic car-washing by a big lady, and a dangerous child named Stanley.
Loads of fun and very cool, nearly everyone on screen with the band makes an impression - including the owners of the yard. Tom has done a great job and, as he acknowledges below, revived the loose narrative feel of his early videos like Tunng's Jenny Again.
Like that Tunng video and Tom's others, this was shot by Steve Annis and it looks bloody marvellous - possibly the best advert for shooting on film I've seen this year. Would it look this good on tape On a Red You know the answer.

Tom Haines on making the video for White Denim's Shake Shake Shake
"It was back to basics for me. Shooting on film - it was shot on Super 16mm - with me and my DP Steve Annis running around making up shots on the day.
"It's going back to the naturalism of my early videos, like Tunng's Jenny Again, combined with what I've learnt since. And it's such a great balls-out song. I love White Denim.
"I wanted to have a Mad Max-type of setting, and another influence was the movie <a href="http://www.imdb.com/title/tt0262432/">George Washington by David Gordon Green</a>, which has feral kids in an almost-but-not-quite post-apocalyptic environment. That's what I wanted - and you have to see what you can get don't you
"We chose the first place we looked at. It's in south London, and it wasn't very big, but the guys who run it - and who are also in the video - were very easy-going, and when you're in a location like that you need to have people on your side.
"I was at Framestore doing the online, and Mike Woods, who I've worked with a lot over there, came in to have a look at the footage. All he could say was 'look at those cars, those Beemers - what a waste!' I was asking him how he liked the video. He just wanted to know where I shot it.
"We didn't have that much time with Stanley, the boy. We were only allowed to have him for a few hours so he only came around about four o'clock. It was all pretty quick. I wanted him to have some interaction with a family of very tame foxes who lived next to the yard. But they were freaked out - by the noise of the band more than anything.
"We had all kinds of dancers doing street and crunk in the casting. But the guy in the check suit in the video he's pretty special. He reminded me of a sot fo Shane meadows character and he took it mega-seriously. He came in and asked to hear the track and eeach time he stomped around exactly the same way.
"I think we got lucky - everyone had the right attitude and they looked great."

Tom Haines

Miranda Davis

Julian Eguiguren

David Ludlum

Framestore

White Denim’s Shake Shake Shake by Tom Haines

Actually this celebrated team-up (that also happens to include Dom and Nic's producer John Madsen and Virgin commissioner Carole Burton-Fairbrother) goes back quite a few years - ever since Setting Sun way back in 1995.
But more recently there's been the CADS' best video-winning Believe and then last year's Salmon Dance, both superbly entertaining, and both including marvellous CGI created at Framestore CFC.
And now the team is back in place for Tom and Ed Chemicals' Midnight Madness -the single that's launching the new 'greatest hits' collection.
It's more brilliance, with the songtitle aptly represented by a gold-suited goblin who springs from a refuse bin round the back of the London Astoria, then proceeding to scale the building and do all kinds of stuff thereafter: leaping from wall to wall Spiderman style (which mostly looks real) and ridiculous contortions (some of which look which suspiciously non-CG too).
This time there's more than the exceptional fusion of live action and CGI. This time it is a case of 'how the hell did they do that'
So Dom has kindly explained all below...

Dominic Hawley on making video for The Chemical Brothers' Midnight Madness
"It's hard to follow up Believe and Salmon Dance as they were really successful, and we were very pleased with them. We went into this latest one with that on our minds, and knowing we had less than half the money and half the time to do it. It would have been quite easy to not take this on but I am extremely glad we did.
"The project started as always with the Chems sending us the track, the budget and time scale. Given the limited budget and time the idea had to be of a certain nature. There wasn't enough of either to do a more cinematic narrative as usual. With these constraints set the idea came very quickly and almost flashed into mind fully formed.
"The initial image was of a dancer dressed as a goblin in gold lamé climbing out of an industrial bin on the stroke of midnight ready to have three and a half minutes of energetic fun before getting back into the bin for the end of the track.
"Even the setting (behind a theatre) was part of that initial thought. We had scouted those kinds of locations in the past for previous commercials and in fact had shot a scene from a Supergrass video in that same area. The idea comes from the song title and lyric and the reason for the goblin was two-fold. Firstly they are a nighttime creature of mischief, and secondly in the gold stretch bodysuit there is the look of an old raver that hadn't stopped dancing since the late Eighties.
"The original thought was to do the whole thing as one shot with two or three dancers and the DV camera being passed from operator to operator and using a crane to follow the goblin up the side of building. But in the end it seemed like a lot of unnecessary effort and money we didn't have to do it as one shot. So a new strategy was taken which was to still do it as a true circuit in real time, but to have cuts but only when needed.
"We still used three dancers who all were cast for their different skills, casting in London and Paris (because the French have some amazing street dancers). We cast one (Liverpudlian) guy, Daniel Ilbacca, for his acrobatic free running skills, the second (Belgian) guy, Bruce, for his mad popping style and the third (French) guy called Lilou - he's a break dancer with his unique style and contortionist skills. We also had a fourth dancer who was computer generated, thanks to our friends at Framestore.
"Again Framestore did an amazing job without getting paid and created a 3D goblin dancer that had to seamlessly join with a real one. There are two sections with the 3D goblin: the first from the roof of the car to the roof top; the second is the jump from the roof to the window ledge.
"The jump to the chimney is for real. Daniel the free runner could have done the whole thing for real but we couldn't afford to go down that route of making it safe as it would have escalated the production scale to a completely different level. We did film him doing the jumps and moves between the air con units and the drainpipe in the gym, then the animators copied his movements to make it convincing.
"We got a choreographer (Supple Nam) on board early on and he was great. He is really into street dancing and led the auditions, then we worked together closely on the rehearsals and choreography. We spent about four days on total on rehearsals and could easily have used more time if we'd had it. We sourced all the costume materials ourselves which was fun trawling around fabric shops and desperately trying to find a 4 way stretch lycra with gold hologram sequins. We managed to get the last 12 meters of it in the country!
"It was really fun being so hands-on because you end up feeling you really have seen all the options - although its a lot more work. As we were shooting with only existing lights and a few battery-powered ones, choosing the right fabric was essential. We went out and did some camera tests in the location and the gold sequins won outright.
"The mask was made by David Coulier who we've worked with before. He is a top man and mainly does feature films. We had worked with him before, when we made the Bluetones look really really fat. We wanted it to look like a dancer in a mask not a real goblin, otherwise we would've taken a prosthetic route.
"It was all shot in one night around the back and inside of the Astoria Theatre. The route is real - we didn't cheat anything, except one flight of stairs was taken out to help us get to the stage for the right point in the track, but that was planned. It is exactly how long it takes to do that circuit from the bin back to the bin and I am glad we stuck true to that part of the idea.
"We had to deliver the video by a certain date and that only gave Framestore a week and a half to do all the animation, lighting, rendering and compositing. However after delivery we discovered we were able to take advantage of Framestore's generosity and the teams commitment to quality for another two weeks to get it to the point where both they and we wanted - hooray!"

DOM&NIC

John Madsen

John Lynch

Carole Burton

Chemical Brothers’ Midnight Madness by Dom & Nic

The harsh realities of growing up, as described by Glasvegas - The Jesus And Mary Chain with tunes - is eloquently reflected in Jamie Thraves's video through different age groups of youthful karate-ists, from cute five year old upwards.
Shot in Slough with the participation of several local karate academies, it's Jamie's first video in ages - and it's beautifully photographed by his old compadre, Alex Melman.
Jamie's been busy the past few months shooting his new feature, The Cry Of The Owl, starring Paddy Consadine and Julia Stiles, for BBC Films.
So great news that Jamie is back with this excellent video for a band that are hot to trot. Even better news that he's finally made a new film, several years after his criminally underrated debut The Low Down. And it's not Karate Kid 5.

Charlotte Woodhead

Alex Melman

Glasvegas’s Daddy’s Gone by Jamie Thraves

Super slow-mo always works doesn't it You just sit there, transfixed, as they start to look really annoyed, really slowly...
But then, for his latest and one of his most enjoyable Zutons videos, Scott Lyon adds the magic, wet ingredient.
Water bombs: that's a whole lot of fun at about six for a pound. And what's more, it's edited by the one and only Art Jones.
I'm not letting Nathaniel Knight (aged almost 7) see this, in case he starts getting ideas...

Scott Lyon

Zeno

Art Jones

Daniel Millar

The Zutons’ What's Your Problem? by Scott Lyon

Very good to see WIZ back in action. And his first video in absolutely ages is also unusual for him.
There's the budget, of course, clearly a fraction of what he's used to. But also, making a video for the determinedly anonymous Clinic means there's no pop star being made unimpeachably cool by one of his extraordinary scenarios.
But his portrait of a girl preparing for a very English ritual is, of course, in his own highly distinctive fashion.
Unmistakably a Musicfilm by WIZ.

Lou Whiston

Gabi Norland

Gus Herdman

Bart McDonagh

Clinic's Tomorrow by WIZ

Alex and Liane's new Ting Tings video is a corker: weird hand signs, clever transitions, touches of anaglyph 3D, kung fu, great art direction - and loads of sexual chemistry.
But just what is that hand sign thing all about
A and L reveal all below.

Alex and Liane on making The Ting Tings' Shut Up And Let Me Go video
"We seem to have a lot of ideas based around hands - not sure why. Actually we've been sitting on the finger transition idea for a while, thrown it at a few people who didn't pick up on it.
"The shapes come from us waving our arms around and gesticulating a lot while we talk to each other, and our interest in the Neoists, who have also used the gesture as a symbol for the art movement since the Seventies.
"We reached the stage where we just wanted to realize the idea. We wrote some fighting sequences into it - which the band picked up on and expressed a desire to do some kung fu and wirework.
"It was probably a bit over-ambitious for a one day shoot and we had to drop quite a lot of the stunts because they were just so time consuming to get right - we shot 6 rolls - and follow precisely with a Technocrane.
"We did have some concerns about translating our mini DV test onto film but Will Bex was really encouraging and great to work with so we knew we were in good hands.
"Amanda James at Final Cut had a massive task with all the layers she had to work with but she is a whizz and between her and Marcus at Rushes, they really pulled it out of the bag for us."[/pay]

Alex and Liane

Amanda James

Marcus

John Hassay

CJ Hassay

Ting Tings’ Shut Up And Let Me Go by Alex and Liane

The Kills take to beating the living shit out of each other in Sophie Muller&#39;s third video for the band.Having no idea that it was now perfectly fine for guys to hit girls - even if you&#39;re a bit weedy like Jamie Hince - Promonews asked Sophie Muller all about it.Sophie Muller on making The Kills&#39; Last Day Of Magic videoPromo: Those cuts and bruises look like they hurt, and Alison and Jamie do look really shaken up at various times. So how real was that fightingSophie Muller: It&#39;s ALL acting...the &#39;shaken up&#39; is acting, the fighting was real in that they were actually doing it but there was no actual physical violence. The make up artist was great she did all that in the streets with a hand held light in about five minutes.Did you ever think: &quot;hang on a minute, that&#39;s too much&quot;Never. I probably kept saying &#39;more, more&#39;. I never felt there was any real danger of injury. They were amazing like that.Where did the idea come from Real tensions between The KillsNo, actually it came from the first video I did with them, U R A Fever, where I really liked their physicality with each other. It was very playful and natural and they both had a great understanding of energy in front of a camera. I&#39;d also seen footage of them live, where they have a great on stage chemistry, and I felt I hadn&#39;t captured their intensity in the other two videos I had done.Was there a girlfriend on the sidelines egging them on...No.When and where did you shoot thisWe shot in Barcelona, as they were on tour and we had to pick a date that would work. We knew the live venue would be easy to film in also. Not always a given. And Spain is always great to film in. It was really easy and nice.What are you up to now, what&#39;s coming upTravelling a lot and dodging dodgy video offers.Are they any videos out there that you really like at the moment (in other words, want to do a Playlist for Promonews)I like the Gnarls Barclay video &#39;Going On&#39;.(Guess that&#39;s a &#39;no&#39; then...)[/pay]

Owen Oppenheimer

The Kills’ Last Day Of Magic by Sophie Muller

The Kills - Last Day of Magic (2008)

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