Cut+Run

Editor

James Rose

Rag 'n' Bone reflects on societal pressures and the idea of belonging, in Joe Connor's monumental promo for Alone.Backed up by his full band, the video follows a group of outcast personalities&nbsp;looking for meaning in their lives, who transcend their realities and embrace the light that surrounds them.&nbsp;Shot in a clandestine mega-structure, the location is as much of a character as the cast members, and lends a larger than life feel to the enigmatic concept.&nbsp;

United Kingdom

Joe Connor

Fred Bonham Carter

Just Fred

Alexa Haywood

Chris Malin

Alex Jamin

Tim Allan

Steve Cameron

The Quarry

George Kyriacou

Black Kite Studios

Alexa Haywood at Free Agent UK

Dan Millar

Andrew Rawson

Rag 'n' Bone Man 'Alone' by Joe Connor

Rag-'n'-Bone-Man-'Alone'-by-Joe-Connor

Renowned&nbsp;ballet dancer Sergei Polunin performs a stunning contemporary dance to Depeche Mode’s song In Your Room, captured by legendary director/photographer and longtime collaborator of the band,&nbsp;Anton Corbijn.It's not a conventional&nbsp;music video, but a unique promo&nbsp;of Corbijn's forthcoming feature documentary Dancer 2&nbsp;- the&nbsp;sequel to the&nbsp;the critically-acclaimed 2016 film&nbsp;Dancer.&nbsp;The first film&nbsp;charted Polunin’s meteoric rise to become the Royal Ballet’s youngest-ever principal dancer, and his self-inflicted fall from grace. Corbijn's new film pick ups from where Dancer left off, exploring Polunin’s return to ballet.Corbijn frames a powerful solo performance by Polunin to the 1993 song, choreographed by Ross Freddie Ray, against the vast windswept dunes of&nbsp;Terschelling&nbsp;in The Netherlands,&nbsp;Corbijn's home country. The performance&nbsp;evokes Polunin’s well-documented struggles within the confines of the ballet world and in his personal life, following his infamous rejection of the ballet establishment while at the height of his powers.Filmed in November last year, the film is effectively a prelude for the film to come, which is now moving into production.[imgtoken data:1]&nbsp;

Anton Corbijn

Gabrielle Tana

Merman

Spencer Dodd

Claudia Creebsburg

Damien Hope

Martijn Van Broekhuizen

Indiana Roma Vos

Sandra Govers

Carolyn Marks Blackwood

Yoomin Lee

Tatiana Tokareva

Lisa Kirk Colburn

Ann Mulally

Synth Pop

Sergei Polunin/Depeche Mode 'In Your Room' by Anton Corbijn

Depeche-Mode--'In-Your-Room'-by-Anton-Corbijn

Thank God for Boasty. <a href="https://www.promonews.tv/videos/2019/03/07/wiley-stefflon-don-sean-paul-ft-idris-elba-boasty-henry-scholfield/57677" target="_blank">Henry Scholfield's video for Wiley, Stefflon Don and Sean Paul's track - featuring the one and only Idris Elba</a> - arrived last month, and duly smashed through the doom and gloom of Brexit Britain.&nbsp;It's a hugely entertaining, non-stop expression of the vibrancy of modern London, a celebration of street culture, and, perhaps above all, a statement about the musical powerhouse that is Grime. And with the absence of Wiley, the mainman himself, from his own video, it's a precocious&nbsp;9 year old Londoner called Brooklyn who plays a massive role in its success.So we spoke to four people crucial to the making of the video - director Henry Scholfield, executive producer Daniella Manca, editor James Rose, and commissioner John Hassay - to ask how they did it, particularly with the problem of Wiley's non-involvement, to make a probable contender for Video of the Year.&nbsp;Questions by David&nbsp;Knight Photos by Claudia De La Mata&nbsp;So starting at the beginning. How did it all get going?&nbsp;JOHN HASSAY: I’ve tracked Henry’s career for 10 years. I knew he'd be great for this, so I sent the brief to Caviar for him. They said he was on holiday, so he was very unlikely to do a treatment. But then, the next day he sent a video pitch he made, from&nbsp;Sri Lanka. It was so good.What made you go for this one, so quickly, Henry?HENRY SCHOLFIELD: The track! I listened to it before knowing who was on it. I’ve always been a big Wiley fan anyway. The idea literally came into my head that first run. Then I realized who was on it, and was like, 'this is killer quartet of awesome artists'. So I shot a little video treatment/test an hour later - and that was it.[imgtoken data:1]<blockquote>I wanted it to feel like a very much heightened version of ‘A Day In The Life Of’.</blockquote>You learned the ropes directing grime videos back in the day for Professor Green (like personal favourite the <a href="https://www.youtube.com/watch?v=IIuQM_q0IUU" target="_blank">Upper Clapton Dance</a>). Was it a case of drawing on that experience, and/or wanting to get back to that world, and raising the bar on classic grime videos?HS; Nicely put. Like you say, it was the scene that first inspired me into music video making in the first place - stealing my sister’s Handicam, going to venues to shoot battle raps, and try to interview artists.&nbsp;<a href="https://www.promonews.tv/videos/2015/11/05/sir-spyro-ft-big-h-etc-side-side-henry-scholfield/37881" target="_blank">Working with Spyro</a> on his videos a couple of years ago was a real re-inspiration. To me grime’s about being inventive and maybe that’s why it’s a great medium for videos.Daniella, Henry must be getting tracks all the time. Do you have a rule about what is worth sending on to him?DANIELLA MANCA:&nbsp;Generally when that track lands in your inbox you’ll know pretty quickly if it's got legs. Ultimately it has to have something that can spark a killer idea. Doesn’t matter the genre, featuring artist, or potential hurdles.[imgtoken data:2]<blockquote>He was first into casting, playing a Nintendo with a comb stuck in his Afro. We knew we had our prince.</blockquote>How did you plan out the production?JH: When Henry did his animatic - playing all the different parts - we knew a technical approach would work. He is a mega talent!All the parts? When can we see it?HS: It’s under lock and key, especially the Steff bit! It’s true, I do this a lot on mapping out timings and transitions in vids. Not always playing the parts myself, mind.So the shoot with Sean and Steff came first?JH: We shot Sean and Steff the day after another video for them both. It's fair to say Steff was slow out of the traps, but it was worth it! Peckham High Street was literally at a standstill for her performance. And Idris was a dream. Captain America levels of charisma. He rattled through his parts.[imgtoken data:3]<blockquote>Peckham High Street was literally at a standstill for Steff's performance.</blockquote>We find the different stars in different situations, as if it’s part of their normal lives, and we’re cutting into it. Were you able to give them ‘back stories’ for their roles?HS: Totally. I wanted it to feel like a very much heightened version of ‘A Day In The Life Of’. A little back story goes a long way, and all of the artists were very much up for it. Like Sean P never asked ‘what’s up with me in the back of this van?’,&nbsp;and Idris loved the idea of his (wonderful!) missus Sabrina dropping in the ‘Jeeez’ when he gets a bit uber-Boasty.Did you know places you wanted to shoot when you created the treatment?HS:&nbsp;Yes and no. I knew to have Steff in a salon, then owning the South London streets. And Idris is a Hollywood reporter-style photo shoot. But we were gonna shoot a bit more all over the place – or rather the world. But then luckily we found a window to have all the artists in London. Then it was just a case of coming up with ideas of what worked best for the story, and upping the escalation of the clip.[imgtoken data:4]<blockquote>Idris loved the idea of his missus Sabrina dropping in the ‘Jeeez’ when he gets a bit uber-Boasty</blockquote>Is there a key or trick into making regular London locations (ie the hairdressers, the pool hall, the chicken shop…) into more ‘music video’ versions of themselves?HS:&nbsp;For sure. An excellent DOP&nbsp; - the very talented Kanamé Onoyama -&nbsp;and skillful set dressing - thank you, Mr. Oian Arteta. Beyond that, just a bit of imagination to re-see what you’re used to with fresh eyes.The transitions are hugely important. How difficult was it to get them right in the edit?JAMES ROSE: Henry’s great at seeing both ends of the transition, which means there’s more room for me to have fun. There's always a bit of finicking, but when the timings are good from the off then you're free to noodle through options, rather than have to work really hard to make the 'one' work.Now the obvious question: was the original plan to feature Wylie with his co-stars?JH: Yep. Fair to say the big man was indisposed. I knew we’d have limited time with all artists, but didn’t realise how it would pan out.HS: Unfortunately Wiley missed his flight, then wasn’t around for a bit…JH: We tried to shoot a stand-in, but it didn’t work not enough charisma to stand up to talent.HS: It kinda made sense to get in a big character in the shape of our little man. And Brooklyn (the boy) totally killed it![imgtoken data:5]<blockquote>It kinda made sense to get in a big character in the shape of our little man. And Brooklyn totally killed it!</blockquote>JH: Henry just said: ‘It’s a Wiley video! This is what happens.’ Facebook reminded me that a decade earlier Wiley failed to show for ‘what do you call it’ a video I was producing for Adam Smith.&nbsp;So we cast Brooklyn.He was first into casting, playing a Nintendo with a comb stuck in his Afro. We knew we had our prince. He's a very cool kid - a wee man in a 9 year old’s body. Then we shot two weeks later. We had to fit round a big commercial Henry was doing on the DL.How did the shooting plan&nbsp;change?DM: Despite shooting an extra day, the plan stayed pretty close to the original. We had to keep it as a well-oiled machine to maximize all of Henry’s transitions and set ups.What stands out as the biggest challenges?DM: The beauty of promoland is in part the constantly changing goal posts. I can maybe count on one hand the promos that have been consistently smooth, but actually I prefer the challenging ones. It means when you finally deliver it, there’s an even bigger sense of achievement! On this one, probably getting all of the footage with Brooklyn was a challenge. But he smashed it in rehearsals with Henry so on the day we rolled on through.[imgtoken data:6]<blockquote>[Grime] was the scene that first inspired me into music video making in the first place</blockquote>So when did you shoot the intro convo between Brooklyn and W. Was that always planned?JH: The intro was bootlegged on the day. We felt we had to both own and explain Wiley absence. The video game fits the narrative, and Boss Baby Brooklyn completely nails the tone.When did you get Wylie’s audio contribution? That is Wylie, right?JH: That’s Henry sampling other interviews with Wiley. He is quite the fan. I don’t think I’ve ever had a director so across the artist and music before.And likewise with the other cast members – there’s always something going on in the background, so its interesting to watch again and again. What was their brief?&nbsp;&nbsp;HS: Things like: ‘You gotta be super-serious on these mini-motors’, ‘Mr. Elba, would you mind handwriting some lyrics to put in the beak of this falcon?’ ‘You bro, when you see Steff you’re gonna be falling off your bike’… etc. That kind of thing pretty much.Even if no-one else notices, I really get a kick out of details in the background. Big Up to Ruben Dangoor&nbsp;for letting us feature his excellent Wiley work.[imgtoken data:7]Did you have much leeway in the edit to get the best bits of different takes without affecting the flow of the whole video?JR: When you’re dealing with long takes, the flow of the video doesn’t come from the cuts, but from the transitions from one take to another, so choosing the best takes is doubly important.Did Wiley shock everyone by turning up for the edit?JR: No, didn't meet Wiley. I have met Wretch 32 before though.• A Promonews and Caviar production. Behind The Video is a series of sponsored content on Promonews. For more information, email&nbsp;info@promonews.tv&nbsp;&nbsp;&nbsp;

Henry Scholfield

Daniella Manca

John Hassay

Caviar

Behind The Video: Henry Scholfield, Daniella Manca, John Hassay and James Rose on Wiley's Boasty

This&nbsp;stunning visual by filmmaker/photographers Warren&nbsp;Du Preez and Nick Thornton Jones was created for fashion magazine Beauty Papers, featuring the striking model Maggie Maurer.The track is a version of the Roberta Flack classic First Time Ever I Saw Your Face from a new collection for UNKLE - and also the first output from new production company Immortal Productions, set up by Warren &amp; Nick and producer Campbell Beaton. The team are now working on more visuals for the upcoming UNKLE album. This serves as a sublme appetiser.&nbsp;

Warren Du Preez and Nick Thornton Jones

Campbell Beaton

Immortal Productions

Tiernan Hanby

Tim Maurice Jones

Guy Hazel

James Knight

Joseph Bennett

Anthony Unwin

Martin Cullen

Maxine Leonard

Duncan Horn

Nineteentwenty

Maggir Maurer

Alternative

UNKLE ft Keaton Henson 'First Time I Ever Saw Your Face' by Warren Du Preez and Nick Thornton Jones

UNKLE - The First Time Ever I Saw Your Face (feat. Keaton Henson)

Henry Scholfield teams up with Wiley - well, his very able young stand-in played by Brooklyn Appiah, and a host of guest artists - for the supremely entertaining video for Boasty.It kicks off with some excellent 8-bit arcade action, then bounces between the striking Stefflon Don, to Sean Paul and finally Idris Elba who rounds off proceedings with his commanding lyrical swagger.Shot in London over three days, the video with its infectious energy and fast-paced tropical rhythms, switches between choppy interchanging frames. And the ever-elusive Wiley in true Godfather style has let his vocals do the talking...

Javier Alejando

Zoe Travica

Tom Kelly

Kaname Onoyama

Simon Lakos

Liam Meredith

Gary Davies

Oian Arteta

Terri Higgins

Jess Summer

Luke Morrison

Electric Theatre Collective

Antonia Vlasto

Brooklyn Appiah

Hands London

Daniel Smith

Michael Hobdell

Josh Brooks

Jomar O'Meally

Grime

Wiley, Stefflon Don, Sean Paul ft. Idris Elba 'Boasty' by Henry Scholfield

Wiley,-Stefflon-Don,-Sean-Paul-Ft.-Idris-Elba-'Boasty'-by-Henry-Scholfield

Rob Chiu&#39;s video for Scottish singer-songwriter Kathryn Joseph is a compelling and enigmatic portrait of extreme emotion.During the course of a single shot we witness a man running full pelt from a house and down a deserted suburban road, and at the same time travel a path from rage and anguish, to what appears to be relief and happiness. It&#39;s as if the emotional journey caused by an unknown traumatic event has been compressed into the space of five minutes.Shot where the city of Los Angeles meets the desert, Mario Ponce plays the man who expresses a gamut of emotion from A to Z, and making you wonder what could have possibly caused it.

Rob Chiu

Pete Vitale

Iconoclast

Valerie Romner

Charles-Marie Anthonioz

Rachel Slayback

Eleanor Ghinghis

Brian Rey

Anthony Roman

Paul Meyers

Matt Cabinum

Ross Coscia

Sonnenberg Casting

Jogger Studios

Sophie Hogg

Davide Pascolo

Martin Leitner

Folk

Kathryn Joseph '1111' by Rob Chiu

Kathryn Joseph - 1111

Bastille reunite with Austin Peters for the lead-off track from their next album, and a beautifully made video featuring frontman Dan Smith on a breakneck surreal adventure through Paris and his imagination. And it begins with him shaving off his trademark big hair.Once Smith gets his smart new crew-cut, he finds himself instantaneously transported into a different scene, and then another. From club dancefloor&nbsp;to ice bath in grubby bathroom, Satanic ceremony to hanging with feisty and righteous trans people, to his constant confusion.It&#39;s a simple, strong idea served by a great production, and excellent direction by Peters - it&#39;s his fourth&nbsp;video for Bastille, following&nbsp;Flaws, Laura Palmer and Oblivion. And the video also features&nbsp;standout work by DoP Kristof Brandl and editor James Rose.&nbsp;&nbsp;&ldquo;We made the video over a couple of days and nights in Paris with our incredibly talented friend, and long-time collaborator, Austin Peters,&rdquo; Smith has said in a statement.&nbsp;&ldquo;It&rsquo;s a nod towards some of our favourite films and directors. Like the album as a whole, it&rsquo;s a surreal journey through euphoric highs and lows of a night, and all that comes with it: the escapism, warped realities, and unclear memories.&rdquo; More at <a href="http://www.nme.com/news/music/bastille-dan-shave-head-new-video-2323618">NME.com</a>.

Austin Peters

Francois Larpin

Forever

Sasha Nixon

Marylou Lapierre

Didier Mallet

Kristof Brandl

Johan Leclaire Bottarelli

Nicolas Cadot

Lucie Libotte

Anna Tarissan

Céline Llerena

Francis Jaillans

Mikey Rossiter

The Mill

James Hackett

Virgin EMI

Ama Labarthe

Anniki

Emma Skowronek

Loïc Andrieu

Jérôme Tanguy

Bastille 'Quarter Past Midnight' by Austin Peters

Bastille-'Quarter-Past-Midnight'-by-Austin-Peters

A big summer hit deserves a big summer video and Henry Scholfield has certainly delivered with this one for Dua Lipa.In New Rules, Dua needs to get through the difficult end of relationship with an unsuitable boyfriend, told in frank terms, with an empowering end result. Scholfield has captured this spirit with a brilliant updating of classic musical filmmaking and essentially doing what he does best.Shot in Miami, this is a beautifully designed, cast&nbsp;and styled production number in three acts, with on-point choreography&nbsp;and continually inventive camerawork. It combines the spirit and look of &#39;50s Americana with a fresh, whipsmart attitude. And flamingos.And of course the camera loves Dua so much, she can cope admirably with being the central figure in a large ensemble. Having worked together on her video for Lost In Your Light, the singer has said &quot;&rsquo;[Henry] does really cool work with choreography. He&nbsp;just has such brilliant ideas.&rdquo;In fact, it looks like the director who has done some great work with Stromae in the past few years, has found a thrilling new muse.&nbsp;

Katie Dolan

Robert Smyth

Heavy Pictures

Trevor Wineman

Jules Barraclough

Lisa Gigliotti

Teresa Barcelo

Sam Burnett

Lilly Keys

Lorenzo Posocco

Javi Martinez

Karina Del Bel

Mila Gonzalez

Framestore

Simon Bourne

Katie Rhodes

Alistair Ford

Ben Stell

Alex Burford

Kirdis Postelle

Warner Bros

Dua Lipa 'New Rules' by Henry Scholfield

Dua Lipa - New Rules

Magisterially epic, fantasy cloud imagery by Warren Du Preez and Nick Thornton Jones were first seen in the Daydreaming with Stanley Kubrick exhibition co-curated by UNKLE&#39;s James Lavelle last summer.These abstract cloud landscapes - created in Flame by Warren and Nick working with Duncan Horne at Glassworks &ndash;&nbsp;are now the official video for Sick Lullaby, featuring Keaton Henson, from&nbsp;the new UNKLE album.

Tom Brannigan

Glassworks

Duncan Horne

UNKLE 'Sick Lullaby' by Warren and Nick

Sick Lullaby – UNKLE – Directors Warren and Nick – Flame Op Duncan Horne

We&#39;ve all been there - concentrating and investing so hard in something only to have it ripped out from under us by a cruel twist of fate. Ewan Jones Morris and Casey Raymond&#39;s video for Lemaitre&#39;s&nbsp;Closer - their first together since their MVA-winning video for <a href="http://www.promonews.tv/videos/2015/08/11/leftfield-sleaford-mods-head-and-shoulders-ewan-casey" target="_blank">Leftfield &amp; Sleaford Mods&#39; Head &amp; Shoulders</a>&nbsp;last year &ndash; displays the hilarious catharsis of acting on those impulses.Even when you know exactly what&#39;s coming, this setup and punchline-style video is still be a fun and rewarding watch. Frankly, any video that manages to mix beautiful visuals with the cartoonish scenario of a strongman throwing a hapless, trumpet-playing schoolboy across a room is a huge, hilarious win.

Ewan Jones Morris

Katie Lambert

Natalie Arnett

Riff Raff Films

Kerry Green

Charlotte Miller

Romain Richard

Ben Pengilly

Anna Lumsden

Marc Gómez del Moral

Ben Plant

Clara Pozas

Korsshan Schlauer

Richard Burnell

Ruth Crawford

Sophie Ansell

Helen Sirdall

James Soldan

Holly McDonald

Jessica Summer

Casey Raymond

Richard Fearon

John Moule

Casey & Ewan

Dance

Lemaitre 'Closer' by Ewan Jones Morris & Casey Raymond

Lemaitre "Closer"

Markus Lundqvist has&nbsp;fused animation, live action and CGI to create an homage to old school anime to perfectly compliment British electronic music trio&nbsp;Nero&#39;s track Into The Night.It sees the band reimagined in anime form, performing a show in a sprawling neon-tinged Metropolis, while a lone motorcyclist involved in some shady deals with evil cyborgs escapes his violent past with the girl he loves.&nbsp;

James Rose

Editor

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