Executive Producer

Justin Edmund-White

A struggling&nbsp;artist, working alone in an empty&nbsp;country house, becomes obsessed by a golden mask&nbsp;- in Alexander Brown's video for Claptone's Just A Ghost.&nbsp;As the artist becomes increasingly haunted, in his dreams and otherwise, by the appearance of&nbsp;a mysterious masked man and his party&nbsp;guests, Brown concocts a swirling fever dream of a narrative, filled with glimpses of trangressions and tangled visions.The video is for a track from the often-masked dance producer, featuring the&nbsp;unmistakeable voice&nbsp;of Seal, returning after a six year absence.&nbsp;It was shot, appropriately enough, in the house where they filmed that latterday Hammer horror classic The Woman In Black.Alexander Brown tells us about the experience of making the video.[imgtoken data:1]<blockquote>I saw this as an origin story... in which Claptone could comfortably inhabit as a character.</blockquote>What kind of brief did Claptone give you and what were your immediate thoughts when you saw it? When Claptone approached me, the brief was fairly loose. Basically, I could pitch anything, but the focus was to make sure Claptone the character wasn’t mishandled.I sort of saw this as an origin story, not really explaining Claptone, but making the video feel like a story in which Claptone could comfortably inhabit as a character - much in the same was Daft Punk were always viewed as robots, or Gorillaz record at Kong studios. I wanted it to feel like Claptone had a reason for being in this world. I wanted the Claptone mask to be a character itself, a sort of presence in the house.When I wrote the idea, it was the middle of winter, in the middle of lockdown, and I guess the video was riffing on the idea of memories of how much fun it was having parties, being social, and how winter can feel so isolating. Initially, I had the idea of a butler left in a mothballed country house - sort of inspired by Kazuo Ishiguro's Remains Of The Day - someone who has been left behind and finds himself reflecting on times gone by.[imgtoken data:2]<blockquote>I wanted the Claptone mask to be a character itself, a sort of presence in the house.</blockquote>Claptone liked the idea but didn’t want to have someone look like his servant, so we developed the idea into a struggling artist going through a creative block. This was great because it gave him something to do apart from polishing the silverware - though I still think that would have been fun too.Tell us about filming. How was this shot? We shot this in the same house that the 2011 movie The Woman in Black was shot. The house has been renovated over the last three years and a lot of it was a building site, but we were very lucky to have the access. We shot it all in one day, which was a testament to the wonderful crew. We had a great second unit to pick up some of the scenes, as there was just too much to cram in. We had a great team thanks to Ellis [Fox, producer].[imgtoken data:3]What do the masks signify? The masks don’t really signify anything. Claptone wears a mask to DJ, and I wanted him to have some friends who felt as though they occupied the same astral plane as him. I wanted the video to have a Stanley Kubrick feel - Eyes Wide Shut being an obvious reference - but beyond that, I think I just wanted Eduardo (the hero) to feel out of place at this gathering.&nbsp;

United Kingdom

Alexander Brown

Ellis Fox

Sweetshop

Elle Lotherington

Pieter Snyman

Sam Kinsella

Bernin Isaac

Maria Camilla

James Duffy

Luke Wentzel

Fin O Sullivan

Reggy Brown

Ellie Walker

Coco Hirani

Rich Woolway

Homespun

Connor Coolbear

Electric Theatre Collective

John Moule

Dance

Claptone ft Seal 'Just A Ghost' by Alexander Brown

Claptone - Just A Ghost (Official Video) ft. Seal

Faced with the issues of enforced quarantine in making his video for Marcus Mumford's version of You'll Never Walk Alone, Nicolas Jack Davies turned to Zoom - possibly before most of us had heard of it -&nbsp;and&nbsp;pioneered some principles of the current phase of remote directing. Crucially&nbsp;the end result,&nbsp;with Mumford performing with Reuben James from their respective homes, has real emotional impact.Mumford's recording of the classic song - best known for its associations with&nbsp;Liverpool FC - preceded the onset of the Covid-19 crisis, and its purpose was always to support causes close to his heart: The Grenfell Trust and War Child UK. But the fact that Mumford and James had to rig up the camera set-up themselves, as per the directions of Davies and DoP Edgar Dubrovskiy, certainly adds another layer of purpose to the project.It was also made feasible by Davies' longstanding relationship with Mumford, that goes back to the very early days of Mumford &amp; Sons, and resumed last year after a long hiatus with the music video for <a href="https://www.promonews.tv/videos/2019/12/10/mumford-sons-blind-leading-blind-nicolas-jack-davies/62296" target="_blank">Blind Leading The Blind</a>, from the band's recent album Delta.&nbsp;Dubrovskiy also worked on that video, as did editor Liam Bachler, who does a fine job here with the ebb and flow of the creative process, where the usual separation&nbsp;of 'BTS' and 'video' disappears.

Justin Edmund-White

Executive Producer

Videos featuring Justin Edmund-White

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