Mouthpiece

Production Company

Kode

Dora Paphides directs an effervescent&nbsp;promo for Rachel&nbsp;Chinouriri.Leaning into cool, metallic hues and Y2K-inspired&nbsp;set builds, the video for One Song Away From Crying reimagines the club bathroom as a liminal sanctuary.Punctuated by offbeat, surreal moments - with heads twisting 360 degrees and strange, flickering blinking - the visual leans into the confusing nature of growing up, and the environments we inhabit&nbsp;as we do so.&nbsp;"This era for Rachel was about maturity - writing about her twenties, growing up," Paphides mentions.&nbsp;"She’s not the teenage girl we’ve seen at house parties anymore. I thought, okay, Rachel’s graduated from house parties, she’s now at the club."And maybe that graduation doesn’t necessarily always feel gorgeous and stunning and fun and Sex and the City, Sometimes your twenties feel endless, confusing, lonely and a little trapping. We wanted to capture that feeling in this video.[imgtoken data:1]"Rachel was amazing - a true one take wonder, we could make an hour long extended cut with all the things we didn’t use. She also brought so much to the video creatively which made the video so much tighter and cooler and creative."It was quite a technical video and tricky to get your head round how it would work especially because we needed to shoot it in record time. Every single person on this crew worked unbelievably hard to make it happen!"

United Kingdom

Dora Paphides

Alternative

Rachel Chinouriri 'One Song Away From Crying' by Dora Paphides

Rachel Chinouriri - One song away from crying (Official Music Video)

Dora Paphides channels heroines of classic literature and TV in her latest video for her sister Eaves Wilder.For enjoyably Britpop-influenced The Great Plains, Dora and Eavie repair to open countryside, for some energetic cavorting and horseplay. In doing so, the film&nbsp;addresses aspects of the sisters' relationship - and we discover that Eavie is absolutely fine having a muddy face.Dora says it was a special project for all sorts of reasons, including the fact that they are sisters. "This video looks back at us growing up," she confirms. "At Eaves feeling too tomboy for the games I wanted to play, and figuring out where she fit."It’s about that push and pull between the 'feminine'&nbsp;and 'masculine'&nbsp;parts of yourself, in quite a traditional way - whilst Eavie also being a rockstar."We spent a while looking at Pride and Prejudice, Little Women (all versions), Wuthering Heights (all versions), Little House On The Prairie, to create a new, hybrid world - a space where girlhood and sisterhood lives between what’s expected of girls and women."

The Quarry

Eaves Wilder 'The Great Plains' by Dora Paphides 

Eaves Wilder - The Great Plains (Official Video)

Lambrini Girls make a deal with the Devil himself in Harv Frost's first video for the feisty Brighton punk duo.&nbsp;The promo for Cult of Celebrity launches the next phase in the Girls' progress&nbsp;with a stylish visual sensibility built around impassioned performance set-ups that put the power and songwriting front and centre - plus&nbsp;a vivid cameo of a Satanic creature, usually seen in striking sillhouette.It's tight and tough - the mix of clever art direction with eerie atmosphere and a good dose of surrealism create a vaguely Lynchian feel -&nbsp;and the theme works with the typically astute and acerbic lyrics&nbsp;about the price of rock 'n roll fame.&nbsp;A rewarding&nbsp;introduction to a world that Harv Frost, their new creative director, is building around the Lambrini Girls."With this video, it was about tackling a very topical and equally sensitive subject matter," she explains.&nbsp;"The band always use their platform and songwriting to speak on different issues, and always deliver it so eloquently. This video was about getting a little bit literal with the visuals, and bringing their words to life."On this video I collaborated with DP Jack Hamilton for the first time, which was such a dream. He brought an editorial flare to their punk energy, which really adds and elevates their visual world I think and provides a great context for the message to exist within. [It's]&nbsp;the first video in my creative direction and collaboration with Lambrini Girls, and I’m looking forward to further fleshing out a visual world for them."[imgtoken data:1][imgtoken data:2]

Harv Frost

Punk rock

Lambrini Girls 'Cult Of Celebrity' by Harv Frost

Lambrini Girls - Cult of Celebrity (Official Video)

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."

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]

Bad Bones Films

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;

Perrie 'Rocket Scientist' by Dora Paphides

Perrie - Rocket Scientist (Official Video)

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;

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

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

Harv Frost returns with another spectacular promo for The Last Dinner Party - a surreal Soho-set Western for the first release from the band's second album.&nbsp;The video for This Is The Killer Speaking transforms London streets into a Western-style town, complete with its own dive bar, fashion and... ethereal centaur. Okay, maybe that's a new addition.&nbsp;[imgtoken data:1]In the same ambitious, stylish and often surreal aesthetic as Frost's previous collaborations with the band, it's a fresh vibe and a great introduction to the follow-up to their acclaimed debut LP&nbsp;Prelude To Ecstasy.&nbsp;HARV FROST:"Returning to work with TLDP was a dream, after collaborating together on the videos for the first album and our short for the album&nbsp;Prelude To Ecstasy. We have built such a rich mini-cinematic universe that was a joy to dive back into.[imgtoken data:2]"This time it was about doing something different, we wanted to burn the book on what we have done previously, and create something that combines all we have learnt from our previous videos."The pitch for the video was ‘the band wreaks Western-style havoc in Soho’ so I knew from the start it was going to be a challenge in itself - around the band’s availability we could only shoot on a Thursday morning for the Soho scenes, so that meant lots of curious passers-by&nbsp;and stopping traffic.[imgtoken data:3]"This a complete contrast from the locked-off controlled environments we were used to shooting in for previous videos, it posed a new kind of challenge. Thanks to 1st AD master Rose Lucas and the rest of the crew we managed to pull it all off while causing a bit of a scene."For this video my references were stooped in classic spaghetti westerns like Fistful of Dollars, Django and The Good, The Bad And The Ugly,&nbsp;but wanted to give them this acid-western feeling and shoot them in a way that felt modern without being too pastiche. It was about carving out our own style.[imgtoken data:4]"The challenge was making something that felt unlike past TLDP videos that still kept that DNA. That theatricality and character but with a new lick of paint, a darker palette and an even a bleach blonde wig for Abigail. And in typical Last Dinner Party fashion, a western without horses, but rather, a centaur!"Always such a privilege to work with this powerhouse of a band, and to kick off the campaign for their second album."

Theresa Adebiyi

Studio Island

The Last Dinner Party 'This Is The Killer Speaking' by Harv Frost

The Last Dinner Party - This is the Killer Speaking (Official Video)

Dora Paphides brings the Noughties vibe in this evocative performance promo for Sugababes.&nbsp;The video for Shook blends slick performances by Mutya, Keisha and Siobhan with frantic lo-fi snapshots of city streets&nbsp;- and a starring role for a big white&nbsp;truck emblazoned with&nbsp;the Sugababes logo."At the centre of this chaos is one iconic image: a towering white delivery truck, branded boldly with SUGABABES," explains Dora.&nbsp;"It’s more than a prop — it’s a symbol. A moving monument to the band being cemented as icons.&nbsp;This truck barrels through the video like the band themselves: unmissable, larger-than-life, and impossible to ignore."It's all brought together in a super-fast edit to reflect the feeling of being completely&nbsp;Shook by this latest banger by the 'Babes.&nbsp;

Sugababes 'Shook' by Dora Paphides

Sugababes - Shook (Official Music Video)

Daniel Broadley directs an absorbing promo for Sam Fender's collaboration with Olivia Dean, combining&nbsp;footage of the pair performing on Fender's recent stadium tour, synced to their recorded track.&nbsp;Captured via multiple cameras at the concert&nbsp;at The London Stadium and Fender's 'homecoming' show at St. James's Park in Newcastle, it's a cinematic showcase of&nbsp;live performance, that starts as Sam introduces&nbsp;Olivia to co-perform this song.&nbsp;With sweeping shots of an ecstatic audience and a healthy dose of slow-mo, it's an elevated visual that both encapsulates the&nbsp;tumultuous energy of a Fender gig, and also the tenderness of the song.&nbsp;Lovely work.&nbsp;

Semera Khan

Sam Fender ft Olivia Dean 'Rein Me In' by Daniel Broadley

Sam Fender — Rein Me In (feat. Olivia Dean) [Official Video]

Dora Paphides creates a steamily irresistible club atmosphere for US singer Justine Skye’s collab with producer Kaytranada in her most impressive video yet.&nbsp;The New York-shot promo for Oh Lala&nbsp;&nbsp;is a riveting showcase for Justine where she performs impressively amidst a sea of writhing bodies.&nbsp;"We looked a lot at Gaspar Noé, Paris Is Burning, Suspiria (just a touch), and the 2024 Vogue Italia Steve Meisel cover for this video," says Dora. "We wanted the club to feel like its own universe. Once the doors close, nothing else exists. It’s seductive, surreal, and totally immersive - almost like the club becomes a character in itself."Justine was incredible to work with: a visionary and a true collaborator. Every move she made on camera was magnetic—honestly, a dream artist." &nbsp;

United States

Justine Skye, Kaytranada 'Oh Lala' by Dora Paphides

Justine Skye, KAYTRANADA - Oh Lala (Official Music Video)

A street corner comes to life in Taz Tron Delix's uplifting showcase for BRIT-winning singer-songwriter Myles Smith.In the video for Gold, Smith is front and centre among a growing group of revellers on an LA street intersection. It's a bright, colourful and resoundingly upbeat scene to reflect the surging joy in the song. And the setting also allows Smith's&nbsp;unassuming personality to emerge on-camera&nbsp;in a charming fashion.

Taz Tron Delix

Singer-songwriter

Myles Smith 'Gold' by Taz Tron Delix

Myles Smith - Gold (Official Video)

Harv Frost directs a gripping promo&nbsp;for indie rock outfit Black Honey where lead singer Izzy Baxter Phillips is a prisoner, confronted with&nbsp;a barrage of distressing&nbsp;scenes.Rather than Hitchcock - as the songtitle might suggest - the&nbsp;video for Psycho&nbsp;pays homage to&nbsp;Kubrick - in particular the notorious 'aversion therapy' scenes in A Clockwork Orange. Like Alex in the movie, Izzy is similarly strapped to a chair, repeatedly forced to watch a fast-cut montage of&nbsp;traumatic imagery, monitored by Establishment males, played by her bandmates.&nbsp;&nbsp;&nbsp;Izzy falls into a hallucinatory cycle,&nbsp;catching eye of a shocking image - and it is quite a shock - as she is led to the chair. She gives a captivating performance as her&nbsp;mental state deteriorates, and then escapes her captivity to find the paraphanalia driving her torture.But is she a Psycho? Harv Frost draws the viewer&nbsp;closer to Izzy and keeps the viewer guessing right till the end.&nbsp;[imgtoken data:1]&nbsp;

Black Honey 'Psycho' by Harv Frost

Black Honey - Psycho

Harv Frost directs a thought-provoking promo for New York rock band&nbsp;Sunflower Bean, addressing a song about the complex aftermath of trauma.The video for&nbsp;There's A Part I Can't Get Back sees the band members in vintage blue-hued vignettes, performing and working together to push a statue across a church, from the darkness back into the light. Its a symbolic action that reflects the powerful sentiments of the song.A powerful visual,&nbsp;which steadily builds&nbsp;to a beautifully cathartic, healing moment.&nbsp;The triumphant efforts of the group represent&nbsp;their solidarity,&nbsp;supporting one another through disorientation and recovery.&nbsp;“This song is about the lasting scars of grooming - the parts of yourself that are stolen and the anger you carry because of it,” explains frontwoman Julia Cumming. “I didn’t want to write a song about being healed, I wanted to be angry about needing to heal at all.”

Sunflower Bean 'There's A Part I Can't Get Back' by Harv Frost

Sunflower Bean - There's A Part I Can't Get Back

Harv Frost directs an absorbing girl-meets-girl promo for Manchester rock band Picture Parlour, where vocalist Katherine Parlour makes a play for the girl of her dreams - bandmate Ella Risi - at a Northern Soul club.Taking place at the fictitious venue&nbsp;The Parlour, the video for Who’s There To Love Without You?&nbsp;is an atmospheric ode to youth and finding yourself, and all the strangers and adventures along&nbsp;the way.Intimate, in-your-face camerawork by DoP Adam Singodia and a breathless edit&nbsp;by Geri Docherty&nbsp;help to build the energy and suspense, as Katherine finds her initial advances to the club's DJ (played by Ella)&nbsp;rebuffed.Frost's skill with dramatising the world of the bandmates and their characterisation grounds the fantasy in a recognisable - if brilliantly heightened - reality. And she&nbsp;provides this&nbsp;sapphic and sensual tale with an explosive finale...Katherine knuckles down&nbsp;to the cause, eventually leading to a return to the Northern Soul&nbsp;night at The Parlour - and a steamy bathroom stall hook-up.[imgtoken data:1][imgtoken data:2]

Picture Parlour 'Who’s There To Love Without You?' by Harv Frost

Picture-Parlour--'Who’s-There-To-Love-Without-You?'-by-Harv-Frost

Sugababes are back with an instant classic, and a very slick promo from&nbsp;Dora Paphides.The video for Jungle finds the trio in a vast office space, where a menagerie of artistic vignettes unfold.&nbsp;Switching up between performance, choreography and abstract cutaways, it has all the markers of a classic Sugababes video, filtered through a mature, contemporary lens."I think I approached this video from a fan perspective," explains Paphides.&nbsp;"I’ve loved the Sugababes forever so this was an instinctive thing to do. I sort of thought, what would get me excited watching a new Sugababes video, and led with that instinct."The concept was an editorial/pop take on day and night. I wanted to create this sense of night time and things aren’t what they seem at night.&nbsp; This translated into these office scenes, where the band slowly break out and enter the rave. Blink, and you might miss something. I wanted to create this sense of being in the dark and misinterpreting something you’ve seen. Or being drunk and trying to remember what happened."I looked a lot at Kito Munoz’s work, previous Prada and Rick Owens campaigns... I wanted the classic pop video to have a fashion edge."[imgtoken data:1][imgtoken data:2][imgtoken data:3]

Laura Taylor

Sugababes 'Jungle' by Dora Paphides

Sugababes - Jungle (Official Video)

KODE have announced the arrival of director Michael Holyk at the London-based production company for music video representation.Holyk joins KODE having made his mark through collaborations over the past decade with&nbsp;top-tier artists such as Sam Smith, Becky Hill, Anne-Marie, Niall Horan, Rudimental, and Rag’n’Bone Man.Known for his emotionally resonant music videos and documentary-style storytelling, his career began in his hometown of Nottingham whhile still at school, where his A-level project amassed 8 million YouTube views. He then began his professional career in the early Noughties directing&nbsp;music videos for&nbsp;a then-unknown Jake Bugg."Jake was hustling to land a record deal, and I was doing everything I could to get noticed as a director," Holyk recalls. "We were both hungry, both from Nottingham, and that shared drive, combined with a love for the homegrown, made it all feel real.”Since then, Holyk's ability to capture raw, authentic emotion has led to high-profile campaigns for brands like Apple Music, Beats by Dre, Samsung, and Hilton, as well as a directorial stint in Bollywood. Now he has joined KODE&nbsp;for music video&nbsp;representation.&nbsp;"I'm extremely grateful to embark on the next stage of my journey with KODE," he says. "This new beginning isn't just a step forward - it's an opportunity to weave passion with purpose, shaping a future where growth and fulfilment align. The team at KODE has always been genuine and supportive towards me, and I’m thrilled to join a culture that values talent and creativity so deeply. I couldn’t be more excited for what’s ahead.”Nathan Killham, co-founder and Head of Music Videos at KODE adds: “We’ve been a big fan of Michael for many years, but the stars never quite aligned for us to work on something together, until now. He has such an amazing portfolio and I’m really excited to work together to strengthen and further diversify his work.”• Watch Michael Holyk's showreel at KODE <a href="https://kodemedia.com/directors/michael-holyk" target="_blank">here</a>

Michael Holyk

Michael Holyk joins KODE

Andy Goddard directs an absorbing visual for Gustaffson, the band founded by actor/musician Andrew Gower and guitarist James Webster, in Wilton's Music Hall in East London, as Gower's place as frontman is assumed by his wild-eyed alter-ego.&nbsp;The video for On Broadway&nbsp;offers a&nbsp;vignette into the life of tortured artist ‘Wilton’ longing for his next performance on a stage. That moment arrives when he discovers Gustaffson on stage performing the song.With excellent execution, including fine cinematography by Henry Gill,&nbsp;the concept allows Andrew Gower, to bridge the gap of his two loves: music and film. With great performances across the board and an enigmatic, arresting central idea, the video embodies the dreamlike vibe of the track - a romantic ode to New York - without ever leaving the atmospheric Wilton's.&nbsp;&nbsp;&nbsp;

Andy Goddard

Gustaffson 'On Broadway' by Andy Goddard

Gustaffson - On Broadway (Official Music Video)

Taz Tron Delix directs an impressive multiformat promo for Sam Wise featuring Tiggs Da Author.&nbsp;The video for Twinning experiments with perspective, movement and animation techniques to create something fresh and unique - and slightly unsettling.&nbsp;Packed full of colourful textures and perpetually shifting scenery, the video is a creative feat and a brilliant showcase of the director's animation skills.&nbsp;“Last year I was super inspired by the legendary artist Troy Browne's work to go back to my DIY animation roots and get my hand dirty for this fun one!" Taz Tron Delix explains."With a good mix of them old skool phone jack vibes! A massive thank you to all the collaborators on this one really was a labour of love.”[imgtoken data:1][imgtoken data:2]

Sam Wise ft Tiggs Da Author 'Twinning' by Taz Tron Delix

Twinning ft. Tiggs Da Author (Official Video)

Otis Dominique

'The biggest and baddest!' - Otis Dominique on making RAYE's epic Genesis video

RAYE - Escapism. feat. 070 Shake (Official Music Video)

RAYE - Genesis.

RAYE 'Genesis' by Otis Dominique, RAYE

Ricky Gibb directs an ambitious project for James Smith, with a quartet of music videos woven together in a single narrative, to create an 11 minute short&nbsp;- now released as Common People, Full Film.&nbsp;Impressive in scale, and featuring a a dazzling display of performance, choreography and vibrant set pieces, Common People still feels intimate and relatable, and the narrative elements infused in the concept act as a great guide on the journey.&nbsp;"When James Smith and the team at RINSE approached me to pitch this project, it felt like a creative challenge unlike anything that had been brought to me before," says Gibb.&nbsp;"We discussed something cinematic, surreal, and humorous. Four promos, all woven together as one single long narrative film... Right up my street. I was in.[imgtoken data:1]"Ahead of writing, I spent serious time listening to James’ (then unreleased) debut album, COMMON PEOPLE. Drawing from James’ lyrics, I put pen to paper on a narrative that harnessed the young songwriter’s notions of longing, melancholy, and awkward, fumbling love, albeit framed through a surreal and humorous lens. There was some back and forth. Some tracks got swapped out. There was a touch of jiggery and a peppering of pokery. A few sleepless nights. Maybe 57 budget rewrites. Maybe a year or so later, we had it."As a writer/director, driving a project like this from inception to delivery was exactly the challenge I needed at that point in my career. It forced me to grow and adapt faster than ever before. Navigating longer storytelling, a growing cast of key characters, and the intricacies that came with both really tested the limits of what was possible within the budget and time I had to play with."As always, the talent and grit of the individuals involved were the sole reasons a project like this ever got across the line at all. The production team at KODE worked around the clock to fight fires and keep us on track. Good friend and frequent collaborator Joshua Smith directed the movement of a cast of incredible talent, and I finally had the opportunity to collaborate with DoP Kai Blaimey, another friend in the industry whose work I’ve admired for a long time."Working on projects like this makes my soul sing, and I’m really keen for more. I really relish off these long-term collaboration with artists and long-form creative concepts."

Ricky Gibb

CHEAT

James Smith 'Common People (Full Film)' by Ricky Gibb

James Smith - Common People (Full Film)

It's been building ever since their first single came out, and now the mystique around The Last Dinner Party reaches new heights with the release of their&nbsp;new short film, directed by regular collaborator Harv Frost - who tells us how the band's passion in front of the camera was mirrored by her passion behind it. Main pic: Harv Frost.The Last Dinner Party appear to be unstoppable. In barely a year they have come from nowhere to being a major force, with a legion of adoring fans - many of whom are young females who are inspired by the aura and aesthetic that the fivepiece all-female band themselves convey and the message of passion, freedom, romance and theatrics in their music and lyrics.Harv Frost has been along for the ride since co-directing the video for My Lady Of Mercy with Dora Paphides last autumn, and then directing the&nbsp;Caesar On A TV Screen promo on her own, dovetailing smoothly with the band's strong sense of their own image.&nbsp;Now comes Prelude To Ecstasy: A Short Film, a cinematic extension of the band's distinctive universe - named after their debut album. It places the band within the&nbsp;surroundings of an exclusive performing arts academy, as TLDP frontwoman Abigail Morris arrives on her first day.&nbsp;[vidtoken data:0]Under this alluring overarching&nbsp;concept, the film includes four songs - Ghuja, The Feminine Urge, Sinner and Burn Alive&nbsp;- three of which could exist on their own account as music videos. Indeed one of those has become the music video for The Feminine Urge. But it also works as a whole, evoking a sense of nostalgia with its cinematic references, while hinting at the future of the band and greater things to come.&nbsp;We talked to Harv Frost to get her insight on the making of Prelude To Ecstasy: A Short Film, what she hopes its achieved - and&nbsp;her own role in the band's irresistible rise.<blockquote>I was hearing rumours about the band's origins that were far-fetched and dramatic - and I was inspired.</blockquote>PROMONEWS: Having made a few videos for the band, what excited you about making a short film?HARV FROST: As a music video director and super-fan, is there any prospect more exciting? After collaborating with the band on <a href="https://www.promonews.tv/videos/2023/10/13/last-dinner-party-my-lady-mercy-harv-frost-dora-paphides/83648" target="_blank">My Lady Of Mercy</a> and <a href="https://www.promonews.tv/videos/2024/01/09/last-dinner-party-caesar-tv-screen-harv-frost/84627" target="_blank">Caesar On A TV Screen</a>, it felt like I had only scratched the surface on what could be achieved with the band. A wealth of visual references had yet to be touched, so working on longer-form project was a really thrilling opportunity.I was excited to create something bigger than we had done previously - more cinematic, more holistic and spend even more time living in the TDLP universe. Honestly, it was a dream come true for me!What’s the objective in making the film? What were you most keen to put across that hadn’t been evident in the previous videos?HF: In all honesty, this film was made for the fans. The band had an insane year, and the reception of the album was so explosive, it only felt right to revel in it with something special (and TDLP don't shy away from the theatrics, if you haven't yet noticed). Their fans are so amazing, and the film gave them something physical to sink their teeth into.It was important to me that each member of the band was highlighted as an individual, as well as a collective. In track two in the film, The Feminine Urge, I was able to give them each a set up of their own, to really flesh out their characters - inspired by the characterisation that you see in individual band members of K-Pop Groups.[imgtoken data:1]<blockquote>The band read my treatment for The Feminine Urge and said&nbsp;'we think this idea could be a whole film'.&nbsp;&nbsp;</blockquote>I also wanted to create something that existed in the rich visual world the band has already created. They have such a clear aesthetic that it felt like we had established the rules of what a film by The Last Dinner Party would look like. So it was exciting to have the chance to tell stories within that relm and see how far we could push it.I saw the beautiful (and now iconic) album artwork that <a href="https://www.calmcintyre.com/" target="_blank">Cal McIntire</a> shot: the family portrait of the band hanging on the mantelpiece. I just imagined the place that mantelpiece might exist, where that photo might have been taken and story behind it, then, dressed the world around it. I wanted to give the fans the full picture.&nbsp;How did the project start and how did you come up with the overarching concept of the performing arts school idea?Well it started with the treatment I wrote for The Feminine Urge, which took place inside this grand hotel (think <a href="https://www.imdb.com/title/tt0081505/" target="_blank">Overlook Hotel</a>) - the video obviously following each individual band member as they purged their feminine urges. WIth it, I had written a lot of context that it would exist in. The band read the treatment and turned round and said: “we think this idea could be a whole film.”[imgtoken data:2]<blockquote>Suspiria&nbsp;- both&nbsp;original&nbsp;and remake - and TDLP just made perfect sense.</blockquote>The next step was convincing everyone else involved to make it! I knew each video would need to stand alone, and that the overarching link would be this building where all the stories unfold.I continued to be inspired by the mythos of the band. I had worked with them twice already, and had heard rumours of the band's origins that felt very far-fetched and dramatic - things like they're all related to Royalty, or that they met at boarding school. So the idea of them meeting at a highly prestigious performing arts school run by (maybe) witches, or a higher supernatural power, sounded just as likely as anything else.Prelude to Ecstasy&nbsp;in some way is sort of the writing of our own fictitious backstory to the band's history.&nbsp;Also, Suspiria&nbsp;- both Argento’s original and Guadagnino’s remake - and TDLP just made perfect sense. The themes of femininity and performance, sisterhood and competition all just felt right for this, and somewhat reflective on their career so far. What were your big references for the cinematic flavour of the film?There are a few that were really formative for this. For the opening sequence I was heavily inspired by fantasy genre tropes and specifically <a href="https://www.imdb.com/title/tt0978764/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_suckerpunch" target="_blank">Sucker Punch</a> (2011). I wanted the audience to feel like they were stepping into a world with a different set of rules where anything could happen.[imgtoken data:3]<blockquote>I was interested in the characterization of individual members in K Pop groups and applying that to the band.&nbsp;</blockquote>Then there is the obvious, Suspiria - both original and remake - as well as other Giallo movies for both Feminine Urge and Gjuha - with Gjuha being the part of the film that really hits that Argento reference point. For Sinner, films like Picnic At Hanging Rock&nbsp;for its aesthetic, and of course, 2019’s Midsommar&nbsp;for its use of daylight in the horror genre. The way it was able to achieve such a sinister atmosphere despite most of the film taking place in glorious sunshine, was so interesting to me.For Burn Alive, <a href="https://www.imdb.com/title/tt0019254/?ref_=nv_sr_srsg_0_tt_5_nm_3_in_0_q_The%2520Passion%2520of%2520Joan%2520Of%2520Arc" target="_blank">The Passion of Joan Of Arc</a>&nbsp;inspired what you see the fictitious band do on the TV screen in the dorm room. As well as <a href="https://www.imdb.com/title/tt3908142/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_the%2520love%2520witch" target="_blank">The Love Witch</a> and, of course, a little bit of Kate Bush. However the reference that inspired me the most was Andrze Zulawski’s <a href="https://www.imdb.com/title/tt0082933/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_possession" target="_blank">Possession&nbsp;</a>(1981).This was a film I watched at the very start of the process that formed the visual style for the entire project, but especially the last track. From the cold blue colour palette of Anna and Mark’s apartment to the iconically harrowing underpass scene, which Abigail (lead singer) completely nailed in that final 'birth’ scene. She was actually watching this scene right before we shot our version, and I have to give her huge props for how much she embodied this.It was extremely physical, and I think Isabelle Adjani would be very proud of Abigail's execution of this scene. In the final edit, it was just a few shots, but that performance is probably the thing I'm most proud. This scene shows Abigail giving birth to a star, and that's truly what she is, in the truest sense of the word.[imgtoken data:4]<blockquote>This scene shows Abigail giving birth to a star, and that's truly what she is.&nbsp;</blockquote>Where did you shoot the film? And how did you structure the shoot?We shot this just outside Dulwich, at a place called Kingswood Arts. It's an incredible building that sits in the middle of the Kingswood Estate, and is used by the community for the arts. They host ballet lessons, painting and even open it up as part of a school campus.The location was key. We actually ended up shooting everything 360, and lighting from the outside of the building most of the time, after realising that the building is too stunning not to show it all.We shot the majority of the film in three days (including a pre-light and rehearsal day). We then picked up Sinner on another day, as this was shot just outside in St Albans on the hottest day of the year. It worked perfectly for the task of splashing around in a lake, so we really couldn't have asked for better!The Sinner shoot was probably my favourite day at work, ever. We were in a beautiful location, on a gorgeous day, with the most incredible crew imaginable. It was all so playful, and masterfully managed by my 1st AD Rose Lucas. I feel like everyone had got to know each other so well by that point, and it was so collaborative, we had a blast. My face hurt from smiling at the end of it!It was one of those days where you feel like the luckiest person in the world. There I was, standing on the bank watching a strobing lighting rig being lowered to the bottom of a lake and saying “I can't believe they let me do this”. There were a lot of moments like that on this project.[imgtoken data:5]<blockquote>My DoP&nbsp;Natasha Duursma...&nbsp;was as passionate about the project as I was, and as mental I am.</blockquote>It’s very successful in creating a distinctive world around the band - while each part works individually too. What were the main factors in achieving that goal?&nbsp;I'm glad you think so. I think for me it was about doing each song justice. Gjuha has such a different tone to Sinner, so establishing the rules at the start of the film and framing this all as sort of episodic tableaux really helped. I didn't want to be stuck in one genre and wanted the freedom to move the aesthetics and story as the songs needed them to. I used the building and sense of space to my advantage, to give the viewer a mental map and anatomy of the academy.The key factors for achieving this world are made up from its parts - by the work of my art director <a href="https://www.instagram.com/furmaan.ahmed/?hl=en" target="_blank">Furmaan</a>, who was able to dress the rooms with so many beautiful details that help to root the viewer in the location. For example seeing ballet flats and medals hung in the dorm room in Burn Alive. They did a fantastic job of linking all the tracks together.In addition to the exceptional styling by <a href="https://rubinavitamarchiori.com/" target="_blank">Rubina Marchiori</a> that gave the film so much identity and personality. Rubina did a truly incredible job, tying in so many references and creating a really cohesive world that felt timeless and original.Finally, the work of my DoP, <a href="https://www.natashaduursma.co.uk/" target="_blank">Natasha Duursma</a>. She understood what makes the band so cool and was really devoted to getting the best possible shot, (even getting into the lake while whipping a heavy camera around in a floating fish tank on the water!). She is an incredibly creative DoP, who brought so much to building the look. I was lucky to shoot all TDLP videos on film, and she was a real champion on that. I didn't even know what a bleach bypass was before we were on set shooting Gjuha and she asked to do it. She was as passionate about the project as I was, and as mental I am too![imgtoken data:6]<blockquote>We couldn't rely on the traditional short film structure, I needed payoffs in every track​.</blockquote>Within the structure of the film you’ve prioritised performance over an overt narrative. When did you reach that decision?be watched alone or together. I wasn't sure at the time of making this, how it was going to be released, or even in what order. It could've been released one by one or watched all at the same time, so we couldn't rely on the traditional short film structure. I needed setups and payoffs in every track, rather than one big payoff and resolution at the end.I was also looking at my inspiration in these spiritual/body horror movies and noticed that they don't spell it out to the audience. A good film within this genre trusts the audience to fill in the gaps themselves. Instead we wanted to get the best possible performances out of every single band member, and give them the freedom to change things as they felt.I jokingly said ‘follow your instincts’ a lot on set - but it was very true. We were like kids playing dress up, and that's how I like my sets. For that to happen, you need a frame to work from but the flexibility to colour it in as you go.<blockquote>I jokingly said ‘follow your instincts’ a lot on set - but it was very true.</blockquote>I wanted all their voices to be heard and for their identity to be in this, so I wanted to prioritise this over a strict narrative in order to facilitate it all.Why do you think your collaboration with TLDP has been so successful?I think it's been so successful because they see how much I care about their visual world, and that I'm ready to fight to make it happen. I owe them so much for taking a chance on this crazy gal! We met at a time when both parties had a great deal to prove, and I think through our collaboration both the band and I have found our voice visually.Creating a bonkers Shakespeare video for Caesar felt like a risk after co-Directing My Lady of Mercy with the uber-talented, Dora Paphides, but I think it showed the band that I was confident in them as performers and as actors. When it came to Feminine Urge, I thought about the things I had seen them thrive in on other videos and what they like to do and worked from there.I also think we have profited off drawing from similar pools of inspiration, so that helps when it comes to imagining how it's all going to look and feel. The band is filled with true artists, who really care about the medium of music videos and how it relates to their sound, and they treat me as a sixth member of their coven. With so much trust and faith.[imgtoken data:7]<blockquote>I've found what makes a ‘Harv Frost Video’, and it's given me confidence going forward to other projects.</blockquote>Have to also thank Joshua Mitchell at the label, who has become a good friend and valued collaborator over the course of these videos. We have developed a really wonderful working relationship and showed me total trust and creative freedom which was really motivating throughout. Through working with The Last Dinner Party I've really found what makes a ‘Harv Frost Video’, and it's given me so much confidence going forward to other projects.&nbsp;Lastly, KODE was so supportive in the making of this film. They truly gave me all the backing I needed to make this happen. I rhad all the tools at my disposal and they had my back in every way possible. They are a big reason that this relationship between the band and I has been so fruitful and fulfilling.• Harv Frost is a director at <a href="https://kodemedia.com/" target="_blank">KODE</a>, represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Mouthpiece</a>. Check out her work <a href="https://kodemedia.com/directors/harv-frost" target="_blank">here</a>. More BTS pics from the Prelude To Ecstasy shoot <a href="https://www.instagram.com/p/DATyM4HoZrn/?hl=en&amp;img_index=1" target="_blank">here</a>.

Natasha Duursma

'I wanted to give the fans the full picture.' Harv Frost on The Last Dinner Party film Prelude To Ecstasy 

Prelude to Ecstasy - A Short Film By The Last Dinner Party

Edie Amos directs a mesmerising promo for Snow Patrol, filmed at the band's concert at Thomond Park Stadium in Limerick, Ireland in July.&nbsp;The video for All captures the group's performance with dynamic camerawork and editing flair, bringing the viewer to the heart of the event.Using multiple cameras&nbsp;and operators, Amos&nbsp;captures&nbsp;the energy&nbsp;of the show, blending traditional live shots with creative angles to immerse the crowd into the story, whilst using the recorded version of the track.&nbsp;

Edie Amos

Snow Patrol 'All' by Edie Amos

Snow Patrol - All

Following her videos for the band, Harv Frost draws us further into The Last Dinner Party's distinctive universe&nbsp;with a short film,&nbsp;comprising of four music videos for the group, set in a mysterious all-female arts and dance academy.&nbsp;Drawing influence from the likes of Argento's Suspiria and other 1970s masterpieces, Prelude To Ecstasy&nbsp;works both as a single film and individual promos for the tracks - including The Feminine Urge, which has already been released as a music video.&nbsp;As a whole, and within the school&nbsp;setting&nbsp;that reinforces a narrative (whether true or not)&nbsp;about the origins of the band, Harv Frost takes the opportunity for each bandmember to shine, and for them to exhibit their unusually close bond as a group.And with Frost working with collaborators from previous videos, like DoP Natasha Duursma and production designer Furmaan Ahmed, there's strong thematic&nbsp;continuity with those projects.&nbsp;Once again, it's&nbsp;all about the passion, romance, melodrama and style, as well as the music, and with its marvellous execution&nbsp;Harv Frost and The Last Dinner Party have delivered a real treat for the band's fans.&nbsp;[imgtoken data:1]&nbsp;&nbsp;&nbsp;&nbsp;[imgtoken data:2][imgtoken data:3]

The Last Dinner Party 'Prelude To Ecstasy' by Harv Frost

<h3>In our latest Snapshot, the KODE director talks about why pop music is so exciting right now, her obsession with a classic Jonathan Glazer video and feeling like Timothee Chalamet.</h3>Having made start as a music video director&nbsp;with promos for Eaves Wilder and Fred Roberts, Dora Paphides joined KODE almost exactly a year ago. Since then she's directed videos for The Last Dinner Party and Chinchilla - working with fellow KODE signing Harv Frost - and Ella Eyre and Sports Team.She's also a photographer, working with brands like Juicy Couture and JD Sports, shooting album artwork and artists for magazine shoots. So she's busy - but Dora still found the time to spill some beans about what's going on in her life for the Snapshot Q&amp;A...Name: Dora PaphidesBirthday: 05/02/2001Where did you grow up? North London!Place of further eduation and course (if any)? I left education at 18, after attending The BRIT School (16-18) to specialise in film.Where do you live now? Bethnal Green!What were the important first projects for you, in terms of a learning experience and getting&nbsp;noticed?I’m still at the beginning of my journey, but <a href="https://www.promonews.tv/videos/2023/10/13/last-dinner-party-my-lady-mercy-harv-frost-dora-paphides/83648" target="_blank">My Lady of Mercy [for The Last Dinner Party]</a>. The band were honestly&nbsp;sensational, really magnetic and so clear in their vision. They’re a band with real artistry and it was&nbsp;such a pleasure working with them and being a part of their world.[vidtoken data:0]Best film you’ve seen this year? <a href="https://www.youtube.com/watch?v=_ckWTn-y5Rw" target="_blank">Harold and Maude</a> [directed by Hal Ashby, 1971].Favourite song/album/music artist this year? It really feels as if club music is coming back and I’m so here for it. I’ve currently got The Dare, Shygirl, Elkka and Tove Lo and SG Lewis’s EP on repeat.Favourite music video/videos you’ve seen this year? Everyone is saying it but <a href="https://www.promonews.tv/videos/2024/07/23/jade-angel-my-dreams-aube-perrie/87449" target="_blank">Aube Perrie’s Angel Of My Dreams&nbsp;for JADE</a>&nbsp;blew my mind. To direct a commercial pop video that is dark, so stuffed with symbolism, glossy in some respects but offbeat, with such a tight narrative arc (and world) is unbelievably impressive. It taps into this thing currently where I think people want to see real, messy popstars (hence the rise of BRAT). Pop music currently is the most exciting it has been in years.<blockquote>I watched America's Next Top Model when I was a kid - and became hooked on fashion photography.</blockquote>It didn’t come out this year, but I’ve been obsessed with The Universal by Jonathan Glazer for Blur. Damon is absolutely captivating, and it’s a real absurdist love letter to people and life, but tinged but such a deep sadness (as well as a homage to A Clockwork Orange). It made me able to rehear The Universal away from The British Gas adverts lol..[vidtoken data:1]I went to <a href="https://www.youtube.com/watch?v=_E-N9qaGUSE" target="_blank">Marina Abramović’s exhibition in the RA</a>, and the video of her partner pointing the arrow into her heart is maybe the most visceral pieces of art I’ve ever seen. Watching her art is like drinking from the original source, you can see how much her art has changed the world.What has been (or usually is) your favourite night out this year? I had an amazing Glastonbury this year. I’ve been slacking on nights out - I normally invite people to my house to drink with me and play games and chat.Name a film or video or other creative work that had a huge influence on your career choice?Honestly, I remember watching America’s Next Top Model when I was a kid, and I was so obsessed with seeing how the photos would turn out at the end. After that I became hooked on fashion photography.My teenage bedroom was covered in HP printed images of Tim Walker’s, Ryan McGinley’s, Elaine Constantine’s and David LaChapelle’s work (I also liked normal teenage things like The 1975. But yes, I was basically like Timothee Chalamet’s role in Lady Bird).[imgtoken data:1]Photo: Tim WalkerIn terms of&nbsp;music video-related jobs of the past year or so - what was the most rewarding creatively, and why?I really loved making <a href="https://www.promonews.tv/videos/2024/06/11/ella-eyre-ain%E2%80%99t-no-love-blind-dora-paphides/86777" target="_blank">Ain’t No Love That Blind by Ella Eyre</a>. It was the first time really where I felt confident in my own abilities and felt really sure in myself about the decisions I made. I had loads of people around me who believed in me, but if I’m honest (not to sound cheesy) before then I didn’t believe in myself. Making the choice to back my decisions and my ideas, has changed my approach to directing and pitching for the better.OBVS&nbsp;this was also helped by Ella being amazing the most EGOT performer ever. She really put the work in learning and perfecing that choreo, we only had a two-hour window to shoot all the dance stuff and she just absolutely nailed it. We were all screaming on the other side of the monitor. She’s AMAZING.[vidtoken data:2]<blockquote>Making the choice to back my decisions and my ideas, has changed my approach to directing and pitching for the better.</blockquote>What are your favourite other (non-mv) projects of the past year or so?I just shot the cover for <a href="https://www.gaytimes.com/music/kate-nash-9-sad-symphonies-cover-interview/" target="_blank">Gay Times with Kate Nash</a>, who’s now a long time friend and collaborator. She’s absolutely amazing, a genius and a total force — the cover we shot is really special.&nbsp;[imgtoken data:2]What’s the most surprising thing that’s happened this year? a) Falling in love b) Not being able to stop making car-based videos. I’ve made two so far this year, and hoping to move into more vehicles before 2024 is out.Your top suggestions to change and improve how the music video industry works?&nbsp;I saw <a href="https://www.promonews.tv/interviews/snapshot-qa-pedro-takahashi/87323" target="_blank">Pedro Takahashi’s Snapshot</a> and I think paying directors for writing treatments would definitely help. I think also having more regulations and transparency around the pitching process. Music videos directors are the only directors in the industry not to have unionised, which really doesn’t give us a voice.What are you looking forward to most for the summer and/or the rest of the year?&nbsp; I've planned a few personal shoots which I'm excited about&nbsp;doing and I'm also off to New York for a couple of weeks!• Dora Paphides is signed to <a href="https://kodemedia.com/" target="_blank">KODE</a> and represented for music videos by <a href="https://www.mouthpiecerep.me/" target="_blank">Mouthpiece</a>; watch more of Dora's work <a href="https://kodemedia.com/directors/dora-paphides" target="_blank">here</a>

THE SNAPSHOT Q&A: Dora Paphides

The Last Dinner Party - My Lady of Mercy

Blur - The Universal (Official Music Video)

Ella Eyre - Ain’t No Love That Blind | Official Video

Harv Frost directs a characteristically expressive&nbsp;promo for The Last Dinner Party.The video for The Feminine Urge has an elevated, vintage vibe, delivering a devastating but relatable message. Each band member has their own performance vignette, visualising the cyclical nature of the&nbsp;stifling expectations placed upon women in society. The band members eventually liberate themselves via individual acts of subtle rebellion and enjoyment of their new feelings of freedom, even if it’s temporary.It's an&nbsp;important message, translated into a stirring visual montage. Anchored by a grand location and offbeat colour palette, the video has a heavy dose of otherworldliness throughout - and it's executed to perfection.&nbsp;"This was all about creating something that really embodied the feminine urge to throw a chair across a room or peel all of your skin off," explains Harv Frost.&nbsp;"Set in the backdrop of a prestigious dance school (à la Suspiria), it’s also about the expectations of brilliance and perfection of women in the public eye, and the desire to just let loose, and you know, smash it all up."&nbsp;

The Last Dinner Party 'The Feminine Urge' by Harv Frost

The Last Dinner Party - The Feminine Urge (Official Video)

Sports Team return with a video directed by Dora Paphides made in the spirit of pop promos from the 1970s and '80s.The single I'm In Love (Subaru) marks a change in a musical direction for the erstwhile indie-rock outfit to an 80s-tinged pop-soul sound - replete with Spandau Ballet-style saxophone. The studio-set video duly pays homage to the period, with vocalist Alex Rice centre-stage amid his ST bandmates and a crucial prop - an era-appropriate&nbsp;Subaru car.&nbsp;&nbsp;&nbsp;The video plays with light and shadow to recreate the look of videos of the times, whilst elevating certain aspects to modern day standards."Working closely with the band, and [DoP] Tasha Duursma, we looked at a lot of Roxy Music vids and Spandau Ballet," reveals Paphides.&nbsp;"We wanted to make a homage to music videos of this era - from artists who may have been inspired by the Blitz club - but with some punchier, editorial, contemporary details."It needed to be part-editorial, part-music promo. [And] it was essential for us to shoot this with the types of grip/rigs that would’ve existed at the time for a real sense of authenticity."

Stitch Editing

Sports Team 'I'm In Love (Subaru)' by Dora Paphides

Sports Team - I'm In Love (Subaru)

Otis Dominique and RAYE continue their standout collaborative streak with this dazzling seven-minute epic for Genesis.&nbsp;It's a video of two parts - the first five minutes are a darkly conceptual, twisty ride through societal woes, fear and&nbsp;depression. The final two minutes are the antithesis of this, exuding hope, light and love.&nbsp;Shot across a week, the video is hugely ambitious, with a blockbuster sense of scale and&nbsp;an infectious mix of choreography, performance and conceptual vignettes. DoP David Wright responds brilliantly to the complexity of Dominique and RAYE's brief, with cinematography that spans from darkly cinematic to mock-TV ad colourful&nbsp; to&nbsp;off-the cuff doc style.[imgtoken data:1]Written by Dominique, RAYE and her creative director Mikey Robbins, it's a&nbsp;momentous visual - one of the biggest of the year so far.&nbsp;“It's always special when me, RAYE and Mikey link up but feel we went to a different, different level with this one!" Dominique says, justifiably."It feels surreal that it’s actually out in the world now and people can take it in. We shot the video across seven days and the whole crew and team were phenomenal too and I’m honoured to have met and worked with so many great people throughout this project. It’s hard to sum up in few words but hopefully the film and music can do the talking for now 🖤”

RAYE

Dora Paphides shows again that she's a young director with a real talent for this pop video directing game with a pulsating promo for Ella Eyre.The video for Ain't No Love That Blind - Paphides' second for Ella Eyre - is a fully focussed showcase&nbsp;of Eyre's talents as a singer and performer - the song recalling her vocal contributions to those early Rudimental tracks - and everything comes together to showstopping effect. Paphides and the production team provide Ella with a platform to display her tigerish personality, with terrific camerawork and styling,&nbsp;and an&nbsp;intriguing 'car cemetery' location.And perhaps most notably of all, the feisty performance is abetted by an utterly fearsome edit by Sara Faulkner. This crucial decision&nbsp;to pursue a defiantly kinetic cut throughout - like an old-school MTV maniac cut transplanted for a Gen-Z audience - works brilliantly.The result is one of Ella Eyre's best videos, no question.[imgtoken data:1]&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Ella Eyre 'Ain’t No Love That Blind' by Dora Paphides

The big fella&nbsp;is here again, and he's revealing&nbsp;a sunnier side&nbsp;to his personality in Taz Tron Delix's bright and bold video for his&nbsp;comeback single.With the song What Do You Believe In? providing an upbeat version of the&nbsp;gospel-tinged soul with which he made his name, Taz encourages&nbsp;a welcome tweak to the&nbsp;Rag'n'Bone Man persona, as he passes through airport security before entering&nbsp;a beautiful land of green fields and blue skies, carrying his suitcase and shovel.[imgtoken data:1]Joined by a cast who are climbing a ladder to the sky, we fast forward, care of Rag's Rolex, to his appearance in a flower-filled field with a team of young dancers who add a further dimension to the sense of wonder through their dynamism and ability to act as his back-up gang of accomplices.The picture perfect scene (it was actually shot in the English countryside, in Surrey) then becomes the basis of a sequence where the images become part of a surreal art gallery. Taz provides a&nbsp;continuing stream of visual invention which helps to create the sense of optimism and conviction that radiates from the song and Rag'n'Bone Man's performance.[imgtoken data:2]In the treatment for the video Taz Tron Delix described his intention to create&nbsp;"a celebration of positive vibes that pull on the themes of Love, Community, Friendship, Family, Faith, Fate, Gratitude, Magic &amp; Beauty. A heightened world of wonder and possibilities that just makes you smile."Job done!

Soul

Rag'n'Bone Man 'What Do You Believe In?' by Taz Tron Delix

Rag'n'Bone Man - What Do You Believe In? (Official Video)

Taz Tron Delix directs a spectacular promo for London duo Bob Vylan, utilising&nbsp;the visual language of&nbsp;a big pop video to deliver a&nbsp;subversive message.&nbsp;The video for Reign blends high-concept&nbsp;vignettes with an impactful, disruptive performance style, resulting in a visual that highlights the burning rage against injustice found in the lyrics.&nbsp;Taz Tron Delix's direction is bold and unwavering - indeed, a 90-second static, single shot is almost unheard of in modern music videos - and it's this approach which demands attention and complete focus from viewers.&nbsp;Boasting a unique, textural aesthetic and standout styling and hair work, this is a video that will be discussed for a while to come.&nbsp;Breathtaking work and a highlight of 2024 so far.[imgtoken data:1]&nbsp;

Bob Vylan 'Reign' by Taz Tron Delix

Bob Vylan - Reign

Taz Tron Delix, one of the most acclaimed and garlanded British directors working in music videos, has signed to KODE for UK represention for promos and commercials. He will be repped for music videos by Mouthpiece.Delix's music video credits include acclaimed work for&nbsp;Stormzy, Joy Crookes and Camelphat&nbsp;that has gained multiple award nominations and wins. Last year he directed videos for J Hus (It's Crazy) and Calvin Harris (Miracle) that spearheaded their respective new album campaigns. His honours include&nbsp;taking Gold at the Creative Circle Awards for Best Music Video for Positive Change.&nbsp;Since his early work for the likes of Oscar&nbsp;Worldpeace, Cartae and Declan McKenna, Delix has been driven by building new worlds through motion, speed, texture and colour, manipulating&nbsp;his creations into hyperextensions of reality. “My work generally falls into a&nbsp;world of surrealism," he says. "When following the unknown, boundless possibilities of fantasy and&nbsp;imagination can appear, whilst still being rooted in some kind of truth.”&nbsp;With empowering the viewer at the heart of his imagery, in 2020 Taz released the fully animated&nbsp;Superheroes video with Stormzy&nbsp;against a backdrop of the BLM movement, capturing&nbsp;that pivotal&nbsp;moment in history and celebrated black excellence. “I always want to represent the diversity I see and live amongst, within my work," he adds. "That’s the reality of London – it’s a diverse place.”Delix's style has also translated into commercials, with his art of&nbsp;using mixed-media, post-production and in-camera techniques elevating the tone and impact of a number of commercial campaigns - including for Brewdog, Chivas, EA Sports, Doc Martens, Major League Baseball and more.Upon joining KODE he says: “It’s 2024, the year is full of potential and I’m ready to dive right in with the full support of the incredible KODE family behind me. Over the last few months, I've had the pleasure of working closely with KODE’s phenomenal team, experiencing first hand their infectious energy, dedication and shared passion to make incredible work. I’m sure it will be a fruitful year full of wild adventures.” &nbsp; KODE Executive Producer Jack Goodwin adds: “Taz expresses himself in a multitude of ways, which I find inspiring. Previously I watched his work from afar and last year I was fortunate to create things with him, and it was at that time that I really began to understand the breadth of his talents. I’m pleased that he has chosen KODE to be his home and look forward to the ways in which we can challenge each other to become the best."• Watch Taz Tron Delix's work at KODE <a href="https://kodemedia.com/directors/taz-tron-delix" target="_blank">here</a>

Taz Tron Delix arrives at KODE for UK representation

Dora Paphides directs a playful gothic fantasy&nbsp;for Ella Eyre's comeback video, featuring Tiggs Da Author.The promo for Head In The Ground features Ella in her girly bedroom - which happens to be six feet under. Up above in the Beetlejuice-style graveyard, Tiggs arrives you encourage Ella to step up from her resting place and enter the real world, reflecting the song's theme that she's ready to make up for past mistakes.Anchored by lively performances and&nbsp;complete commitment to the visual world - composed by production designer Sasha Hilton -&nbsp;it's a standout concept with confident direction from Paphides, following up from up recent co-directing outings with Harv Frost for The Last Dinner Party and Chinchilla.&nbsp;

Ella Eyre ft Tiggs Da Author 'Head In The Ground' by Dora Paphides

Ella Eyre - Head In The Ground ft. Tiggs Da Author | Official Video

Harv Frost directs an infectiously fun take on the Bard in this new promo for The Last Dinner Party.The video for&nbsp;Caesar On A TV Screen exudes a whimsical, theatrical energy, as the band stage&nbsp;Shakespeare's Julius Caesar with gusto and no little melodrama - with lead singer Abigail playing the vainglorious Caesar and her bandmates as the Roman politicos who (mini-spoiler)&nbsp;plot to assassinate him. &nbsp;&nbsp;Firmly tongue-in-cheek with a playful, handmade-feel throughout - it's more&nbsp;like a clever school production than a TV adaptation - it&nbsp;indulges the band's evident inclination towards the theatrical. And allows us to speculate on whether the roleplaying reflects how the bandmates really feel about Abigail...It also marks a confident solo directing outing for Harv Frost following her recent standout collaborations with Dora Paphides, with the previous TLDP video for <a href="https://www.promonews.tv/videos/2023/10/13/last-dinner-party-my-lady-mercy-harv-frost-dora-paphides/83648" target="_blank">My Lady Of Mercy</a>, and <a href="https://www.promonews.tv/videos/2023/11/17/chinchilla-cut-you-dora-paphides-harv-frost/84230" target="_blank">Chinchilla's Cut You Off</a>.&nbsp;[imgtoken data:1]

Kodak

The Last Dinner Party 'Caesar On A TV Screen' by Harv Frost

The Last Dinner Party - Caesar on a TV Screen

Architects' co-founder and drummer takes up video directing duties once again for the band, with a riotous promo for Seeing Red.&nbsp;In an abyss-like studio environment, we see the band perform under coruscating strobes, captured in frantic whip-pans and creative slow-shutter camerawork.&nbsp;Keeping the focus purely on performance, the video oozes a feverish&nbsp;energy, that is unrelenting right until the final frame.&nbsp;

Dan Searle

Architects 'Seeing Red' by Dan Searle 

Architects - "Seeing Red"

Following their successful collab for <a href="https://www.promonews.tv/videos/2023/10/13/last-dinner-party-my-lady-mercy-harv-frost-dora-paphides/83648" target="_blank">The Last Dinner Party</a>, Dora Paphides and Harv Frost join forces again to create another seriously impressive pop video, for&nbsp;rising singer-songwriter&nbsp;Chinchilla.The video for Cut You Off is a dark fantasy, boasting eccentric costumes, and offbeat, conceptual vignettes in the vein of Tim Burton - with a particular nod to Edward Scissorhands - and the darker side of fairytale lore, all embodying different toxic traits that the artist is ridding herself of.&nbsp;A complete&nbsp;step up in both scale and concept for Chinchilla, the video is a fully-realised, unique vision, which builds upon the artist's persona and character, whilst delivering some very solid alt-pop visuals shot by top American DoP&nbsp;Rob Witt.&nbsp;

Alternative Pop

Chinchilla 'Cut You Off' by Dora Paphides, Harv Frost

CHINCHILLA - Cut You Off (Official Video)

Joe Dixon directs an unsettling, AI-manipulated promo for&nbsp;Cordelia Gartide.The video for 16xo&nbsp;draws viewers into a hall of mirrors that represents the internet’s infancy. A place made of distance where almost everything is a disguise, including the teenage Cordelia, who we gradually realise is a faceless simulation.“The process of working with the AI was slow and intuitive, we learned quickly we had to treat it like a collaborator rather than another piece of software," Dixon explains."At the same time, I really wanted to avoid it being ‘an AI’ film, so we used more traditional filmic techniques like split diopter shots to pull the two worlds together."[imgtoken data:1]The innovative, surrealistic promo perfectly encapsulates the emotional themes of the track, and the blend of real world and AI technology feels like a step up from some of the more generative examples floating about in the community. By using it in a collaborative process as opposed to just prompting and cutting it together, it suggests a way to enrich the visual world the filmmaker has envisioned, rather than a shortcut to a style.&nbsp;"I am very happy with the results," says Dixon. "The visuals are beautiful, and they really build on the song's message. However, for me, the true centre of the video is Cordelia’s brilliant and haunting performance, rather than the technology we used to capture it.”

Joe Dixon

Coffee & TV

Cordelia Gartide '16xo' by Joe Dixon

Cordelia-Gartide-'16xo'-by-Joe-Dixon

New KODE signings Harv Frost and Dora Paphides join forces to direct the impressive promo for The Last Dinner Party's My Lady Of Mercy.&nbsp;Opening with heavenly monochromatic scenes that&nbsp;feel almost daydream-esque, the video develops into a high-energy hallucination, full of theatrical performance and high contrast lighting.&nbsp;The vintage aesthetic works perfectly with the idea and the band's distinctive visual style and energy,&nbsp;transcending&nbsp;the studio setting to reach boundless heights, interweaving abstract narrative vignettes and religious iconography into the concept.Definitely TLDP's most stylish and passionate video to date, it's an impressive collab by Frost and Paphides that's designed to get the heart racing.&nbsp;

The Last Dinner Party 'My Lady Of Mercy' by Harv Frost, Dora Paphides

Dora Paphides directs an alluring&nbsp;promo for new pop artist Fred Roberts - her first since signing to <a href="https://kodemedia.com/" target="_blank">KODE</a>.&nbsp;With a cinematic, darkly romantic aesthetic, the video sees Roberts perform in an empty theatre, switching between dazzling on-stage setups and enigmatic backstage shots.&nbsp;It's a fast-paced, dramatic video, anchored by the artist's stirring performance and on-point cinematography by Owain E. Morgan.&nbsp;

Fred Roberts 'Say' by Dora Paphides

Fred Roberts - Say (Official Music Video)

London-based production studio <a href="https://kodemedia.com/" target="_blank">KODE</a>&nbsp;has added four young directors to its ranks.&nbsp;Lloyd Wakefield (above, bottom right), Dora Paphides (top left), Harv Frost (bottom left) and Zebie (top right) have joined the roster for music videos and other visual content, solidifying KODE's reputation as a platform for nurturing young and diverse talent.Best known for being the tour photographer to Harry Styles - and winner of ‘Tour Photographer of the Year’ at the 2023 iHeartRadio Awards -&nbsp;<a href="https://kodemedia.com/directors/lloyd-wakefield" target="_blank">Lloyd Wakefield</a>&nbsp;has crafted an intimate yet energetic style.&nbsp;With a natural ability to break boundaries, his portraiture has led him across the globe, capturing images for the likes of Prime Video, Sony and the&nbsp;single cover for Styles' Music For A Sushi Restaurant.&nbsp;He strives to create work, be that moving or still imagery, that transports people into a moment or feeling. No matter how glamorous the project, he often harks back to his Manchester roots and experience in shooting with 8mm and 16mm film to capture specific emotions and forge connections with global audiences.“This has been in the works for a while, I’m so excited to be working with the team," says Wakefield. "I creatively align with&nbsp;KODE&nbsp;which just makes things very easy, the team seems to just get it. I’m excited to see what the future holds.”Since graduating from The BRIT School in 2019, <a href="https://kodemedia.com/directors/dora-paphides" target="_blank">Dora Paphides</a> has worked as a freelance director and photographer across music videos, fashion, press photography, and album artwork. Her portfolio boasts brand names such as Juicy Couture and JD Sports, music companies such as Universal Music Group and Sony Music, and artists such as Kate Nash and Emeli Sandé.&nbsp;With a penchant for punchy, saturated visuals, her promo for indie popstar Eaves Wilder’s&nbsp;I Stole Your Jumper&nbsp;follows the singer’s increasingly impassioned attempts to destroy an ex’s jumper that just won’t die. Her recent collaboration with&nbsp;KODE&nbsp;on Fred Roberts’ ‘Say’, meanwhile, sees the young musician tormented by a reckless desire.“I am thrilled to have joined the&nbsp;KODE&nbsp;family," says Paphides.&nbsp;"The first time I came into the office there’s such a brilliant buzz. It makes you want to create stuff. It’s so infectious. The little time we’ve spent working together has already made me excited to make films with the loveliest, most clever bunch of people.”<a href="https://kodemedia.com/directors/harv-frost" target="_blank">Harv Frost</a> is a trans filmmaker and creative who got her start making music videos for local artists on a shoestring budget, and has now worked her way up to crafting films for the likes of Sony Music, Polydor, Island Records, Chess Club, Ninja Tune and Columbia Records.Inspired by nerd culture, growing up around sci-fi, video games, cult-classic movies, comics, and graphic novels, Harv has curated an eclectic reel of music video, fashion, and editorial work that constantly redefines her identity as a director. She doesn’t shy away from purpose-driven work, challenging the British government’s treatment of the trans community in piglet’s It Isn't Fair&nbsp;promo, and the beauty industry’s promotion of vanity in Baby Queen’s Narcissist.“I’m absolutely elated to be finding a new home at&nbsp;KODE, and to be joining its already stellar roster," says Frost. "They are committed to creating content that goes further, and have always backed directors they believe in. That's why I feel honoured to take my place on this line up!”Jordan Boza - often known as <a href="https://kodemedia.com/directors/zebie" target="_blank">Zebie</a> -&nbsp;is widely regarded as a one-to-watch director within the UK film industry. Best known for creative directing and shooting for Stormzy, he has travelled around the world filming live shows and content, as well as sharing the stage and studio with artists such as Ed Sheeran, Burna Boy and Dave.&nbsp;Zebie’s natural passion for filmmaking has taken him from humble beginnings&nbsp;in North West London,&nbsp;to an enviable career in film and photography. Guided by his unwavering faith and sense of self, Zebie’s work is a personal reflection of his own experiences and original thinking, with a wide-reaching impact and purpose.“For me, making films has to come from a positive space and leave a positive impression on anyone that views the work," says Zebie. "At&nbsp;KODE, I immediately saw that the team feels and works this way too. I feel blessed to be joining and cannot wait to release films which reflect our collective passions.”The signings emphasise&nbsp;KODE’s ongoing commitment to championing new and diverse talent, having recently helped directors including Nicolee Tsin, Otis Dominique and The Berry Boys evolve into fully-fledged commercial directing talents.&nbsp;As with other KODE directors, the four new signings will be represented&nbsp;for music videos by Mouthpiece.&nbsp;“We are beyond excited to be welcoming these young and exciting creatives to our roster,"&nbsp;says Nathan Killham, EP and co-founder at&nbsp;KODE. "Where all four of them differ in terms of style and perspective, they align in energy and ambition."We are always on the hunt for new and diverse talent to nurture, and with all of them shooting or pitching already we’re looking forward to seeing their growth. Having recently signed established directors Liz Unna and Sye Allen, these new directors continue to demonstrate our ever strengthening and rounded roster.”• More at the KODE website <a href="https://kodemedia.com/" target="_blank">here</a>, and Mouthpiece <a href="https://www.mouthpiecerep.me/" target="_blank">here</a>&nbsp;

KODE expands roster with four new directors

Ricky Gibb takes us on a mind-bending trip through a surreal party, in his promo for Toddla T X Aitch ft. TAET.&nbsp;Combining a cast of eccentric characters with&nbsp;drinking, dancing and a dazzling carousel set piece, the video for Hide N Seek is a maximalist amalgamation of ideas, tied together by a sense of celebration and fun.&nbsp;Think of your weirdest party experience and multiply it by a hundred, and you might just get an idea of the wild time&nbsp;these artists share in Gibb's latest video.&nbsp;

Electronic

Club

Toddla T X Aitch Feat. TAET 'Hide N Seek' by Ricky Gibb

Toddla T x Aitch feat. TAET - Hide N Seek (Official Video)

Nicolee Tsin directs a dazzling promo for Jianbo, shot in Hong Kong earlier this year.&nbsp;The video for Play Your Part pays homage to the city’s vibrant atmosphere, set within neon-lit streets which boast&nbsp;an infectious, bustling energy.&nbsp;Blending energetic performance vignettes with a charming narrative between two young kids, the video is imbued with a sense of nostalgia, which is heightened by the hyper-colourful colour grade and rich, vibrant cinematography.&nbsp;

Nicolee Tsin

Jianbo 'Play Your Part' by Nicolee Tsin

Jianbo - Play Your Part (Official Video)

Otis Dominique reunites with RAYE, and a worthy successor to the smash-hit tour de force of Escapism - as the singer battles back from seriously toxic masculinity, with the help of US rapper Coi Leray - on a speeding double-decker bus.Since dismantling realism to considerable effect in their last collaboration, the video for Flip A Switch begins in shocking and breathtaking fashion: RAYE's murder at the hands of a brutal gunman, in reverse. She comes back to life, as the bullet flies back from her chest back into the assailant's gun.Then RAYE is venting her frustrations, her trials and tribulations, with a gang of best girlfriends on a London double-decker - with Coi Leray as its driver - which is hurtling through the city in the manner of the (triple-decker) Knight Bus from Harry Potter 3.&nbsp;And it ultimately transpires that RAYE is on her way to an important engagement, neatly mirroring the video's shocking opening.&nbsp;[imgtoken data:1][imgtoken data:2] "Working with RAYE is always such a dope, freeing experience knowing we can push boundaries together and bring the craziest ideas to life," says Otis Dominique. "A mad amount of hard work went into this one by the whole team and I almost became obsessed with getting all the details just right."The film goes in so many directions and has many different layers, so I wanted to make sure the storyline was being interwoven and building the entire time, even in subtle ways. One of the biggest challenges with a project like this is bringing all the jigsaw pieces together to make a bigger picture and I think we did a really solid job with that."I feel like me, RAYE and Mikey (CD) have a sick formula as creatives/homies and I'm looking forward to what we can make in the future. The bar has definitely been set with these last two films!"

Cinelab Film and Digital

RAYE ft Coi Leray 'Flip A Switch' by Otis Dominique

Raye-'Flip-A-Switch-Ft.-Coi-Leray'-by-Otis-Dominique

Enter Shikari frontman Rou Reynolds directs his third video for the band - a thoroughly entertaining&nbsp;piece with the band mucking around and playing with joyous&nbsp;abandon, filmed at a brilliant location.The video for A Kiss For The Whole World x&nbsp;blends together high-energy drone shots, playful performances and some VFX flair. We see the group perform as the day fades to night, bringing an enigmatic energy and sense of ethereal wonder with it.&nbsp;Set against the stunning natural backdrop and breathtaking&nbsp;industrial structures of Denge Sound Mirrors in Kent, Reynolds takes the&nbsp;creative concept and runs with it, creating something that feels both experimental and polished at the same time. And there's something quite classic about it - a bit like a Beatles performance from Help!Reynolds&nbsp;and the band are having fun, and it really shows.&nbsp;Great stuff.

Rou Reynolds

Enter Shikari 'A Kiss For The Whole World x' by Rou Reynolds

Enter Shikari - A Kiss For The Whole World x - (Official Video)

Otis Dominique directs a captivating promo for ENNY, all about the difficulties finding Mr Right.&nbsp;Taking us into her day-to-day through a series of stunning vignettes, the video for No More Naija Men matches the conversations in the track, about finding the right person to date, and what a healthy relationship looks like from both the inside and outside.&nbsp;"This song is a processing of things observed and felt - conversations on interracial and intercultural&nbsp;love," explains ENNY. And this concept is explored through quick-fire conceptual setups, absorbing performance and a witty dialogue-only section that succinctly sums up the problem.&nbsp;This sees ENNY and Otis Dominique collaborating again after the excellent Peng Black Girls video, putting&nbsp;a lighthearted, romcom-influenced spin on the important matter of Love, and it's very nicely done. But also a great introduction to those who haven't yet heard of the talented ENNY.&nbsp;&nbsp;

ENNY 'No More Naija Men' by Otis Dominique 

Enny-'No-More-Naija-Men'-by-Otis-Dominique-

<h3>In the latest of our new series asking British music video-makers about their experiences last year and thoughts on the coming year, we grab some time with&nbsp;Nathan Killham, Head of Music Video at KODE.</h3>2022 was the year that KODE celebrated its 10th birthday - Nathan has been there from the start as a co-founder of the London-based studio&nbsp;- and it turned out to be a very busy year. He muses on the challenges right now posed by AI and TikTok, to the need for realism and transparency in the bidding process - and for freelance producers to be properly renumerated for their often Herculean efforts.&nbsp;And he admits to an obsession with Wordle - and Quordle...2022How would you describe last year in a few words?Chaotic but satisfying.What was your favourite project or projects you worked on last year?I loved the experience of shooting the Meduza - Bad Memories video with Elliott Gonzo. We flew out to Vietnam the day after Glastonbury - which is never a fun few days recovery. But that long journey and being thrown into this mad experience of shooting in an abandoned water park in the sweltering heat was really exhilarating.The crew and local production were amazing and we got some great results shooting everything through a long day - and it was nominated for a UKMVA alongside an array of incredible videos which was amazing!&nbsp;&nbsp;[vidtoken data:0]Above: Meduza's Bad Memories, directed by Elliott GonzoWhat were the best aspects of the job last year?I love working with our amazing roster of directors at KODE. There’s been a few exciting new signings and elevated journeys with the team here. There was an array of exciting opportunities last year and we’re really excited to push that further this year.&nbsp;With that, it’s been a great year in general with meeting and working with new people: producers, crew and clients and expanding within the company.&nbsp;We definitely lost the community aspects through the industry due to the pandemic, so it’s been great to have that back now and get to know people more too in general through social events, award shows and festivals.&nbsp;<blockquote>AI technology is coming at us fast... we’re doing all we can to embrace it and learn about it.</blockquote>Any other project you enjoyed that deserved more attention, or went under the radar?We did our first video with Ricky Gibb earlier last year for Murkage Dave – Us Lot. It was a long-term collaboration between Ricky and Dave and I love how it came out, the humour and madness of it all feel’s so relatable. It was a really challenging budget and everybody really put their all in for it.It didn’t go under the radar per-say as it got a UKMVA nomination - but it definitely deserves more views.[vidtoken data:1]&nbsp;Above: Murkage Dave's Us Lot, directed by Ricky GibbWhat were the most challenging aspects of the job last year?The first half of last year was pretty intense. There were a lot of shoots on through multiple time-zones and generally navigating through COVID issues made things challenging.&nbsp;Later in the year we expanded our production team and I immediately saw the positive impact that had. Albeit challenging at times, we had a really creative and successful year.&nbsp;&nbsp;Best or favourite video or videos last year that you weren’t involved with?<a href="https://www.youtube.com/watch?v=w8QPV9_KVbk" target="_blank">AntsLive - Number One Candidate</a>, directed by Tom Emmerson. It’s from this year, is that cheating?&nbsp;<a href="https://www.youtube.com/watch?v=uAPUkgeiFVY" target="_blank">Kendrick Lamar - The Heart Part 5</a>, directed by Dave Free &amp; Kendrick Lamar (Bit of a bait answer I know, but it left a lasting impression as soon as I watched it)<a href="https://www.youtube.com/watch?v=0aQ9Q0hRTwY" target="_blank">Doechii - Crazy</a>, directed by C Prinz<a href="https://www.youtube.com/watch?v=6o7bCAZSxsg">Rosalia - Saoko</a>, directed by Valentin Petit&nbsp;&nbsp;<a href="https://www.youtube.com/watch?v=xIYJ7VaSxYY" target="_blank">Paramore - This Is Why</a>, directed by Brendan YatesWhat were the trends (creative or otherwise) that you thought were most striking last year?AI technology is coming at us fast and it’s going to keep on growing and astounding (and scaring)&nbsp;us. Some of the artificial visuals and audio through film, TV and art is seriously impressive. At KODE we’re doing all we can to embrace it and learn about it.Hopefully we don’t get to a world where our favourite artists can keep releasing ‘new’ music once they’re gone through AI - but that’s probably going to happen isn’t it?<blockquote>It was KODE’s 10 year anniversary - which we celebrated in style.&nbsp;</blockquote>What was other cultural highlight (or highlights) of the year?KLVDR’s video for <a href="https://www.youtube.com/watch?v=2litzsFCwkA" target="_blank">Mel Made Me Do It by Stormzy</a> felt like a serious moment. I remember watching it hungover in Kinsale, it needed a couple of reloads to take it all in. Hopefully it lives on through an iconic legacy.&nbsp;Wordle took over my life for a long while, too. They also expanded it to Quordle which is four times the amount of Wordle in one go. Crazy.&nbsp;Any other personal experience that defines 2022 for you?There were a lot of great travel opportunities through work and in my personal life which were a lot of fun. It was also KODE’s 10 year anniversary which we celebrated in style. We had zero experience before starting the company in 2012, so reaching that milestone and to keep growing has been very rewarding.&nbsp;<blockquote>Artists ultimately know the song better than anybody else so I’ll be supporting closer collaboration more this year.</blockquote>2023What are you looking forward to in 2023 – both for work and for other parts of your life?I’m really excited about developing our amazing roster of talent further. Our directors made some great work last year and very much looking forward to pushing that further for the year ahead.&nbsp;For me, personally - i’m really looking to travel more and go to places i’ve never been. Tough to navigate through the amount of gigs and festivals I always seem to plan through the summer but it’s a fun problem to have.&nbsp;There’s some exciting stuff happening in the pipelines at KODE in general too!Have you set work objectives for this year and if so, what are they?We’re really keen to shoot abroad more often where budgets and creativity allows. In our music video department we’re always looking for ideas with originality, naturally shooting in a never-seen-before location helps with that.&nbsp;It’s been a really busy start to the year and looking to get even more chaotic. But it’s all about investing the time into the right projects and not saying yes to everything. Really eager to make videos for bigger international tracks and artists, and do videos for tracks and artists that our directors really feel passionate about.&nbsp;<blockquote>It’s always tricky when you get&nbsp;a brief with unrealistic expectations and resistance to increase budget...</blockquote>What is your prediction for the direction of the industry in 2023? And what will be the big trends for the year ahead?I mentioned previously but I think AI will really come into place more in a lot of creative avenues, intrigued to see how that goes and keen to get more knowledge on that space.&nbsp;Some of the best videos we have made have come through closer collaborations between the artist(s) and directors and overall feels like a more pleasant experience. It feels like a lot more artists are now directing or co-directing their own music videos, or at least being more involved in the creative process which is something I’d like to see more of this year.Special shout out to the success Taylor Swift has had recently, but also to our very own Otis Dominique co-directing with Raye, and Rou Reynolds from Enter Shikari and Dan Searle from Architects directing the videos through KODE for their latest campaigns. Artists ultimately know the song better than anybody else so I’ll be supporting closer collaboration more this year.[vidtoken data:2]Above:&nbsp;RAYE ft 070 Shake's Escapism' by Otis Dominique &amp; RAYEAny other comments about the current environment for music video production and music video creativity? What are the issues that we should be most concerned with?I feel like most videos are still very much performance-based and I'm really keen to see and be involved in more emotional and honest narratives; it’s been a long while since I’ve seen a music video that has made me stop in my tracks emotionally.&nbsp;That said, we have just finished another project with Raye which has been a huge journey for her and the team, a very honest and emotional video idea written and performed by Raye for <a href="https://www.promonews.tv/videos/2023/03/03/raye-ice-cream-man-raye/80583" target="_blank">Ice Cream Man</a> - which I think does honesty and emotion brilliantly.I've also not seen anything recently that’s really made me laugh like crazy. I suppose what i’m saying is that I love a music video that pushes boundaries and get people talking, we should all be taking more risks creatively. I’m not sure if this is an issue of concern, but it’s certainly something I’ve noticed we’re missing in terms of music video creativity.&nbsp;Everything is also so quickly responsive. The TikTok market we live in gives any song the trajectory to explode in an instant which means the video needs to be done quickly, understandably, and most often for very little money. It can be hard to get creatively fulfilled on those opportunities. With that, you can also be engaged into a project and it can be abandoned or budget slashed due to the song underperforming and I think this is something we need to be really careful of.I love it when a new track comes out with the video in tow.&nbsp;<blockquote>Freelance producers definitely deserve a higher rate than the standard 5%.</blockquote>If you could ‘make a wish’, and reform or change the environment in which you work in one way, what would you wish for?&nbsp;As always, we need more budgets and time. It’s hard to walk away with something you’re proud of if you don’t have either of those two areas. It’s always tricky when you receive a brief with unrealistic expectations and resistance to increase budget based on what they’re looking for.We always like to give our all and stretch the budgets where possible but the cost of living is greater and people work so hard on music videos. There needs to be some form of reward whether that be creative or financial. Freelance producers definitely deserve a higher rate than the standard 5% too.&nbsp;I’m a big advocate for transparency and clear communication and love to know how many people are pitching on videos which we don’t always get. It’s gotten better but still needs a lot more improvement - in the US especially. You sometimes have huge music video and commercial directors write on the circa £20k music videos which has a huge disadvantage on younger directors sometimes so having that information going into it would be really helpful.[vidtoken data:3]Above: Enter Shikari's (Pls) Set Me On Fire, directed by Rou ReynoldsWhere are the opportunities in the current environment?As well as that; with social media and TikTok there’s a lot of new ways to be creative and for young creatives to explore filmmaking and express themselves and get it seen by people. You can post a video and get it seen by millions of people when you may not have any previous experience or online presence.&nbsp;If you have an interest in creating music videos with no experience, head out with some friends and make visuals for one of your favourite artists on your iPhone. I used to do that with friends on my mini-DV camera when I was younger and it was so much fun, really gets you to understand filmmaking from the ground up.&nbsp;Have you made any personal resolutions for 2023? And if so, how’s it going?Focusing on happiness; as simple as it sounds it has been a hugely important takeaway from last year, not wasting my energy in the wrong areas or people. Saying yes to exciting opportunities and striving to achieve my goals in life, so far so good!There’s stopping smoking too but that’s failing somewhat so far...&nbsp;• Nathan Killham is Head of Music Video at <a href="https://kodemedia.com/" target="_blank">KODE</a>

Nathan Killham

State Of Play: Nathan Killham, KODE

Meduza,-James-Carter--'Bad-Memories-Ft.-Elley-Duhé,-Fast-Boy'-by-Elliott-Gonzo

Murkage Dave - Us Lot

Enter Shikari - (pls) set me on fire - (Official Video)

RAYE self-directs a devastatingly raw and poignant promo for Ice Cream Man.&nbsp;Produced by an all-female crew with Raye at the helm,&nbsp;the one-take video&nbsp;explores the process of confronting a past experience with sexual assault.&nbsp;We see Raye stagger into a women's bathroom and take solace in an empty cubicle, her powerful performance guided by the hearbreaking lyrics.&nbsp;As the video moves on, her inner resilience emerges. The line 'You pathetic dead excuse for a man'&nbsp;sees her rise to her feet, wipe her face and&nbsp;straighten her clothes. The audience witness&nbsp;her finding her inner strength, tenderly picking herself up and&nbsp;exiting the room.&nbsp;“It was the toughest thing I ever filmed," says Raye. "I only managed to do about three takes in the whole day, and I spent most of the day hidden in a small room on my own with a radio. I just think you do have to go there, and it’s both awful and beautiful at the same time, which is how the song makes me feel.”The video ends with a poignant message from the singer:“When I experienced sexual assault and rape, I didn’t tell anyone. 1 in 4 people experience sexual assault in their lifetime. The odds are that is at least 25% of you reading this. This evil has more power over us in the dark than it does the light. If I can encourage anything, let’s not bury it deep down inside us forever.”

RAYE 'Ice Cream Man' by RAYE

RAYE - Ice Cream Man.

Following his directing debut with (pls) set me on fire, Enter Shikari frontman Rou Reynolds directs aits sequel - another&nbsp;strongly conceptual performance video - for It Hurts.From the claustrophobic locked-off shot in his previous outing, Reynolds employs another largely one-take approach, but allows the camera to roam across a large space in which a number of random dramatic vignettes are playing out - all of which have big consequences for the participants.“In typical Shikari fashion, I threw myself in at the deep end with directing, and decided to shoot two videos in one day," explains Reynolds of the making of this and the previous video. “It was an incredibly intense experience, but we had a super-talented, passionate, focused team, and were able to get a great result.“Personally, I found it rewarding to see my ideas brought to life and create a narrative connecting the two videos. I love the attention to detail that directing allowed, and the ability to bring some of the song’s themes to life in more depth.”

Thomas English

Enter Shikari 'It Hurts' by Rou Reynolds

Enter Shikari - It Hurts - (Official Video)

Elliott Gonzo

The Story So Far: Elliott Gonzo

Sour Milk | Short Film

Yeast - Short Film

TIght(ish) | Nowness

Josef Salvat - Paper Moons (Directors Cut)

Athena Skates | Redbull TV

Le-Junk-'Level-3'-by-Elliott-Gonzo

Nothing-But-Thieves--'Impossible-'-by-Elliott-Gonzo

Au/ra-'Dead-Girl'-by-Elliott-Gonzo

Finn-Askew-''adidas'-By-Elliott-Gonzo---Just-Signed-To-Kode-Media'-by-Elliott-Gonzo

Finn-Askew-'Tokyo'-by-Elliott-Gonzo

Wargasm-'D.r.i.l.d.o'-by-Elliott-Gonzo

Enter Shikari - Bull (feat. Cody Frost) - (Official Video)

KODE has welcomed Meena Ayittey to its directors' roster.Known for her fascination with stories, and the study of human nature, Ayittey draws inspiration from a broad range of subject matter, including music, art, her experience as a black woman and the issues faced by the black community.Based and from London, her work has seen her collaborate with Saatchi &amp; Saatchi, Droga5, Grey, Ogilvy and Oliver, working with clients such as GSK, Puma, Olat and Panasonic. An avid screenwriter, her long form projects, such as Mama, her Black Lives Matter film, has seen her win gold at 1.4 awards, recognised as a finalist at Ciclope and shortlisted for the 2022 YDA’s.Writing stories and making films is not only her passion, but has garnered her recognition within her field. Her award-winning documentary Black Creative&nbsp;looks at what it is to be Black within the UK advertising industry. It not only received praise for the press, but has been screened extensively across the globe - most notably at the Toronto Film Festival and the Independent Films awards.All the Little Films, a short film directed and written by Meena was named the ‘Most Watched Film of 2021’ by Shots.“I want to make films that reach into your heart and pull you in closer than you thought was possible,” says Meena Ayittey. “Nothing beats the moment when someone watches something you've made and has and has emotional reaction that you can feel.”Alex Harman, KODE's CEO,&nbsp;adds: “I’ve known Meena and her work for some time, so when the chance came up to have a discussion about working together I was hugely excited. All of Meena’s work means something when you watch it and for that reason I'm excited to see what we do together at KODE.”