Director

Louis Bhose

<h3>How do you copy a classic 40 year old music video shot-for-shot? As the director explains, you have to go back to where they made the original, even if it's at a crazy&nbsp;time of year. On-set photography by Scarlett Barclay.</h3><h3>&nbsp;</h3>As Louis Bhose (above, right) said on Promonews when it was released in September, recreating an iconic Wham! video from 1983, and having Lewis Capaldi (left) playing a young George Michael, was not on people's bingo cards as a video for Forget Me, Capaldi's long-awaited returning single.But they did it. And not just a nod or homage to the original. This is, as near as its possible to be, a shot-for-shot copy of the video for Club Tropicana. But where George Michael or Andrew Ridgeley of Wham! are in shot, you have Lewis: in trunks by the pool drinking cocktails, being splashed in the pool; driving in a jeep around the island; on the beach; and in his airline crew outfit...For those unfamiliar with the original Club Tropicana video, which was directed by the late Duncan Gibbons, just to recap: George and Andrew are airline pilots, on a few days leave in Ibiza, who constantly run into Dee C. Lee and Shirlie Holliman&nbsp;- the backing singers in Wham! -&nbsp;who are air stewardesses on the same crew, with whom they have a interesting&nbsp;'will they, won't they' romantic tension. But that's really a sidenote to the important, iconic&nbsp;stuff - the boys looking very hot indeed; and a young George Michael, in his trunks by the pool, cocktail in hand, in his trunks by the pool, cocktail in hand, performing this early 80s pop classic.[vidtoken data:0]Bhose has worked with Lewis Capaldi before, directing the video&nbsp;for Grace&nbsp;from the debut album,&nbsp;Divinely Uninspired to a Hellish Extent, which propelled him to superstar status. And that&nbsp;video itself had a surprisingly leftfield comic premise, with Lewis playing a performer in a Glaswegian poledancing club.&nbsp;We wanted&nbsp;to find out how this new one happened. So we talked to Louis, who spilled the beans on the whole story - and also provided us with the marvellous side-by-side of both videos, that shows exactly how close he came to matching the original.It's an object lesson in how to make a counterfeit&nbsp;of a music video masterpiece...&nbsp;<blockquote>Just listening to Forget Me&nbsp;and watching George Michael on my phone, I was thinking 'this is going to be brilliant'.</blockquote>PROMONEWS: There cannot be much&nbsp;of Lewis's fanbase that are familiar with the original Club Tropicana video. So the first question has to be - why?LOUIS BHOSE: I think that's the most interesting thing. For a contemporary artist it does feel&nbsp;wilfully niche. We're all pretty aware that something like 95% of his viewers are under 30, who will have no idea about the original video. And then to allow a 40 second intro, when people can be so concerned about having any intro at all&nbsp;- I've been asked to cut three seconds before now...So I think the label [originally] had some video ideas bouncing around which were more serious. But Lewis is so good in comic form. It's just that he needs to really buy into a concept&nbsp;in order to go there - and I was lucky enough to do that with him before, with Grace. It just needs to be pretty watertight with him.&nbsp;[imgtoken data:1]Above: Lewis Capaldi and crew on the Forget Me shootAnd then Clive [Cawley], the MD at EMI, said something along the lines of: 'We should do&nbsp;a&nbsp;janky version&nbsp;of Club Tropicana. I could talk to George Michael's management, and we could do something fun with this.' Then the commissioner&nbsp;Caroline Clayton&nbsp;just gave me a call, saying: 'We're exploring this possibility.&nbsp;Do you mind working it up into a little treatment?'.And very quickly&nbsp;I thought that we needed to go shot-for-shot. The best gag&nbsp;is if we go absolutely faithful re-creation. To be honest, this is something that I've wanted to do for a while - and here was the opportunity. So the first thing I did to see if it works is I took Lewis's song, played it on my computer, and then had the Club Tropicana video playing on my phone. And within twenty&nbsp;seconds I was thinking&nbsp;'this is incredible'. It's going to be the best thing I've ever done.&nbsp;Just listening to Forget Me&nbsp;and watching George Michael on my phone, I was thinking - it's going to be brilliant.So I did a treatment where I talked about all the kind of the boring stuff that I feel probably was more for me than anyone else. But at the top of the treatment, I just cut together the song and the Club Tropicana video – about a minute and a half of it – and I suspect that people saw that and said:&nbsp;'yes, let's do this'.&nbsp;<blockquote>Most importantly, Lewis was really on board with doing it shot-for-shot.</blockquote>What did Lewis think about it?He was on board. But most importantly, Lewis was really on board with doing it shot-for-shot.&nbsp;I think it really needed him to be down, to go as faithfully as possible. And to give him his creative dues,&nbsp;he was probably as instrumental as me in going that route.When you’re getting involved in a project as a video director you usually don’t how people are feeling, and you want to give them options, so I was saying we could do a basic homage or a shot-for-shot. But Lewis was dogmatic about it. He said - no,&nbsp;we don't need any of these other options. I will do it, I'll do the costume, I'll do&nbsp;exactly the same as the original. If George does it, or Andrew does it, then I'll&nbsp;do it.[imgtoken data:2]Above: Louis during pre-production for the shoot, on a beach&nbsp;in Ibiza. Look, he's "working"...So that's why we have Lewis, who has sold many millions of records,&nbsp;swimming lengths underwater, while forty-odd people try and get the angle right from a video that was made 40 years ago. And we're saying:&nbsp;'you've been in the water a while,&nbsp;you can go relax for twenty minutes' and he's saying: 'no, no - if George does it, then I do it.'So that is a bit of a long answer as to why. But essentially... why not?You have done a remarkable job in replicating the original. Can you talk a bit about that process?&nbsp;Did you know from that point where you were writing on it that you could, for instance, go back to the same place to shoot it? That’s what you did, right?That's what we did. And I already knew the hotel where they shot the original. When I was a musician who worked for bands, the bands would do this thing called Ibiza Rocks in Ibiza. You get invited, you get to stay in this hotel called Pikes. And the second you walk in the door, they're very keen and proud to tell you that that's where Club Tropicana was shot. So I had already bounced around that pool pretending I was George Michael, and had a bit of a laugh, like ten years previously.But straight off the bat I thought: 'how on earth are we going to shoot this in August, in one of the best hotels in Ibiza? It's an impossibility'.&nbsp;So we had a couple of backup options, where essentially we were going to build Pikes, or at least a few ecent chunks of it, in Bulgaria or augment locations in Majorca - our service company Palma Pictures, who did a brilliant job, are based in Majorca.<blockquote>The further you dig into the detail the harder you work to get it exactly the same.</blockquote>But we wanted to shoot it in Ibiza. It was very tricky to do - everyone said you're crazy to shoot in Ibiza in August, and I discovered why, getting heatstroke -&nbsp;but huge credit to our&nbsp;producer&nbsp;Scarlett [Barclay] and&nbsp;Agile [Films], and Caz [Clayton] and EMI&nbsp;because they realised that if we did go to the original place that wouldn't quite get the same elsewhere.Obviously the Ibiza of now is virtually unrecognisable than as it was 40 years ago. And we had location scouts out like a week before we even arrived on the island. Finding the exact beach, finding roads that are similar, 40 years later. Stuff like the airport was really tricky. So very grateful we shot in Ibiza - but yeah, it was tricky...&nbsp;&nbsp;[imgtoken data:3]Above: Louis (left) and DoP Spike Morris practice shooting angles&nbsp;at the pool at PikesClearly you spend a few days there and to craft it in a way that would only be possible with lots of preparation?I was there for a week, eight days, before. That was really good because it meant we went back and looked at locations again, and I made this kind of bible document for the shoot – its about 94 pages&nbsp;- of every shot, and every location, and it was about as clear as it could be.&nbsp;It's one of those things where, with an idea like that, the further you dig into the detail the harder you work to get it exactly the same. For example a fleeting shot of airplanes flying overhead - in order to get the shot we needed for the wind to be blowing in a certain way, so the planes were taking off and landing in a certain direction - and they weren't for the whole week, until the day before the shoot. So i have a photo&nbsp;of Spike, our DoP,&nbsp;on the van trying to get this shot before the planes go back to how they were before.It's all the little things that hardly anyone will notice, that the art department spend ages trying to find. There’s one example - in&nbsp;the background of one of the bartender shots, there's like a little rag on a branch. That's in the original. I hadn't even noticed it until Bon [Walsh] our production designer pointed it out on our monitor and it made my day. Loved it.<blockquote>It's eerie when you line up the shot, and realise&nbsp;this is exactly where they must have stood within a couple of feet.</blockquote>What was more difficult to deal with - the number of tourists or the extreme heat, or both?Mainly the tourists. The heat too, but mainly tourists, because the population of the island swells and booking hotel rooms becomes pretty crazy. People are there to party. So you arrive at a hotel, you're stressed, you have to look over locations, casting, props - and there's British tourists passed out in the lobby, absolutely hammered.But the crew were incredibly good at managing to lock down locations. Because essentially what we're really concerned about was while we were filming this, if one person snaps a photo of Lewis in those trunks in Ibiza, then the secret is out. You lose all the fun of dropping it cold.So we were very careful. We were working under a different name, as obviously many productions do now. Everyone was NDA’d up to their eyeballs. Obviously the song was very sensitive because it was first single. But if you do get that surprise element with his fans, how great would that be? In fact, it was slightly scuppered by a major event that happened - the death of the Queen.[imgtoken data:4]Above: On-set monitor with side-by-side of the camera shot and the original video (right)Obviously you’re referencing the original video while you’re shooting the new one, and matching things up…Yes, I broke the original video down into individual shots and then I made gifs out of those shots so they would loop. So we would be on set, just looking at this looping gif for like 20 minutes, really trying to finesse stuff.When you're doubling a location, like for example when he's stood by the Jeep, we're trying to match the skylines, and then we find a house in the corner, so you get that in. We had our video playback guy on it, who's giving us fifty fifty between the&nbsp;original video and our live picture.It's really just trying to finesse everything and showing the cast the action and trying to get that feeling as smooth and as natural as possible. And a big part of that was also the inimitable Supple Nam, who's our choreographer on it.&nbsp;<blockquote>During the recce we realised: they must have just been running around, fast and loose.</blockquote>And we had two girls playing the parts of Pepsi and Shirley from the original - Emily and Georgia, who we cast in London. It was Emily's first job out of drama school. And credit to them, they worked really hard to get it absolutely bang on the original.&nbsp;&nbsp;Isn’t it true that that there are actually different versions of the original Club Tropicana? I remember seeing one a few years ago which is almost like a short film.When we were ripping the video, not surprisingly I wanted to get the highest quality version. I was looking all over the Internet and&nbsp;online&nbsp;I found something like&nbsp;four different versions of the video. I don't remember a short film though!It was&nbsp;directed by Duncan Gibbons, who went on to direct a couple of feature films, but sadly died in a house fire in California in&nbsp;the early&nbsp;Nineties, unfortunately.&nbsp;What was really interesting was when we're looking at the credits, there weren't that many of them. Didn't look like it was a very big crew.[imgtoken data:5]Above: Louis and Lewis relaxing by the pool - and in the pool...&nbsp;What was really interesting was trying to match frames. So we would go on reccies to the locations that they used and try to figure out the angles of the shot that made sense, we would climb up on things to get the shot, and we would always end up with having the tripod at shoulder height, where it was comfortable to operate. It was always in the place that made most sense.&nbsp;So when we went through the recce process, we realised that they must have just been running around. Just popped the camera down and shot something really freely. And that's the sense of the video - it feels so light and fun and loose.<blockquote>When Lewis does put himself in front of the camera for music vid, he's 100% game.</blockquote>There were times when we were at a location and Spike the DP would literally just swing around on the tripod and that would be the frame exactly. It was a really fun process to recreate Duncan Gibbons and the crew's footsteps forty years later.I also found it&nbsp;really eerie, because when you line up the shot you realise this is exactly where they must have stood, within a couple of feet. The hairs on&nbsp;the back of my neck stood up just thinking about that I'm retreading in a director's footsteps, 40 years later, creating this homage to one of the great '80s music videos.You've done a remarkable job. And Lewis is very good in it – as he usually is in his videos…Yes, Lewis doesn't put himself in front of the camera unless he knows it's going to work.I don't think it's a big secret that he doesn't really like making music videos - as he has said so publicly. I think he finds it a bit boring. I totally understand that musicians don't harbour lifelong dreams of lipsyncing in front of a camera for two days. But I think that when he does put himself in front of the camera for music vid, he's 100% game. I have a lot of respect for that.[imgtoken data:6]Above: filming Lewis copying George Michael's iconic poolside pose;&nbsp;Spike Morris in foreground, Louis behind Lewis.We had to move really quickly. We had a lot to shoot in two days - 84 shots - and he loved the speed of it. That was the least boring way of doing it, essentially. I think that's why we got a good performance out of him, because he was moving quick and he was engaged and he knew he knew where he was going with it.And he's a funny guy. Super-smart and funny. He takes direction well. I do really enjoy working with him. But you also have to be sensitive to where an artist is, in themselves. In the lead-up to the shoot, Lewis was talking about having issues with his mental health recently. It was before he went public about his Tourettes diagnosis.&nbsp;I think it's been a tricky two years for him. So I have real gratitude towards Lewis for&nbsp;really turning up and turning it on. And he could easily have not, considering what he's been going through. So I came away feeling very grateful to him to allow us to have so much fun!When you look at the side by side, you have done it shot-for-shot - well, nearly. There's very little change in the not only of the shots the same, but the edit is also fairly consistent. Where and why did you change things?The edit we did massage in a couple of places a little bit. I wanted it to be kind of intriguing for the viewers that didn't know the original video. I didn't want it to be frustrating, for cuts to be off and for new set-ups to arrive halfway through a verse&nbsp;it could end up&nbsp;feeling wilfully obtuse.&nbsp;I don't want someone to watch this and be like, what the f*ck is going on?So just by massaging a little bit, it just meant that stuff landed on the start of new sections. But for the most part we tried to stay as close to the original as possible - and amusing on its own.&nbsp;[vidtoken data:1]Above: Louis Bhose has also put together this video - with side-by-sides of both, so you can see how close Forget Me is to Club Tropicana...You must be pleased with the reaction. And any reaction from those who were involved in the original?Yes! So Shirlie Kemp [née&nbsp;Holliman]&nbsp;posted it on Twitter and said some nice stuff. Andrew Ridgeley was very nice about it too.I think early doors I was a bit worried about copyright issues, that someone was going to twig and say 'hold on, you can't do this!'. And credit where credit's due, it seems that everyone was really happy about it, and cool about it. I&nbsp;guess it's so clearly a love letter to the original, albeit done in an amusing way, and juxtaposing Wham!'s world with Lewis's world.But before it was released we were very careful about security, of course. Then a few days before it came out I get a call from the label saying 'we need a NON-password protected link straight away.' So obviously we wanted to know why, as we were being so careful. And we were told - 'Elton has heard about the video and wants to see it.' So I ripped that password off Vimeo in about 10 seconds.• Louis Bhose is based at Agile Films and represented for music videos by OB Management. More of his work <a href="https://agilefilms.com/directors/uk/music-videos/louis-bhose/" target="_blank">here</a>.&nbsp;

Agile Films

OB Management

Louis Bhose on remaking Club Tropicana with Lewis Capaldi: "Doing a faithful recreation was the best gag."

Lewis-Capaldi--'Forget-Me'-by-Louis-Bhose

Lewis Capaldi - Forget Me - Side by Side

Lewis Capaldi 'Forget Me' by Louis Bhose

Lewis Capaldi returns to action with Forget Me, and teams up with Louis Bhose to show he is up for a crazy, even mind-boggling challenge for its video -&nbsp;a shot-for-shot remake of a classic video from the early 1980s.Many viewers won't have seen the original when it first appeared - it is over forty years old, after all - but the iconic visual of WHAM!'s Club Tropicana&nbsp;is immediately recognisable in the opening frames of Bhose's video for Forget Me. Viewed through a contemporary lens, this is&nbsp;completely offbeat in the best way. Throw in Capaldi's cheeky personality and Bhose's love for whimsical ideas, and you're onto a winner.&nbsp;It's also something of a remarkable feat. And despite being a carefully structured&nbsp;remake, the video is still full of its own energy and vigour, largely down to the creative crew involved.[imgtoken data:1]&nbsp;"It's not exactly what I imagine most people had on their bingo cards for 'Big Lewis Capaldi Comeback Vid'," reflext Louis Bhose.&nbsp;"But hey, sometimes you gotta kill yourself precisely recreating a classic paean to hedonism for a melancholy song about second heartbreaks. It was really fun though - a week in San Antonio getting carsick and annoying our excellent local art department ('yes! that's almost it!!')."Hard to single out members of our incredible crew, but everyone went absolutely above and beyond to make the vid the best it could be. Big shouts to Lewis for being up for anything and choosing such an odd idea... And am happy to report that I got heat stroke on the shoot and live in hope that any BTS will never see the light of day."&nbsp;

Bon Walsh

Holly Shearn

Joshua Gochez

Ellora Soret

Chris Anthony

Thomas Liam Davis

Vision

Scarlett Barclay

Caroline Clayton

Willy Spruytte

Spike Morris

Precious Mahaga

Sana Khan

Ffion Kunz

Álvaro Fernández

Eddy Ibarra

Toni Tur

Miquel Mayans

Ariane Kohler

Supple Nam

Ainslie Currie

Jack Williams

Assembly Rooms

Matthieu Toullet

Company 3

Alizee Levrino

Agile Studio

Kevin Marien

Martin Fickling

Virgin Records

A simple greeting turns into a full-on choreographed dance, in Louis Bhose's splendid promo for The Big Moon.&nbsp;Celebrating the comeback of the alternative indie group, we follow vocalist Juliette Jackson as she wakes up in the middle of a field, eventually regrouping with her fellow band members and running through an increasingly complex routine.It's a refreshingly simple yet punchy concept&nbsp;which feels fresh and timeless, whilst carrying a certain emotional weight to it, as the girls celebrate the start of their next chapter together.[imgtoken data:1]&nbsp;The use of a black studio environment to represent a fantasy version of the real world heightens the stylish aesthetic, whilst the real emotion drawn out of each member&nbsp;acts as an anchor to the whole project.&nbsp;"I've always been interested in bands returning from the wilderness - updating their Insta after eighteen months away with shadowy images and emojis," says Louis Bhose.&nbsp;"I thought it would be fun to have a band bump into each other, having not seen one another for ages, and start with this little handshake that then gets increasingly elaborate and emotional."That extends from a little fist bump into a big choreographed piece..."&nbsp;&nbsp;

United Kingdom

Daniel Breheny

Taff Williamson

Maya Dufeu

Louise Latimer

Lee Parfitt

Kai Blamey

Beau Pritchard James

Orlando O'Mahoney Morris

Aida Vega

Lydia Buckler

Emily Engleman

Andre Rodrigues

The Assembly Rooms

Universal Records

Indie

Alternative

The Big Moon 'Wide Eyes' by Louis Bhose

The-Big-Moon-'Wide-Eyes'-by-Louis-Bhose

Louis Bhose directs his second video for Maisie Peters, the fun-filled&nbsp;promo for Psycho.&nbsp;Following his video for&nbsp;John Hughes Movie a few months ago - and his stint as <a href="https://open.spotify.com/episode/1LzYAxUQa1wjphrJthTT6o" target="_blank">a guest on The Promonews Podcast</a> a few weeks back - Bhose presents a twisting narrative punctuated by a handful of Maisie&nbsp;clones, amping up the surreal vibes of his previous collaboration with the artist.&nbsp;As always, (the real) Peters is mesmerising in her performance, and her willingness to take a chance on an abstract vision pays off hugely, in one of her most exciting and engaging videos to date.&nbsp;You can see Louis' pre-vis for the video <a href="https://vimeo.com/567836958/6592d07643" target="_blank">here</a>.&nbsp;

Frankie Willcock

Alice Cartlet

Steven Enirayetan

Sam Meyer

Lewis Morgan

Davide Bianco

Leo Olesker

Sarah Asmail

Luci Ellis

Kate O’shea

Mathieu Toullet

Mpc Colour

Dylan Wyne

Dan Curwin

Atlantic Records

Maisie Peters 'Psycho' by Louis Bhose

Maisie-Peters--'Psycho-'-by-Louis-Bhose

The second episode of Promonews' new&nbsp;series of podcasts with creatives in the music video industry&nbsp;has just been released on Spotify&nbsp;- with the website's David Knight and Rob Ulitski chatting with director Louis Bhose about his work and career.In <a href="https://open.spotify.com/episode/1LzYAxUQa1wjphrJthTT6o" target="_blank">this episode of </a><a href="https://open.spotify.com/episode/1LzYAxUQa1wjphrJthTT6o" target="_blank">The Promonews Podcast - Talking Music Videos</a>, now in association&nbsp;with <a href="https://wp-a.co.uk/" target="_blank">WPA - Worldwide Production Agency</a>, Louis Bhose, director at London-based production company Agile Films, and represented by OB Management, talks about his videos for Loyle Carner, Bombay Bicycle Club, Maisie Peters, and others.Louis also talks about how he changed career&nbsp;from musician to music video director, reveals his rules for directing pop stars in their videos, and how one top director helped him hone his treatment-writing craft. He also admits that he's not a fan of one-shot videos, but that he still challenged himself to make one for Bombay Bicycle Club, that had painful consequences for BBC singer Jack Dromey.&nbsp;<iframe allow="encrypted-media" allowtransparency="true" frameborder="0" height="232" src="https://open.spotify.com/embed/episode/1LzYAxUQa1wjphrJthTT6o" width="100%"></iframe>In each episode of Prononews's first podcast series,&nbsp;Knight and Ulitski chat to an individual making a significant impact in music video production right now, finding out about their route into this creative arena and discussing their most important work.In the first episode, released last week,&nbsp;COMPULSORY's Lee Fairweather talks about&nbsp;the London-based production company's&nbsp;prolific output of music videos in the past year or so. Future episodes in the first series will feature&nbsp;the directors RUFF MERCY and Salomon Ligthelm.• Follow The Promonews Podcast - Talking Music Videos on <a href="https://open.spotify.com/show/7xlA6GsQtJfhtUsxNYiFYz" target="_blank">Spotify</a>, <a href="https://podcasts.apple.com/gb/podcast/the-promonews-podcast-talking-music-videos/id1571010775" target="_blank">Apple</a>, <a href="https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy81YzdkYWI5OC9wb2RjYXN0L3Jzcw==" target="_blank">Google</a>, and other platforms.&nbsp;[imgtoken data:1]&nbsp;&nbsp;&nbsp;&nbsp;

Worldwide Production Agency

The Promonews Podcast! Brand new episode with Agile director Louis Bhose out now! 

Louis Bhose pays homage to those classic teen films of the 80s made by the guy in the songtitle, then gives it a good old twist.&nbsp;In his darkly comic promo for Maisie Peters' John Hughes Movie, Bhose presents a world in which Maisie is an&nbsp;outsider, desperate to get the guy but always missing out.&nbsp;When she is at home, she is stalked by a raunchy couple who can't seem to get a room - their own one, anyway. And just when it seems all hope is lost, Bhose delivers an unexpected yet brilliant twist.&nbsp;Washed with neon lighting and gritty textures, the video is a welcome step outside of the mainstream, and boasts a perfect balance between vintage and contemporary aesthetics.&nbsp;

Amara Rossell

Clara Paris

Murren Tullett

Barney Coates

Andrew Nowley

Helio Ribeiro 

Elena Isolini

Billy Tempest Rashford

Kate O'shea

JP Blunt

Maisie Peters 'John Hughes Movie' by Louis Bhose

Maisie-Peters--'John-Hughes-'-by-Louis-Bhose

Louis Bhose directs a meditation on memory and nostalgia for Arlo Parks.&nbsp;Stripped-back yet effortlessly mesmerising,&nbsp;Parks performs the track as she journeys through an&nbsp;ever-evolving world, where disconnected hands spruce up the art direction and rearrange&nbsp;various props and textures in the environment.&nbsp;Snapshots of memories and emotions inspire the various scenes, which effortlessly transition from one to another through DoP&nbsp;Murren Tullett's considered composition and camera movement.&nbsp;A thoughtful slice-of-life with bold and honest themes, Bhose has created a world that perfectly complements the track, and Parks' enigmatic performance style.&nbsp;

Harriet Towler

Hayley Williams

Gabriel O’donohue

Lucy Cooper

Billy Tempest-radford

Emilie Louizides

Harry Davidson

Mike Harounoff

Transgressive

Indie pop

Arlo Parks 'Green Eyes' by Louis Bhose

Arlo-Parks-'Green-Eyes'-by-Louis-Bhose

Following the brilliant one-take video for&nbsp;<a href="https://www.promonews.tv/videos/2019/12/02/bombay-bicycle-club-everything-else-has-gone-wrong-louis-bhose/62189">Everything Else Has Gone Wrong,</a>&nbsp;Louis Bhose's&nbsp;bleak visual for Racing Stripes takes a more subtle and emotional approach. Under the frosty skies of&nbsp;Lofoten, Norway, the group lip-sync&nbsp;the track in an understated fashion&nbsp;as they battle&nbsp;the brutal weather conditions.&nbsp;Murren Tullett&nbsp;captures the stillness and beauty of the area with lingering landscape shots, meditating on the detail in every scene and enhancing the lonely and isolated character of the location.&nbsp;

Jack McGinity

CHEAT

Indie Rock

Bombay Bicycle Club 'Racing Stripes' by Louis Bhose

Bombay-Bicycle-Club-'Racing-Stripes'-by-Louis-Bhose

Bombay Bicycle Club's frontman&nbsp;Jack Steadman is having the day from Hell in Louis Bhose's&nbsp;emotional one-shot video for Everything Else Has Gone Wrong.&nbsp;From a bird's eye view perspective, we see Steadman in a mangled position as a variety of passers-by inexplicably start to kick and stomp on him, whilst rooting through what's left of his possessions and snatching them away. And as he continues to stare straight up at the camera and perform, the hustle and bustle around him is never ending, offering no respite from the evils of the world, even in his darkest hour.And it gets really dark.&nbsp;The transition between each set of characters is clever, as ambulance workers attempt to save his life before he is unceremoniously wrapped in a plastic sheet and buried.Ultimately, the core message is impossible to ignore:&nbsp;when you are down and out, some people will treat you like you no longer exist. But it's the people who lift you up and help dig you out of your (quite literal in this case) hole that are the true heroes.&nbsp;Echoing the&nbsp;vibe&nbsp;of Radiohead's Just from almost twenty-five years ago, this video is an updated and fresh take on the one-shot concept, packed full of intelligent imagery and emotional clout.&nbsp;

Lucy Bradley

Mimi Winsor

George Buxton

Alternative, Indie Rock

Bombay Bicycle Club 'Everything Else Has Gone Wrong' by Louis Bhose

Bombay-Bicycle-Club--'Everything-Else-Has-Gone-Wrong'-by-Louis-Bhose

Bombay Bicycle Club are back, and they bring with them a cinematic comeback tale from old friend Louis Bhose.Opening with a tongue-in-cheek preamble about British society crumbling without their presence, the video is by no means as lighthearted as that opening suggests. But its certainly celebratory, and a terrific performance video for the new song Eat Sleep Wake by Bhose - who used to play with Bombay Bicycle Club back in the day, before he took up directing.&nbsp;We follow Jack through this new society as he tries to reignite his musical dreams, attempting to play a variety of different instruments but frustrated at trying to do it all himself. We are then introduced to the other band members, all following the same ritual.&nbsp;Bhose's regular DoP collaborator Murren Turrett does a great job creating a very cinematic sense of the struggle of creation. it all leads up to the moment, when&nbsp;the band make contact with one another again - via smoke signal.So then it ends, just before the four bandmembers reunite, representing the end of one era and the start of another.&nbsp;&nbsp;

Callum Harrison

Mykola Poluden

Mariko Atamanenko

Levgen Shramchenko

Anna Aralova

Kit Wells

Final Cut

Bombay Bicyle Club 'Eat Sleep Wake' by Louis Bhose

Bombay-Bicyle-Club-'Eat-Sleep-Wake'-by-Louis-Bhose

F*** this photocopier. Marika rocks her corporate hellhole in this simple, effervescent video by Louis Bhose.Somehow, Marika Hackman has ‘given up her soul’ for an ill-fitting suit and a dead-end office job. And she’s starting to wonder how she got here. In a fantasy sequence, she performs inside an enormous, strobing photocopier. Which she proceeds to smash.Hackman has charisma in buckets, or ‘BDE’, to borrow her phrase. In the visual cycle for her upcoming album Any Human Friend, we’re beginning to realise quite how much comic potential the songwriter has always had. Most recently, she had a star turn in Will Hooper’s dry and relatable <a href="https://www.promonews.tv/videos/2019/05/23/marika-hackman-im-not-where-you-are-will-hooper/58874">I’m Not Where You Are</a>. It’s a treat to see rockstar Hackman, and in&nbsp;classic pop video mode; The One could easily be a long lost visual for Heaven 17 or The Human League.The concept is Hackman’s own. According to Agile Films,&nbsp;the story behind it reads a little like this:“Marika Hackman: I want to do a performance vid in a photocopier, where the imagined rockstar in me performs with gusto as the mediocre, let-down version of me watches.Hack Video Director: say no more”.

Elle Lotherington

Chris Hayden

Yolande Haynes

Sam Alberg

David Hamilton

Chris Dunleavy

Connie Meade

Amf Records

Alt Rock

Marika Hackman 'The One' by Louis Bhose

Marika Hackman - the one

Michael K is a humble supermarket drone in his video for Money, the first release from his upcoming new album.... Or is he?Louis Bhose toys with perceptions of happiness relative to wealth, and the addictive nature of luxury, as Michael and his compadre Tom Misch apparently opt for flashing the cash around rather than anything more fulfilling, while Murren Tullett delivering a retro look with the cinematography.

David Ceballos

Laurent Poulain

Phoebe Darling

Patty Marti

Charlie Von Rotberg

Homespun

Leianna Campbell

Emily Tedrake

Marco Grey

Soul

Michael Kiwanuka, Tom Misch 'Money' by Louis Bhose

Michael-Kiwanuka-'Money'-by-Louis-Bhose

The video for Ottolenghi is a hard act to follow, but Louis Bhose puts his own marvellous spin on the world of Loyle Carner in the new video for You Don&#39;t Know.&nbsp;He does a great job&nbsp;- with help from the rapper&#39;s mum.As Loyle Carner&#39;s close relationship with his mother Jean Coyle-Larner is well known, his fans will instantly relate to this comedic scenario, where Loyle tries to keep tabs on his mum on various dates, occupying every job going down at her favourite restaurant, from sommelier to CCTV security to cab driver.Loyle mainly plays a melancholy cocktail barman, in a decent double act with his guest rapper Rebel Kleff. But it turns out that Jean has real star quality too. If you squint, there&#39;s even a passing resemblance to ubiquitous screen star Olivia Colman.And it reaches a peak of charm with Jean having dinner and a lovely chat with none other than poet and national treasure Benjamin Zephaniah.&nbsp;A great result for everybody.&nbsp;&nbsp;

Eleri Evans

Freddie Barrass

Pete Bateson

Kai Newton

Nil Tomakan

Jess Summer

All My Friends

Virgin EMI

Hip Hop

Loyle Carner ft Rebel Kleff & Kiko Bun 'You Don’t Know' by Louis Bhose

Loyle-Carner-'You-Don’t-Know-Ft.-Rebel-Kleff-&-Kiko-Bun'-by-Louis-Bhose

When it comes to helping a friend in need, Lewis Capaldi is forced into just about the most unlikely scenario possible for a humble guitar-strumming singer-songwriter, and he absolutely smashes it.&nbsp;Louis Bhose manages&nbsp;to make a silly idea very entertaining indeed, and a great vehicle for Capaldi's Grace, as he takes to stage in a Glaswegian poledancing club, in front of some confused and infuriated punters...

India Bradshaw

Jack Meredith

Ollie Hallam

Bill Rae Smith

Home Spun

Caroline Morin

Steve Millington

Lewis Capaldi

James Hackett

Mark Rolfe

Grant Sandy Phillips

Singer-songwriter

Lewis Capaldi 'Grace' by Louis Bhose

Lewis-Capaldi-'Grace'-by-Louis-Bhose

Louis Bhose has directed a number of videos for Bruno Major, latterly in collaboration with Apple Music. And now he&#39;s signing off this impressive campaign with a real corker.Shot while Major&nbsp;was touring in the US, Bhose&#39;s concept is excellent, but could have easily been smudged in the execution. Instead, he&nbsp;pulls it off brilliantly.To highlight&nbsp;the poignancy of a song called Home, Bhose and his DoP Murren Tullett (who&#39;s also worked on all the videos) filmed the end of Major&#39;s&nbsp;shows in various East Coast venues, match-cutting between them, following the singer-songwriter&#39;s progress from different aftershows to different streets to a different&nbsp;hotel every night.The director blurs the line between documentary and something more staged, but that&#39;s perfect to capture the heartfelt emotion in the song.&nbsp;

Eureka London

Zoe Wheeler

Apple Music

Bruno Major 'Home' by Louis Bhose

Bruno-Major-'Home'-by-Louis-Bhose

Louis Bhose explores the loneliness of the middle-aged PE teacher in his latest&nbsp;video for Bruno Major - the second of a three video collaboration funded by Apple Music - with a heavy dose of bittersweet humour.You&#39;ll probably be rooting for this poor guy who&#39;s ignored by his teen pupils and lives on past dodgeball glories.&nbsp;But then he enters his fantasy dreamworld, and you may not like him so much after all.And just as our hero&nbsp;gives Bruno&nbsp;an unexpected ball-smash, the video is also right on the mark.

Jamie Silk

Phil Martin

Alex Parkinson

Paul Burns

Elliott Rooney

Peter Kent

Gordon Peaston

Bruno Major 'Easily' by Louis Bhose

Bruno-Major-'Easily'-by-Louis-Bhose

Bruno Major leaves his house, apparently setting off to work. But he is in fact setting out on a journey into the unknown,&nbsp;in Louis Bhose&#39;s latest visual for the singer-songwriter.Following the entertaining CSI spoof&nbsp;for <a href="http://www.promonews.tv/videos/2017/11/20/bruno-major-just-same-louis-bhose" target="_blank">Just The Same</a>, Bhose and DoP Murren Tullett follow Bruno into some wet, windy, and really quite muddy stretches of rural England, as he attempts to make a life for himself as a real Man Of The Woods (take note, Timberlake).&quot;We shot on 16mm &ndash; shout out Del Jones at Arri &ndash; and tried to tread on that soft middle ground between Paris, Texas and Apocalypse Now,&quot; Bhose explains about the video for Cold Blood. &quot;And, also, that guy at parties who tells you you&#39;re a total drone.&quot;

Eureka

Angela Garcia

Bruno Major 'Cold Blood' by Louis Bhose

Louis Bhose

Director

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